It's good wholesome fun and succeeds in capturing the elusive feeling of a memory, like an echo of teenage love in our own pasts. There is a subplot involving roving teenage youth gangs, but that thread is tripped up by its own ridiculousness which is about on the same level as Marlon Brando in the Wild One aggressively scat singing at a local restaurant. There is nothing inherently special or original about the plot: hornball teenage kid pursues crush, charms her with grand gestures and witty dialogue, puppy love ensues (this being Indonesia, you can be sure the romance never escalates above the tamest of tame G-rated gestures of love). It takes us back in time, to the languid glory days of 1990 and an upscale part of Bandung where high school lothario Dilan begins vying for the affections of Milea, a Kelly Kapowski-type crush who has just relocated there from Jakarta. The genre's worst traits were embodied earlier this year in the film Eiffel I'm in Love 2, a tale of two emotionally stunted dotards which was so bad I believe it may have been a covert attempt by the state to undermine Valentine's Day.ĭilan 1990, based on a best-selling novel and released about a month before Eiffel, manages to transcend the limits of the genre. They often portray corrosive jealousy, possessiveness and childish low-stakes power games as endearingly romantic qualities in a relationship. It also needs to broaden the audience’s vision and imagination.Romance films in Indonesia can be appallingly bad. The audience always demands a fresh creative dynamic in a sequel.Ī film sequel should not only aim for commercial success by simply capitalising on previous works. But film producers should continue to raise the bar for the next one.
#Novel dilan part 2 series#
So far, the Dilan series has been well accepted by fans. Why did Dilan join the motorbike gang: is he angry at his father who is often absent from home? Raising the bar Perhaps it will provide answers to questions the audience has about Dilan’s motives. When the film trilogy is completed, we will be able to see how this use of two narrators affects the way the story is told. This will allow the audience to experience the story from both the male and female perspectives. For the last sequel, yet to be released, Dilan will narrate the story.
#Novel dilan part 2 movie#
In the first two novels and their movie adaptations, the audience follows the story through Milea’s perspectives.
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Both Grease and Dilan portray youths trying to find their identities as they struggle with uncertainties in their world. In Dilan, however, Milea takes a firm stand against Dilan’s friendship with his motorcycle gang friends. At the end of the story, Sandy changes her hair and dress style, more like Danny, showing that she finally embraces his world. The story line reminds me of the Hollywood musical classic Grease about a teen romantic relationship between Sandy (Olivia Newton-John), a schoolgirl, and Danny (John Travolta), a member of motorbike club.
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It explores love, high school life, solidarity among youth and conflicts between peers and with older generations. The Dilan film series is based on the best-selling trilogy of novels, Dilan, written by Pidi Baiq. In the film, the figures of Dilan’s and Milea’s mothers are busy managing the households and fully support the children while their husbands, both in the army, are often absent.Ī scene where Dilan’s mother tells Milea that police arrested Dilan because he took his father’s gun to a fight subtly describes the reality of the military presence in civil life during the New Order regime. Feminist scholar Julia Suryakusuma called this government’s agenda “ the State Ibuism”. Women’s role under the Soeharto regime was to manage the household, educate the children, making sure that home was safe for young generations to grow to become men with Pancasila values, Indonesia’s state ideology. The same government also encouraged a politically conscious act to define women’s identity in Indonesia as housewives.
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Millions of people became victims of the New Order regime. These young Indonesians did not experience life under the oppressive Soeharto government. The children born during Indonesia’s period of democratisation are now in their late teens or early twenties, the demographic for the Dilan series teen flick. A window on Indonesia’s New OrderĪfter more than 30 years, Soeharto’s dictatorship crumbled in 1998. In Dilan, writer Pidi Baiq and director Fajar Bustomi attempt to subtly portray the culture and politics of the New Order era using the genre of romantic teen flicks.