Saputangan: A Glimpse into Indonesian Cinema of the 1940s
Saputangan, which translates to “Handkerchief” in Indonesian, is a notable romance film that emerged from the post-colonial landscape of Indonesia in 1949. Directed by Fred Young, this film not only showcases the budding Indonesian film industry but also presents a poignant story of love, loss, and hope. Featuring performances by Chatir Harro, Noorsini, and Astaman, Saputangan tells the tale of a young doctor who dedicates his life to restoring his fiancée’s sight after a tragic accident changes their lives forever.
The Plot: A Tale of Love and Sacrifice
The narrative begins with Hardjono, a medical student deeply in love with his fiancée, Karnasih. As a token of his affection, he gifts her his handkerchief, symbolizing their bond. The couple embarks on a holiday trip to Mega Mendung near Bogor after Hardjono passes his final exams. However, their joy is short-lived as an unfortunate car accident leaves Karnasih blinded. While Hardjono escapes with minor injuries, Karnasih’s world darkens as she struggles to cope with her new reality.
In the aftermath of the accident, Karnasih chooses to distance herself from Hardjono, fearing that her blindness may diminish his love for her. Despite her efforts to conceal her condition, their reunion reveals the truth when Hardjono attempts to give her the handkerchief that has fallen. Determined to help her regain her sight, Hardjono resolves to become an optometrist and seeks further training abroad.
As time passes, Karnasih dedicates herself to a noble cause—teaching underprivileged children at her own school named Taman Karnasih. Six years later, Hardjono returns after completing his studies abroad and is finally able to perform surgery on Karnasih. After six weeks filled with anticipation and hope, she regains her vision and reunites with her beloved once more.
The Production Journey
Saputangan was directed by Fred Young under the banner of his production company Bintang Soerabaja. This project marked Young’s second film venture after Sehidup Semati (One in Life, One in Death). Initially conceived as a stage play for Young’s theatrical troupe, the story was adapted into a screenplay by Tan Tjoei Hock. The production commenced in September 1949 and was expected to take approximately two months to complete.
One distinctive feature of Saputangan is its visual treatment. Although filmed in black-and-white, the handkerchiefs central to the story were hand-tinted—an artistic choice that aimed to emphasize their significance within the narrative. However, Indonesian film historian Misbach Yusa Biran noted that the hand tinting was executed poorly, resulting in jittery colors that detracted from the intended effect.
The film boasted a talented cast including Chatir Harro as Hardjono and Noorsini as Karnasih, alongside other notable actors such as Netty Herawaty and R.A. Sri Mulat. The soundtrack featured several songs integral to the film’s storytelling, including “Inilah Laguku” (“This is My Song”) and “Saputangan Tanda Kasih” (“Handkerchief, Sign of Love”). These musical elements contributed significantly to enhancing the emotional depth of the narrative.
Release and Reception: A Mixed Legacy
The release of Saputangan was accompanied by a novelization published by Gapura in 1949—an effort led by Andjar Asmara’s publishing house that aimed to preserve Indonesian cinematic stories in literary form. By February 1950, Saputangan had made its way into theaters in Jakarta. However, its journey was not without hurdles; it faced censorship challenges when it was banned in Singapore due to concerns over its content and perceived political undertones.
The ban was lifted in June 1950, allowing Saputangan to screen at the Alhambra Theatre where it gained popularity among audiences. The Sunday Courier’s reviewer praised it for being unlike any other Indonesian film at the time—remarking on its unique narrative devoid of violence and fighting scenes common in many films then.
The Fate of Saputangan: A Film Lost to Time
Despite its initial success and critical acclaim, the physical existence of Saputangan is now shrouded in mystery as it is believed to be lost. During the era when Saputangan was produced, films were shot on flammable nitrate stock which made them highly vulnerable to damage. A catastrophic fire in 1952 at Produksi Film Negara resulted in significant losses for Indonesian cinema as many films were destroyed or discarded subsequently.
American visual anthropologist Karl G. Heider has noted that all Indonesian films produced before 1950 have not survived. However, some sources indicate that certain titles were preserved in archives such as Sinematek Indonesia’s collection. Notably, Misbach Yusa Biran mentions that several Japanese propaganda films from that time have been saved at the Netherlands Government Information Service archives.
Conclusion: The Impact of Saputangan on Indonesian Cinema
Saputangan remains an important part of Indonesia’s cinematic history despite its current status as a lost film. The movie reflects not only personal themes of love and hardship but also highlights the cultural shifts occurring within Indonesia during its transition from colonial rule to independence. It serves as a reminder of the artistic expressions that emerged during this transformative period.
The narrative of Hardjono and Karnasih continues to resonate with audiences today—symbolizing resilience in the face of adversity and the enduring power of love. As we look back on Saputangan and its contributions to Indonesian cinema, we are reminded of both the fragility and richness of cultural heritage that can be encapsulated within a single film.
Artykuł sporządzony na podstawie: Wikipedia (EN).