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The Raid (Indonesian: Serbuan maut, lit.'The Deadly Raid') is a 2011^[6] Indonesian action film written, directed and edited by Gareth Evans. The film stars Iko Uwais, who previously worked with Evans in another action film, Merantau, released in 2009. In the film, an elite squad is tasked to infiltrate a high-rise building – run by a ruthless drug lord – located in the slums of Jakarta; among them is Rama (played by Uwais), a rookie member of the team.

After its world premiere at the Toronto International Film Festival (TIFF), The Raid received positive reviews from critics.^[7][8][9] The name of the film was changed to The Raid: Redemption in the United States as distributor Sony Pictures Classics could not secure the rights to the title; it also allowed Evans to plan out future titles in the series.^[10][11] The US release of the film features a film score composed by Mike Shinoda and Joseph Trapanese. It was released in the United States on DVD and Blu-ray Disc on 14 August 2012.^[12]

A sequel, The Raid 2, was released in 2014. Both films showcase the traditional Indonesian martial art Pencak Silat, with fight choreography led by Uwais and Yayan Ruhian. A second sequel was initially planned for release in 2018 or 2019,^[13] but never materialized.^[14]

• 3Production
• 4Release
• 5Reception
• 7Sequel and remake

Plot[edit]

Special tactics officer Rama prays, practices Silat, and bids goodbye to his father and wife who is pregnant with his child. He cryptically promises his father he'll 'bring him home.' Rama joins a heavily armed 20-man elite police squad, including officers Bowo, Dagu, Sergeant Jaka and Lieutenant Wahyu, for a raid on an apartment block in Jakarta's slums. The team intends to eliminate crime lord Tama Riyadi – who, with his two lieutenants Andi and Mad Dog, owns the block letting criminals and junkies around the city rent rooms under his protection. Arriving undetected, the team sweeps the first floors and subdues various criminal tenants; they also temporarily detain an innocent, law-abiding tenant delivering medicine to his sick wife in apartment #726. Continuing to the sixth floor, the team is spotted by a young lookout, who passes on the message to another lookout just before he's shot dead by Lt. Wahyu; the latter youth raises the alarm.

Tama calls reinforcements and the team is brutally attacked. Thugs snipe two officers guarding the perimeter, eliminate two more in the van, and ambush the officers patrolling the first five floors. Cutting the lights, Tama announces over the PA system that the police are trapped on the sixth-floor stairwell, and he will grant free permanent residence to those who kill the intruders. In the darkness, the remaining team members are ambushed by shooters from above, and almost completely wiped out. Prior to the gunfight, Lt. Wahyu confesses to Jaka he staged the mission so he can eliminate Tama – who's in league with corrupt police officials, including himself. The mission is not officially sanctioned by police command; nobody at HQ knows their location and there is no hope for reinforcements.

The only remaining officers Rama, Bowo, Jaka, Wahyu and Dagu retreat to an empty apartment as they are cornered by more armed thugs. To create an escape route, Rama uses an axe to cut a hole in the wooden floor so the team can descend to the lower level. Dropping to the room below, the team struggles to fend off Tama's horde of thugs and Officer Bowo is critically injured in the process. In a last-ditch effort to defend his team, Rama uses a stove propane tank to construct an improvised explosive device that successfully eliminates the invading henchmen, giving the officers a small window of time. Out of ammunition, and with more of Tama's reinforcements approaching, the team splits into two groups: Jaka, Dagu and Lt. Wahyu retreat to the fifth floor, while Rama and a critically injured Bowo ascend back above in search of the law-abiding tenant they encountered earlier.

Fighting through a handful of goons on their way to apartment #726, Rama pleads with the tenant for help; despite his sick wife's protest, Gofar reluctantly hides the officers in his apartment. Five machete-wielding thugs arrive and ransack the man's home. The leader, noticing a refurbished wall, begins stabbing it, narrowly missing Rama, but fail to find them. After tending to Bowo's wounds, Rama leaves him with the couple to search for Jaka's group. Crossing paths with the machete gang he runs to the eighth floor but is cornered. He defeats the group, including their leader, who he uses to smash through a window and cushion a three story plummet onto a fire escape below. Exhausted, he makes his way to the sixth floor before being grabbed by Andi, who had just murdered two of Tama's men in the elevator. Andi is revealed to be his estranged brother, who Rama signed up for the mission to search for at the urging of their father. Rama refuses to leave the building without his comrades, and Andi refuses to abandon his auspicious criminal life, 'Just because you see what I do as wrong doesn't mean I can't be good at it.' Rama parts to search for his surviving colleagues.

