Djakarta 1966: Soekarno was everything Soeharto was not
Photo credit: Pengkhianatan G-30-S PKI, Arifin C Noer's most prominent film
After seeing a bad movie, Djakarta 66 is kind of revelation. History, by any definition is written by the ruler, however, time is always the winner.
Djakarta 66 was made by Arifin C Noer in 1988 (JB Kristanto's version is 1982, however the credit in the film states 1988 which is more reliable, I guess), telling a [his]tory about the controversial Supersemar. Kineforum screens the film today and 9 January 2011 as part of the #decompression programme, an anniversary celebration by collective ruangrupa. Lisabona Rahman with filmmaker, Anggun Priambodo work hand in hand to curate a film programme about Jakarta. With my usual gang, we were watching the 35mm format with mixed feeling. I found the film funny yet brave. Another found it great and amusing. Djakarta 66 is the third of New Order (or rather, Soeharto's trilogy). The first film is Serangan Fajar, made in 1981, followed by notorious Pengkhianatan G-30-S PKI in 1982.
Djakarta 66 focuses on the political events after the failed coup d'etat by allegedly Indonesian communist party. Jakarta streets were full of students' demonstrations. Universitas Indonesia as main camp of student organisations such as KAMI sent thousands of their students to Bogor Palace and Presidential Palace to demand Tritura (those are three public's demand: ban Indonesian communist party, reform the cabinet, and reduce the price?!). Soekarno was forced to sign the Supersemar document (or wasn't it?). On March 11, 1966, Soekarno might (or might not) sign a letter giving the Army commander Lt. Gen.Suharto authority to take whatever measures he "deemed necessary" to restore order to the chaotic situation during the Indonesian killings of 1965–66.
Some might think that Arifin C Noer worked as a propaganda film specialist. His film, Pengkhianatan G-30-S PKI (my friend, Nayla, discusses this film extensively in her thesis) frequently is read as a propaganda text. But modern eyes reveal a contradictory account. As for Djakarta 66, I feel that our reading on Arifin C Noer's film should be extended radically. Djakarta 66 is 135 minutes long film, with almost one hour of its original version was cut by authority for reason of provoking new radicalism to students. Written by Bur Rasuanto (who had opportunity to read Cornell paper prior of writing the script) and Arifin C Noer himself, the movie presents critical version of 1966 Supersemar.
The key feature of Noer's work is his distinctive approach to historical genre and Indonesian critical history, in addition to his mastery over visual/cinematic languages. His Pengkhianatan is not only ghost in Indonesian political history, but also the ghost for Indonesian cinema as a few cineaste can go beyond his ouvre. His Djakarta 66 goes further as his cinematic and technical quality will make contemporary films look lame.
Working with unlimited budget (but super tight supervision by Soeharto himself), Djakarta 66 is surprisingly a challenging text for New Order History. Portraying the crisis in the Soekarno administration and the conflict inside the 1966 student movement, the film shows Soeharto as a poor social climber whose speech reminds me of current Indonesian president. Soekarno, on the other hand is portrayed very strong and impressive, giving very convincing version of the 1966 'coup d'etat'. Thus, Djakarta 66 is important text, non only in the context of its narrative as a historical document, but how the 1966 is understood by Indonesian community, but most importantly, I think is how Arifin C Noer as a filmmaker inserted his personal vision of history and cinema in his 'film pesanan' (customised film, made by New Order's order and money).
If one reads it against the grain, Djakarta 1966 is a mocking text, showing Soeharto as you-know-who: a Javanese military with hidden agenda in his back. He worked very hard (too hard) to be in power --with his limited resources and intelligence. Young filmmakers should learn from him: historia magistra vitae, history is the teacher of life.
