Nagabonar Jadi 2

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*Nagabonar Jadi 2*

Directed by	Deddy Mizwar
Produced by	Tyas A Moein
Written by	Musfar Yasin
Starring	Deddy Mizwar Tora Sudiro Wulan Guritno Lukman Sardi Uli Herdinansyah Darius Sinathrya Michael Mulyadro
Music by	Theorsi Argeswara
Editing by	Tito Kurnianto
Country	Indonesia
Preceded by	Nagabonar

Naga Bonar Jadi 2 (Naga Bonar Becomes 2) is a sequel of the Indonesian film Naga Bonar (1987).

Synopsis

Nagabonar Jadi 2 is a comedy movie starring Deddy Mizwar and Tora Sudiro as father and son. This movie is a sequel to 1986 hit movie Nagabonar. The story is still about Nagabonar (Deddy Mizwar), a pickpocket who becomes a general during independence war. But now Nagabonar lives in the big city with his son Bonaga (Tora Sudiro). Bonaga is a businessman. Along with his three friends, Pomo (Darius Sinathrya), Ronnie (Uli Herdinansyah) and Jaki (Michael Muliadro) they run a big business. Conflict comes when Bonaga wants to sell his father palm plantation. Monita (Wulan Guritno) a consultant to Bonaga’s business tries to settle down the conflict between Bonaga and Nagabonar.

Cast

Deddy Mizwar as Nagabonar
Tora Sudiro as Bonaga
Wulan Guritno as Monita
Michael Mulyadro as Jaki
Uli Herdinansyah as Ronny
Darius Sinathrya as Pomo
Lukman Sardi as Umar

http://en.wikipedia.org/wiki/Nagabonar_Jadi_2

1 out of 1 people found the following comment useful :-
Apa kata dunia!!!, 2 September 2007

Author: bima_p from Jakarta, Indonesia

*** This comment may contain spoilers ***

In this sequel to Nagabonar (1986), the now old Nagabonar was asked to live with Bonaga, his foreign educated son, for a while in Jakarta. This was an effort by Bonaga to ask Nagabonar's permission to turn the family palm plantation into a resort. This outraged Nagabonar since the family cemetery was in the plantation. Distraught, he left his son's house and got himself lost in Jakarta.

The theme of this movie is refreshing among Indonesian movies which is now consists of cheap horror flicks and teen romance. The script is filled with dialogues that are funny, smart, and satirical without becoming offensive. The problem is the movie seem to have climaxed in the middle, when Nagabonar agreed to Monita's plan. From that point onwards the story seem to lose direction.

Overall, it is still good movie and a must see of every Indonesian.

http://www.imdb.com/title/tt1046961/usercomments

Turunkan Tanganmu Jendral! (The Best Scene of movie "Nagabonar Jadi 2")

The Best Scene of movie "Nagabonar Jadi 2", when Nagabonar considered General Sudirman statue's posture was inappropriate.

Nagabonar was played by Deddy Mizwar, Uthman was played by Lukman Sardi. The movie itself was directed by Deddy Mizwar and written by Musfar Yasin.

“Turunkan tanganmu jendral! Apa yang kau hormati siang malam itu??!! Apa karena mereka yang didepanmu itu memakai roda empat??!! Yahhh...Tidak semua dari mereka pantas kau hormati....Turunkan tanganmu..... jendral! Turunkan tanganmu..... jendral!"

http://sardjana.multiply.com/video/item/24

Nagabonar (Jadi) 2 or Nagabonar (becomes) 2. It's a unique sort of sequel naming. It brought to my mind the smartness of such titles as Too Fast and Too Furious (which plays the sound /tu:/ meant to mean "too" with the fact that it is the sequel or the "two-th" (2nd) movie to Fast and Furious) or Unforgiven II (which, again, uses the play of the sound /tu:/ of the word 'too,' meaning 'also,' and 'two'). Well, I hope you don't find it confusing. Essentially, this kind of naming is cool.

Anyway, in this very dream, I'd like to talk about some issues concerning the novel version of Nagabonar (Jadi) 2 (henceforth, NJ2). I think I need to talk first about Nagabonar itself, the movie as well as the character. Nagabonar is one of few greatest movies in the history of Indonesian movies. It was published in 1987, starred by Mr. Deddy Mizwar (a senior Indonesian actor), scriptwritten by the late Mr. Asrul Sani (an author, movie director, and cultural thinker). The first movie made headlines and took Deddy Mizwar to win Citra Award (a prestigious movie award) somewhere around 1987 or 1988. Almost all adults (who live in cities or have access to TV networks) know who Nagabonar is. Nagabonar, as a character, still in the first movie, is a general-pickpocket who picked people's wallet in the market and fought against the Dutch who claimed Indonesia as their colony a couple of years following the proclamation of independence. Mr. Asrul Sani himself tried hard to revive Nagabonar. Yet, he died, in 2004, before finishing the script of the sequel. Two years later, Deddy Mizwar, who by then a respected senior actor and had produced several successful, entertaining and enlightening movies and TV series including Sohibul Hikayat, Kiamat Sudah Dekat, and Lorong Waktu, planned to revive Nagabonar. In Musfar Yasin's hands, the screenplay of NJ2 took its form. Deddy Mizwar trusted a journalist-cum-new writer Akmal Nasery Basral once he planned to have the novel version of the screenplay made. And finally, ladies and gentleman, lo!: The novel version of Nagabonar (Jadi) 2. This is what we're talking about today.