Mad Dog discovers Jaka and his group hiding on the fourth floor. As Lt. Wahyu runs off, Jaka instructs Dagu to 'protect him,' while Jaka is left at Mad Dog's gunpoint. Instead of shooting him, Mad Dog challenges Jaka to a hand-to-hand fight which he ultimately wins and proceeds to snap Jaka's neck, killing him. Mad Dog meets up with Andi to report back to Tama in the surveillance room. Tama, having learned of Andi's treachery, incapacitates Andi and hands him over to Mad Dog for torture and execution. Rama regroups with Dagu and Lt. Wahyu in apartment #403. They make their way up, fighting through a narcotics lab, as they head for Tama on the 15th floor. Along the way, Rama discovers the room where Mad Dog is torturing Andi, causing him to separate from Dagu and Wahyu. Mad Dog lets Rama free Andi, and fights both brothers. He initially has the upper hand, but the brothers prove to be a match when working together. Following an intense and grueling battle, Rama kills Mad Dog with Andi's help.

Meanwhile, Lt. Wahyu and Dagu confront Tama after killing off his remaining henchman. However, Lt. Wahyu ends up betraying Dagu by shooting him in the face before taking Tama hostage, intending to use him as a shield to escape. When the duo encounter Rama and Andi as they're going down stairs, Tama taunts Wahyu revealing that he had already been waiting for them before the raid began and Lt. Wahyu was set-up by his corrupt higher-ups; indicating that he will be killed regardless of escaping. In despair, Lt. Wahyu kills Tama and attempts suicide, only to find he has no ammunition left.

Andi uses his influence to allow Rama to leave with the injured Bowo and a detained Lt. Wahyu. Gofar, who protected Bowo, watches from a window grinning with relief. Andi also hands over emergency blackmail recordings Tama made of corrupt officials he dealt with, telling him to contact Officer Bunawar. Rama asks Andi to come home, but Andi refuses due to his acclimation to his criminal lifestyle. Andi asserts he can protect Rama in his role as a gang boss, but that Rama can't do the same for him. As he turns around and walks back to the apartment block, the trio exit to an uncertain future.

Cast[edit]

• Iko Uwais as Rama, one of the rookie members of the special forces unit tasked with raiding Tama's building. One of the few survivors of the raid. Uwais previously worked with Evans in Merantau. Having lived for four years in Indonesia and learned about the country's predominant religion, director Gareth Evans implicitly integrated the Muslim faith in Uwais' character without being too political or preachy about it.^[15]

• Joe Taslim as Jaka, the Sergeant who leads his unit into the raid. Having been a fan of Merantau, the former Judo champion Taslim contacted Evans through Facebook for their next project. As Evans was browsing through Taslim's profile, he came across a photo of him in a SWAT uniform and felt that it resonated with the character. Evans had him undergo choreography and drama auditions, with Taslim earning the role having aced them both.^[15]
• Ray Sahetapy [id] as Tama Riyadi, a ruthless drug lord who is the boss of the apartment building. Evans wanted a non-stereotypical take on the character, citing most gangster films wherein the boss is usually wearing a pristine suit and smoking cigars.^[15]
• Yayan Ruhian as Mad Dog, a skilled fighter who is the muscle behind Tama's operation. Ruhian previously worked with Evans in Merantau as an actor and fight choreographer. Evans cast Ruhian in the film as he wanted him to play a 'purely evil' character, opposite to that which he played in his debut film which had a 'redeemable value'.^[15]
• Donny Alamsyah as Andi, Tama's consigliere who is also Rama's estranged elder brother. Alamsyah also played Uwais' character's brother in Merantau. Since he regretted not being able to do action scenes in Merantau, Alamsyah approached Evans as they prepared for The Raid, earning the role having aced the audition.^[15]
• Iang Darmawan as Gofar, a tenant of the building who tends to his ill wife. Prior to the film, Gofar's acting credits had been in sketch comedies, and The Raid marks his transition to a serious role.^[15]
• Pierre Gruno as Wahyu, the Lieutenant who arranges the eponymous raid to take out Tama. One of the few survivors of the raid.
• Tegar Satrya as Bowo, the hothead member of the team who is wounded attempting to save the life of a team mate. One of the few survivors of the raid.
• Eka Rahmadia as Dagu, a skilled fighter and team member who protects Lt. Wahyu as they make their way towards Tama. A Taekwondo practitioner, Rahmadia is part of the Piranha Stunt Team who helped with the film's shooting.^[16]
• Alfridus Godfred as leader of the machete gang, who hunt the surviving officers when Jaka and Rama split into two groups.

