Film Journal: Abang 1981, directed by Rahim Razali

“Abang” directed Rahim Razali at 1981 is a story about Abang Fuad, the oldest son from a wealthy family suddenly returns home after lost contact for 10 years ago. His family are showing different emotional to this unexpectedly news. There are some conflicts appeared between this family and finally they realize that Abang Fuad actually wents to Londan for medical treatment.

In this film, Rahim Razali using a reflective perspective to interpret the 80’s Malay society in Malaysia. There are language, cultural and racial hybridity which we can easily to define in this movie. These may seem from the Abang Fuad and his family of their different characteristic feature and attitude. The film shown that the lifestyle of the people in the New Economic Policy era which Abang Fuad’s family is adapted to the westernize culture and high educated.

Language hybridity can lightly notice in this film. From the scene that Abang Fuad’s brother, used the mixture of Malay and English to read the fax of Abang Fuad from Londan. When he read out the fax, he used the ‘Stop’ to represent the pause of the sentence. Besides, they also use ‘I’ and ‘You’ in their conversation instead of using the pure Malay language of ‘Saya’ and ‘Kamu’.

The culture exchange and growth with the western culture among the 80’s Malays society can be strongly appear by Abang Fuad’s family. Firstly it can show by the custom from the female characters, Nazreen, Dila and Mona. They are representing the modern Malay women where influence by the westernized lifestyle. For example, when the scene of Nazreen apologizes to Farid after a fight but Farid refuse to forgive her, Dila stands out to voice and this show that the characteristic of a modern woman which is strong-minded and progressive.

In the other hands, taking alcoholic is illegal for Muslim, but in the scene, Farid was unhappy and he drunk a lot of alcohol in the party. Another scene where the welcome home’s party that held on Faud’s house shown the cultural hybridity which the style of celebrating is totally westernized by the food and the custom of the guests. Although some of them are wearing traditional custom, which is baju kebaya but it is modified to more sexy and attractive. The food they provided are also in western style which is barbecue and others deserts.

However, Abang Fuad portrait an opposite characteristic which he maintain the traditional Malay identity although he went to London for about 10 years. From the scene he visit his childhood village, he still act like a ‘kampung boy’ playing the coconut tree leaf to carry people with his best friend, Diaman. The river scene where the old man sings the poem to Fuad on the bamboo boat and the scene where Dila sing to Faud in the pub had shown the contrast of the traditional and westernized Malay society.

Besides all of that, racial hybridity can also define in this movie. In the party scene of celebrating the return of Fuad, there are mixtures of different races of people including Chinese, Indians and Malays.

The part of the movie that I dislike is about the complicated relationship between Faud and Mona. The conversation make audience confused because Mona is actually Faisal’s wife but she refused to forgive Faud of his fault 10 years ago. In the movie did not explain clearly about the story and create confusion.
As a conclusion, this film managed to bring out the strong expression and dramatic approach to the audiences. It brings out the message that we cannot forget our own roots although we are now born in a modern and educated society.

Reference
Khalidah. (2008, June 02). Excuse the self-indulgence. Retrieved November 26, 2011, from http://kamidisini.multiply.com/reviews/item/6
Norman Yusoff. (2010, December 16). 12 malay movies. Retrieved November 26, 2011 from http://thoughtsonfilms.wordpress.com/2010/12/16/12-malay-movies/
Elviza. (2009, NOVEMBER 25).Teater & filem melayu: Antara tabu dan kreativiti. Retrieved November 26, 2011 from http://elviza.wordpress.com/2009/11/25/teater-filem-melayu-antara-tabu-dan-kreativiti/