Apart from its unique naming, there is still another oddity about this novel. It's the cover. There are two choices of cover. The first on is with the picture of Nagabonar (Deddy Mizwar, meaning THE NAGABONAR) sinking on his back in an armchair and the second one is Bonaga, Nagabonar's son (Tora Sudiro, meaning THE SECOND NAGABONAR). In Indonesia, this is the first book to use choices of cover. Internationally speaking, it IS NOT THE FIRST, of course.

Well, let's come to terms with the heart and soul of the novel. This novel is written by Akmal Nasery Basral. Previously, Akmal Nasery Basral was quite successful with his second book, Ada Seseorang di Kepalaku yang Bukan Aku (I've Got Someself inside My Head other than Myself), a short story collection, in which he shows his mastery of story telling using various ways. In NJ2, Akmal uses a carefree way of storytelling, somewhat similar to that he uses in Boyon, a story in his short story collection. NJ2 tells about the the veteran Nagabonar who is 80 years old by now and has a son who has completed his master degree in a university in England and has run his own company. Nagabonar is invited to join his son in Jakarta to talk about an important subject, that is, his son's business deal which includes transforming Nagabonar's oil palm plantation into a leisure resort. Nagabonar gets mad because underneath a corner of that estate buried the bodies of his beloved wife Kirana, beloved mother 'Mak', and beloved buddy Bujang. Nagabonar leaves his son's office in anger and gets lost in the modern jungle of Jakarta. He soon meets a bajaj driver Umar who takes him around to find his son's home, which happens to be close to Umar's own kampong. Nagabonar also finds Umar a good fellow. The next day, Nagabonar and Umar travel around Jakarta and, while doing so, he contemplates and is compelled to face the fact that people does not save no more respect for the veteran, heroes, or founders of this country.

NJ2, along with another movie-derived-novel Biola Tak Berdawai (The Stringless Violin) by Seno Gumira Ajidarma, marks the new wave of movie novelization. While other movie-derived-novels are MERE novel version of a movie--or let us say, shifting the scenes as they are shown on screens to the pages of books--, NJ2 and Biola Tak Berdawai, published 2 years earlier, show the very quality of novels. Since today I discuss NJ2 in particular, then let us put Biola tak Berdawai aside for a couple of whiles. The author himself, Akmal, states in the preface to this book that he uses a different point of view for this book. In movies, mostly, stories are presented with the third person perspective. So is NJ2 the movie. We, audience, can see anything that happens to all characters. We can see what Bonaga does in his office; we can see what Nagabonar sees while traveling around Jakarta. In the novel, the story is presented through a first person perspective, it's Nagabonar's perspective. Why Nagabonar? It deals with the fact that Nagabonar is one of most prominent characters in the history of Indonesian cinema. Besides, with the course of the novel, readers will see how impossible it would be to tell a lively story of past, including important points in the movie Nagabonar (the first), if the story wasn't told first-handly by Nagabonar himself.

The second point to ponder is the novel's ability to be a pseudo-sequel. Simply speaking, NJ2 the movie is actually the sequel to Nagabonar (1987). The 20 years-interval can possibly cause a problem, that is, the loss of Nagabonar's trace from audiences mind. However, once viewers see the face of Deddy Mizwar and the way he speaks, people will start to recall the pickpocket Nagabonar. Moreover when he alludes to his old days. But, in the novel this kind of effort will not work. One should work a bit harder to make readers familiar to the past of Nagabonar. And the novel version made it. At significant times, Akmal the author presented us readers with Nagabonar's remembrance of things past, of his pickpocketing days, of his fighting days, of his making friends days, which enables us readers, especially those of us who were too young to grasp the story of Nagabonar as it was played in movies or TVs in the nineties and to understand the things past which bring forth the things present. Akmal Nasery Basral has abridged Nagabonar, past and present.