Other cast members include Henky Solaiman and Fikha Effendi, who play Rama's father and wife, respectively. Verdi Solaiman, Ananda George and Yusuf Opilus appear as officers Budi, Ari and Alee, respectively.^[17]

Production[edit]

Development and pre-production[edit]

Director Gareth Evans came across the idea for the film when he moved to Indonesia to film a documentary about the country's martial art Pencak Silat, as suggested by his wife of Indonesian Japanese descent. It was in that country that he met Iko Uwais, a Silat practitioner who was then working as a delivery man for a phone company based in Jakarta. Evans then nudged his wife to cast Uwais for Merantau, and then in The Raid.^[15]

Following Merantau, Evans and his producers began work on a Silat film project called Berandal (Indonesian for Thugs), a large-scale prison gangster film intended to star not only Merantau actors Uwais and Yayan Ruhian but also an additional pair of international fight stars. A teaser trailer was shot, but the project proved more complex and time consuming than anticipated.^[18] After a year and a half, Evans and the producers found themselves with insufficient funds to produce Berandal, so they changed the film to a simpler but different story with a smaller budget. They called the project Serbuan Maut (The Raid).^[15] Producer Ario Sagantoro considers the film to be lighter than Merantau. Evans also considers it to be 'a lot more streamlined,' stating that 'Merantau is more of a drama' while The Raid is more of a 'survival horror film.'^[19] Evans wanted The Raid vastly different from Merantau in terms of pacing.^[16] With Merantau, some fans complained the action sequences took too long to appear since the first 45 minutes of the film laid emphasis on character development, backdrop (specifically, the Indonesian culture) and drama.^[15] Therefore, Evans designed The Raid to be a 'full-on' action film.^[16]

Pre-production took about four months, which include finalization of the script (which included translation of the original English-language script into Indonesian) and the work on choreography for the fighting sequences, which were designed by Iko Uwais and Yayan Ruhian.^[20] The actors that make up the key members of the police squad were sent to bootcamp military training with KOPASKA, where they learned how to use weapons, and how to perform strategic attack and defense techniques.^[16]

Filming[edit]

The crew wanted The Raid to be shot in a quasi-documentary style, that is, the camera is handheld and without the use of Steadicam. To aim such objective, they shot the film in high-definition using Panasonic AF100 camcorder – which had just recently come out of the market – and strayed from using film format while shooting most action and fight sequences. In addition, the camera was frequently attached to a Fig Rig to prevent most scenes from being too jarring, and give the camera operator opportunities to change angles and positions rapidly.^[16]

All guns used in the film were Airsoft replicas, to avoid the costs associated with having to deal with firearms. All the shots of the guns' actions cycling, muzzle flashes and cases ejecting were added digitally.^[16]

Editing[edit]

When filming concluded, about 120 minutes of footage was shot; Evans originally intended it to be eighty to eighty-five minutes long. The footage was eventually cut down to approximately 100 minutes. The final stages of post-production took place in Bangkok, Thailand for the color grading and audio mixing processes.^[16]

Soundtrack[edit]

While the film was still in production, in May 2011, Sony Pictures Worldwide Acquisitions acquired the distribution rights of the film for the US market and tasked Mike Shinoda of Linkin Park and Joseph Trapanese to create a new score.^[21][22] The film premiered at the 2011 Toronto International Film Festival with the original score from the Indonesian version which was composed by Aria Prayogi and Fajar Yuskemal, who also composed Evans's previous film Merantau.^[23][24]The Raid made its debut in the US with Trapanese and Shinoda's version at Sundance 2012.^[25]

On his blog, Shinoda stated that his score was over 50 minutes and almost all instrumental. After film production, he had room for two more songs, but did not want to sing or rap, so he posted pictures of two music artists.^[26]Deftones/††† frontman Chino Moreno guest performed 'RAZORS.OUT', which was leaked online on 16 March 2012,^[27] as rap group Get Busy Committee performed 'SUICIDE MUSIC' for the film.^[28]

Release[edit]

The film was marketed internationally through Celluloid Nightmares, a partnership between US-based XYZ Films and France's Celluloid Dreams.^[29]

