Panji Semerang (The Outlaw of Semerang, 1961) Part 2
- 3 years ago
Part 1: https://dai.ly/x7zsgrp
Directed by Omar Rojik
Written by Omar Rojik (screenplay), S. Kadarisman (story adapted from bangasawan play based on ‘Hikayat Panji Semerang’)
Songs by Osman Ahmad and Yusoff B., with gurindam by H. M. Rohaizad
Language: Malay
Cast: Saadiah, Aziz Jaafar, S. Kadarisman, Normadiah, Dayang Sofia, K. Fatimah, Salleh Kamil, A. Rahim
“‘Panji Semerang’ is adapted from a Javanese hikayat (epic) of antiquity that recounts the adventures of figures of the court. It is infused with the Hindu-Buddhist influences of the time, and what may seem unusual to our modern selves is the gender-bending and the rather fluid sexuality in the text. Both the pre-Islamic setting and the sexual adventurousness are preserved in this movie. (…) Like in Omar Rojik’s directorial debut ‘Sumpah Wanita’ [https://youtu.be/m4TT3G8mWcc], this movie puts a spin on traditional gender relations.” (Amir Muhammad, ‘120 Malay Movies’, 2010, pages 210-212)
“The film has been adapted from Javanese literature and will depict the pomp and pageantry of Java during the reign of Ratu Daha. (…) Omar Rojik said this was the first adaptation from Javanese literature to be made into a Malay film.” (The Straits Times, 24 March 1961)
“Panji is the name of an ancient east Javanese hero and the tales of Panji are based on the love story between the prince of Kuripan, Raden Panji Inu Kertapati, and the princess of Daha, Galuh Candra Kirana. The lovers undergo many difficulties and adventures, with numerous changes of appearance (hero disguising as a woman or vice versa) and names, before being reunited. The love scenes are often expressions of sorrow, longing and desire (‘berahi’). (…) Panji tales, most likely due to the influence of the 14th-century Majapahit empire, circulated to other parts of Southeast Asia. There are versions of the stories in regional languages such as Malay, Thai, Burmese and Khmer. In traditional Malay literature, Panji tales were hugely popular: there are about 200 known manuscripts. Many of the surviving manuscripts originate from areas with a strong wayang kulit tradition, such as the northern Malay peninsula. (…) Panji tales were also frequently adapted for bangsawan (Malay opera). (‘Tales of the Malay World’ exhibition catalogue, National Library Board (Singapore), 2018)
A Singapore Filmography / Filemografi Singapura (1960s/1960-an):
https://sgfilmlocations.com/1960-1969/
Films of Singapore & Malaya Regularly:
https://t.me/sgfilmdaily
Directed by Omar Rojik
Written by Omar Rojik (screenplay), S. Kadarisman (story adapted from bangasawan play based on ‘Hikayat Panji Semerang’)
Songs by Osman Ahmad and Yusoff B., with gurindam by H. M. Rohaizad
Language: Malay
Cast: Saadiah, Aziz Jaafar, S. Kadarisman, Normadiah, Dayang Sofia, K. Fatimah, Salleh Kamil, A. Rahim
“‘Panji Semerang’ is adapted from a Javanese hikayat (epic) of antiquity that recounts the adventures of figures of the court. It is infused with the Hindu-Buddhist influences of the time, and what may seem unusual to our modern selves is the gender-bending and the rather fluid sexuality in the text. Both the pre-Islamic setting and the sexual adventurousness are preserved in this movie. (…) Like in Omar Rojik’s directorial debut ‘Sumpah Wanita’ [https://youtu.be/m4TT3G8mWcc], this movie puts a spin on traditional gender relations.” (Amir Muhammad, ‘120 Malay Movies’, 2010, pages 210-212)
“The film has been adapted from Javanese literature and will depict the pomp and pageantry of Java during the reign of Ratu Daha. (…) Omar Rojik said this was the first adaptation from Javanese literature to be made into a Malay film.” (The Straits Times, 24 March 1961)
“Panji is the name of an ancient east Javanese hero and the tales of Panji are based on the love story between the prince of Kuripan, Raden Panji Inu Kertapati, and the princess of Daha, Galuh Candra Kirana. The lovers undergo many difficulties and adventures, with numerous changes of appearance (hero disguising as a woman or vice versa) and names, before being reunited. The love scenes are often expressions of sorrow, longing and desire (‘berahi’). (…) Panji tales, most likely due to the influence of the 14th-century Majapahit empire, circulated to other parts of Southeast Asia. There are versions of the stories in regional languages such as Malay, Thai, Burmese and Khmer. In traditional Malay literature, Panji tales were hugely popular: there are about 200 known manuscripts. Many of the surviving manuscripts originate from areas with a strong wayang kulit tradition, such as the northern Malay peninsula. (…) Panji tales were also frequently adapted for bangsawan (Malay opera). (‘Tales of the Malay World’ exhibition catalogue, National Library Board (Singapore), 2018)
A Singapore Filmography / Filemografi Singapura (1960s/1960-an):
https://sgfilmlocations.com/1960-1969/
Films of Singapore & Malaya Regularly:
https://t.me/sgfilmdaily