The last thing, which is in fact the most important thing in this book, is the content of the novel: patriotism, heroism, criticism, generation gaps, comedy, entertainment, and several others. The initial idea of Asrul Sani's when he first wrote the screenplay of Nagabonar is to "present people with an enlightening entertainment of forgotten revolutionary heroes, of national heroes who were came criminal background, of how low-clas--and even considered morally inadequate--people bled themselves fighting the colonizers." For the sequel, Deddy Mizwar tried hard to maintain this, without leaving the elements of entertainment, humor, comedy. Therefore, we readers can find NJ2 an entertaining stories with strong messages of generation gap. Nagabonar's view helps us guess how elderly people see the world. Bonaga's view, at the beginning of the story, shows how we young people sometimes pay inadequate amount of respect to our dead ancestors, people we just happened to only hear about, not to see with our very eyes. Umar's indifference of seeing the statue of the national heroes Bung Karno, Bung Hatta and Pak Dirman leads us to think that IT IS exactly what we feel when we see those statues, to think how we young people enjoy an independent country while forgetting those who put their lives at stake to drive Dutch and Japanese away. However, there are also minor supplementary messages, such as, miscellaneous criticisms. We can see how Nagabonar gets sick of seeing Indonesian TV shows which is either ghost-inspired sinetrons (an Indonesian term for soap opera-like shows), teenagers sinetrons, mystical sinetrons with shallow religious loads--this can result in a very long list if Akmal bothers himself finding more instances. There are also criticisms of rural policies in Jakarta, including Transjakarta bus service (a bus line which has its special track) and prohibiton of bajaj to turn into certain streets.

With those points, NJ2 can successfully do what Akmal Nasery Basral wishes it to do: being a movie novelization which can be read separately from the movie version. Movie goers can still enjoy the book to re-experience Nagabonar's adventure in the Jakartanian jungle of skyscrapers plus poor kampongs as well as to experience the Nagabonar's internal self through his interior monologues. And book lovers who opt to read the book first can deepen their grasping of the story by seeing the visual description of the movie version. Well, it's time now for us to pick our own choices of entertainment, books or movies, without complaining either having the book version too shallow or the movie version incomparable to the quality of its book version.

A picture of contemporary Indonesia through the eyes of two generations. The father, generation of pejuang (what’s the term? hero? warrior?), fought the Dutch colonialist to defend the new born Indonesia. The son, part of Gen-X, smart and successful, struggling to conquer today’s hardest and meanest battlefield: Jakarta. From their eyes we see the success story of economic development—tall buildings, real estate and new factory that provides jobs for the unemployed. We also see what’s behind it—slum, worn off ~~nationalism~~ ~~morality~~ value, compromised law and how the marginal class is eradicated in the dog eat dog world.

Yes, I’m talking about Nagabonar Jadi 2, the sequel of 1986’s Nagabonar which was written by the late Asrul Sani and directed by M.T. Risyaf. Deddy Mizwar who originally acted as the ex-pickpocket-then-general Nagabonar, now not only take the role of the old Nagabonar but also write the story (with scriptwriter Musfar Yasin) and direct the movie. Bonaga, the-British-graduate-with-Batak-dialect son is performed by Tora Sudiro, which is accompanied by best friends cum business partners Pomo (Darius Sinathrya), Ronny (Uli Herdinansyah) and Jaki (Michael Mulyardo), and the gorgeous Monita (Wulan Guritno).

Bonaga, a successful businessman, wanted to sell Nagabonar’s palm tree plantation to make a resort. He asked help and advice from his friends to convince his father, because on the plantation lays the tombs of Nagabonar’s beloved: his mother, his wife Kirana (Bonaga’s mother) and his best friend Bujang. The movie flows as the father-son conflict is built with fresh comedy, smart satire and love story.

It’s hard for me not to salute this movie as a successful sequel, but I’m actually agree with Riri Riza that this movie stands of its own and raise a different issue. Apart from that, it’s a neatly packed movie. Great story. Clever visualization (kudos for every parallel scene of Nagabonar and Bonaga). Great ensemble, especially Deddy Mizwar. Does anyone take notice of the unusual mouth expression? That’s probably the thing that connect me to the 1986’s movie, beside the appearance of Maryam (Nagabonar’s former rival performed by Nico Pelamonia) and the repetitious “Apa kata dunia!”

The only annoyance for me probably the dragging last quarter of the movie, when Bonaga come back and forth with his decision. It’s probably to give room for the abundant messages. The explicit picture nationalism for example. But as Sinema Indonesia said, "Walaupun penonton tidak harus setuju dengan pendapatnya, tapi dengan film dengan kualitas seperti ini, siapapun filmmakernya layak untuk didengar." Oh, and the ending, what with Indra Birowo meet Tora Sudiro, become too Extravaganza’s suasana menjadi kacau kinda like.

Anyway, it’s a movie that made me think and laugh and cry. And speechless.