Sony Pictures Worldwide Acquisitions acquired the film's distribution rights for the United States, Latin America and Spain,^[30][31] revised the film score, and changed the title to The Raid: Redemption for the US release. Distribution rights to other countries were sold to Kadokawa Pictures for Japan, Koch Media for Germany, Alliance Films for Canada, Momentum Pictures for the United Kingdom, Madman Entertainment for Australia, SND HGC for China, and Calinos Films for Turkey.^[32][33] Deals were also made with distributors from Russia, Scandinavia, Benelux, Iceland, Italy, South Korea and India, during the film screening at the TIFF.^[34]

Home media[edit]

On DVD and Blu-Ray, the film grossed $9.4 million in the United States.^[35]

Reception[edit]

Box office[edit]

In its Sony Pictures Classics debut in the United States on 23–25 March 2012, The Raid: Redemption grossed $220,937 from 24 theaters for a location average of $15,781.^[36] For its widest opening release weekend in the United States and Canada on 13–15 April 2012, the film grossed $961,454 from 881 theaters, and ranked 11th overall.^[5][37] In the United Kingdom, the film grossed $660,910 on its opening weekend.^[5] In Indonesia, approximately 250,000 people watched the film in the first four days of release, and it was considered a great turnout for a country that only has about 660 theater screens nationwide.^[38] As of 8 July 2012, the film has grossed $4,105,123 in North America. The film grossed approximately $9.1 million worldwide.^[5]

Critical response[edit]

Reviews were highly positive. Rotten Tomatoes gives the film a score of 86% based on reviews from 155 critics, with an average score of 7.5/10. The website's consensus was 'No frills and all thrills, The Raid: Redemption is an inventive action film expertly paced and edited for maximum entertainment.'^[40]

In contrast, Chicago Sun-Times' acclaimed Roger Ebert gave the film one star out of four; he criticized the lack of character depth, and noted 'the Welsh director, Gareth Evans, knows there's a fanboy audience for his formula, in which special effects amp up the mayhem in senseless carnage.'^[45] Ebert was himself criticized for his assessment, and later published a defense of his review.^[47]

Accolades[edit]

The film received numerous awards and nominations from both local and international institutions. At the 2012 Maya Awards, which is dubbed by local media as the Indonesian version of the Golden Globes, the film received 10 nominations.^[48]The Raid did not receive any nominations at the 2012 Citra Awards (the Indonesian equivalent to the Academy Awards); which was considered a snub.

Sequel and remake[edit]

Sequel[edit]

While developing The Raid in script form, Evans started to toy around with the idea of creating a link between it and his initial project, Berandal. It was later confirmed that Berandal would serve as a sequel to The Raid.^[57][58] Evans has also stated his intention to make a trilogy.^[59] Sony pre-bought the US, Latin American and Spanish rights to the sequel. Alliance/Momentum bought the rights to the United Kingdom and Canada; Koch Media acquired the film for German speaking territories; Korea Screen acquired the rights to Korea; and HGC acquired the rights to China. Deals for other major territories were also in negotiations.^[60] Subtitled Berandal for the Indonesian market and simply The Raid 2 for the US and English-speaking market, the sequel had a 'significantly larger' budget than its predecessor, and its filming included approximately 100 days of shooting.^[61] Pre-production began in September 2012 while filming began in January 2013.^[62][63]

Second sequel cancellation[edit]

A second sequel The Raid 3 had been announced shortly after the first sequel's release.^[13] However, in a 21 November 2016 interview with Impact Online, director Evans revealed the sequel was on hold with the franchise likely having ended, stating 'Moving back to UK felt like a closing chapter on that franchise – we ended the story pretty neatly (I feel) in Part 2. I’m aware there's an interest for it [..] So never say never, but it's unlikely to happen anytime soon.'^[14]

American remake[edit]

