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Arifin C. Noer

Arifin C. Noer

Writing

Biography

Arifin C. Noer (10 March 1941 – 28 May 1995) was an Indonesian poet, theater director, and film producer. He studied Civil Administration at Cokroaminoto University [id] in Yogyakarta, Central Java, and began his theatrical career in the early 1960s as an actor in a study group in Central Java with W.S. Rendra. After finishing his degree in 1967, he moved to Jakarta and founded Teater Kecil (Little Theater), a laboratory where he and other actors could experiment using the workshop model, emphasizing the whole person, as introduced by W.S. Rendra, but Noer was focused on the practical aspect of cultivating acting skills. According to the Columbia Encyclopedia of Modern Drama, he was a prolific playwright and director from the 1970s until his death in 1995, directing all of his original plays including his best-known work, Kapai-Kapai ("Reaching Out"; translated as "Moths" in English) in 1970. His screenplays have won numerous awards, including Pemberang, which won the Golden Harvest trophy for Best Dialogue at the Film Festival Asia (FFA) in 1972, Rio Anakku (1973), Melawan Badai (1974), Pengkhianatan G30S/PKI (1984), and Taksi (1990) which received Citra awards at the Indonesian Film Festival (FFI). Translations of his plays have appeared in several languages, including English, French, Swedish, and Chinese. In 1972–73, he participated in the Iowa Writers' Workshop, an international writing program in the United States. He received the S.E.A. Write Award in 1990. Two years later, his film Bibir Mer (Mer's Lips) was submitted for consideration as the Indonesian entry for the Academy Award for Best Foreign Language Film. His most notable poetry works include Selamat Pagi Jajang (1979) and a collection of poetry published after his death, Nyanyian Sepi (1995). (Courtesy Wikipedia)

Known For

Pelajaran Cinta
6.0

Students who come to Yogyakarta to study, also have their first taste of love and sex. Three friends, Benny, Lesmono, and Larso find this out for themselves. Benny, a ladies’ man, introduces his friends to prostitution. Lesmono is secretly in love with Indri, but she falls into the hands of Benny. Benny, who takes life very lightly, manages to smuggle Indri into his room in the lodging house. When he goes home to Jakarta, Indri is anxious because she misses her period. Lesmono helps her to find a shaman who can perform an abortion. But when she goes to see a doctor, she finds out that she is not pregnant after all. Lesmono hopes to get Indri back but his hopes vanish when Benny returns and Indri goes back to him. Attempting to represent the teenagers’ psychological state in relation to love and sex; the film only manages to be jokey and shallow.

Pelajaran Cinta

1979Movie
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Tempted by the presence of Kokom (Rima Melati) dangdut singer of a successful village in Jakarta, coaxing his uncle Sarkim (WD Mochtar) and the poverty that left three children died, Citizen (Henry Wanisar) decided to move to town with his wife and children are dumb, Iyom (Marisa Haque). In Jakarta they were under the influence Sarkim who became king of beggars. His home life is threatened. Iyom accused of fooling with another man, angry residents and leave his wife. Residents Seperginya, Iyom huts on fire. So the family was scattered. Residents Sarkim be assassin plunges, luxurious living and lives with his dream, Kokom. When he realized that all this caused Sarkim, Citizens kill Sarkim and go to jail. At the door he met with Iyom prison and his son. He asked for forgiveness.

Matahari-Matahari

Movie
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Dewi, who has many love problems with her boyfriends, falls into the arms of Dayan, her boss, who also has a problem after becoming a successful businessman. Being told by his doctor that he has only a few months left to live, he suddenly feels the emptiness at home. His wife, Anneke, has her own occupation. His two children are studying abroad, while the youngest rarely sleeps at home and eventually dies while playing Russian roulette. Dayan and Dewi find a mutual need to release the burden. The situation changes with the appearance of Ferico, an old school friend of Dewi, who continues to pursue her after his divorce. Both Dayan and Dewi finally return to their partners. Director Arifin chooses a “poetic” style of telling the story so that the storyline follows the internal conflicts of the characters. The poetry is also characterized by slick photography.

Let the Moon Be

1986Movie