A few months after Sony acquired the film's North American distribution rights, it was announced by The Hollywood Reporter that its subsidiary company, Screen Gems, had begun negotiations to produce a Hollywood remake.^[64] The deal was completed in November 2011, with writer-director Gareth Evans to serve as an executive producer of the remake. XYZ Films, executive producers on the original Indonesian version, will be producers on the American version.^[65] Screen Gems also wants the same choreographers from The Raid involved with the remake.^[20] On 21 February 2014, the studio picked Patrick Hughes to direct the remake.^[66] Day later, reports stated that both Chris and Liam Hemsworth were being eyed for roles by the studio.^[67] On 27 May 2014, Variety reported that the film's production was delayed until early 2015.^[68] On 13 June 2014, Frank Grillo was the first to be announced to star in the remake, and is a fan of the original.^[69][70] On 16 June 2014, Geek Tyrant revealed that the remake will be set in the near future.^[71] On 4 August 2014, TheWrap reported that Taylor Kitsch has been cast in the lead role, and also that XYZ Films is returning to produce the remake, which is expected to hew closely to the original film.^[72] On 22 August 2014, Hughes revealed that describes his version as being in the vein of Black Hawk Down and Zero Dark Thirty with 12 integral roles.^[73] According to Tracking Board, on 23 October 2015, both Screen Gems and Kitsch had dropped out of the project and Hughes also dropped out as director.^[74] In February 2017, XYZ Films revealed that Joe Carnahan will produce and direct the remake with Evans as a producer.^[75]

Comics and animation[edit]

A graphic novel based on The Raid was released on 21 May 2012 in Indonesia.^[76]

A stop-motion short depicting the plot of The Raid as clay-animated cats, made by Lee Hardcastle released on 11 May 2012, was included in the special features disc.^[77] A flash animated teaser trailer spoof depicting The Raid as a '90s anime, made by Philip Askins released on 19 May 2012, was also included in the special features.^[78]

On 22 June 2016, The Hollywood Reporter announced Titan Comics had teamed up with Gareth Evans and XYZ Films for a comic book spin-off series featuring 'original stories featuring characters from The Raid movie series' with a launch date expected for late 2016.^[79]

See also[edit]

• BuyBust, a 2018 Philippine film with a similar premise

References[edit]

1. ^'The Raid'. British Board of Film Classification. 25 April 2012. Retrieved 25 April 2012.
2. ^Wrenn, Eddie (24 February 2012). 'From the valleys of Wales to the hills of Hollywood: Fledgling director Gareth Evans' meteoric rise to fame as critics praise The Raid'. Daily Mail. Retrieved 23 February 2012.
3. ^Nordling (23 March 2012). 'Nordling Talks To Gareth Evans, Mike Shinoda, And Joe Trapanese About The Kickassocity of The Raid: Redemption!'. Ain't It Cool News. Retrieved 24 March 2012.
4. ^The Raid video Q&A @ Sundance 2012(YouTube).
5. ^ ^abcd'The Raid: Redemption (2012) – Box Office Mojo'. Box Office Mojo. Amazon.com. Retrieved 31 March 2016.
6. ^TIFF Communications Department (3 August 2011). 'When The Clock Strikes Twelve Midnight Madness Delivers Wild Cinematic Thrills'. Toronto International Film Festival. Archived from the original on 19 January 2012. Retrieved 31 July 2012. The Raid Josh Lee, Indonesia World Premiere [..] The 36th Toronto International Film Festival runs September 8 to 18, 2011.
7. ^Kit, Borys (9 September 2011). 'Toronto 2011: 'The Raid' Starts Midnight Madness on a Butt-Kicking Note'. The Hollywood Reporter. Retrieved 12 September 2011. If you love action movies, you cannot miss this movie.
8. ^Sciretta, Peter (9 September 2011). 'Watch: Red Band Trailer for 'The Raid' – The Best Kick-Ass Action Movie I've Seen in Years [TIFF 2011]'. /Film. Retrieved 12 September 2011.
9. ^Rocchi, James (9 September 2011). 'TIFF 2011 Review: 'The Raid', Quite possibly the action film of the year'. MSN Entertainment. Archived from the original on 14 October 2011. Retrieved 14 September 2011.
10. ^Evans, Gareth (24 February 2012). 'The Raid: The Raid Trailer and that title'. Theraid-movie.blogspot.com. Retrieved 26 March 2012.
11. ^de Bruyn, Simon (26 February 2012). 'The Raid: Redemption Director explains title change'. TwitchFilm.com. Archived from the original on 15 August 2012. Truthfully, none of us, the guys at SPC included, wanted to change the title from the original. But once we knew we were going to expand the film into a sequel – possibly a trilogy it opened our eyes up to maybe the need for an all encompassing title that could work for all three films.
12. ^Shaffer, R. L. (11 June 2012). 'The Raid: Redemption Kicks Ass on BD, DVD'. IGN.com.
13. ^ ^abWalker, Danny (2 April 2014). 'The Raid 3'. Bloody Disgusting. Retrieved 29 January 2016.
14. ^ ^ab'Gareth Evans sings the praises of 'Apostle''. Impact Online. 21 November 2016. Retrieved 5 January 2017.
15. ^ ^abcdefghiThe Raid: Redemption Blu-ray Edition [Serbuan maut] (Audio commentary). Gareth Evans. Sony Pictures Home Entertainment. 2012.CS1 maint: others (link)
16. ^ ^abcdefgEvans, Gareth; Sagantoro, Ario (14 August 2012). Behind the Scenes Video Blogs (Special feature). Sony Pictures Home Entertainment.
17. ^Ari (Ananda George) fires the shotgun in the dark which gives their position away.
    Budi (Verdi Soleiman) notices the noises above but fails to halt Ari in time.
    Alee (Yusuf Opilus) picks the lock to penetrate the building and carries the axe.
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19. ^'The Raid – Q+A with Director & Star'. The Digital Fix. 18 May 2012. Retrieved 10 August 2012.
20. ^ ^abWeintraub, Steve (31 January 2012). 'Gareth Evans Talks The Raid, The Raid Sequel (Berandal), and The Raid Trilogy'. Collider.com. Retrieved 26 March 2012.
21. ^Harris, Dana (9 September 2011). 'Linkin Park's Mike Shinoda Will Create a New Soundtrack for 'The Raid' Filmmakers, Film Industry, Film Festivals, Awards & Movie Reviews'. Indiewire. Retrieved 26 March 2012.
22. ^Steve 'Frosty' Weintraub (2 February 2012). 'Mike Shinoda and Joe Trapanese Talk THE RAID at Sundance 2012'. Collider.com. Retrieved 26 March 2012.
23. ^'Twitter: PT Merantau Films @THERAIDMOVIE'(Twitter). PT Merantau Films (in Indonesian). 17 March 2012.
24. ^'The Raid: Fight Scenes and Promo'. TheRaid-movie.blogspot.com. 10 February 2012. Gareth Evans: The original composers are FAJAR YUSKEMAL and ARIA PRAYOGI, I've worked with them since Merantau. They are incredibly gifted and talented musicians who happen to have also been responsible for the sound design / mix alongside Bonar Abraham, Jack Arthur Sianjuntak and Sandika Widjaja. They did a fantastic job, this is a whole new level of sound design for an Indonesian film. They put in tireless hours and worked their bollocks off to get it done.
25. ^'The Raid US Debut: Sundance Film Festival « Mike Shinoda's Blog'. Mikeshinoda.com. Archived from the original on 24 March 2012. Retrieved 26 March 2012.
26. ^'Raid Score vs. Soundtrack « Mike Shinoda's Blog'. Mikeshinoda.com. Retrieved 26 March 2012. But at the end of the film, I found room for two songs with vocals. I didn’t want to do sing or rap. I decided to call on some friends.
27. ^'Deftones Frontman Chino Moreno Guests On Mike Shinoda's 'Razors Out', Audio Available Theprp.com – Metal, Hardcore And Rock News, Reviews And More'. Theprp.com. 16 March 2012. Retrieved 26 March 2012.
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37. ^Pandya, Gitesh. 'Weekend Box Office (April 13–15, 2012)'. Boxofficeguru.com.
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64. ^Park, Joann (26 September 2011). 'Hollywood remake of The Raid in the works'. Asia Pacific Arts.
65. ^Brown, Todd (9 November 2011). 'Screen Gems Takes Remake Rights to Gareth Evans' THE RAID'. Twitchfilm.com. Archived from the original on 26 March 2012. Retrieved 26 March 2012.
66. ^Kroll, Justin (21 February 2014). ''Expendables 3' Director Boards 'The Raid' Remake'. Variety.
67. ^Jagernauth, Kevin (22 February 2014). 'Hemsworth Brothers Sought For 'The Raid' Remake as 'The Expendables 3' Helmer Signs Up to Direct'. India Wire.
68. ^Kroll, Justin (27 May 2014). 'Screen Gems Delays Production on 'Raid' Remake (EXCLUSIVE)'. Variety. Retrieved 27 May 2014.
69. ^Donato, Matt (12 June 2014). 'EXCLUSIVE: Frank Grillo Officially Cast in The Raid: Redemption Remake'. We Got This Covered. Retrieved 12 June 2014.
70. ^Nemiroff, Perri (13 June 2014). 'Frank Grillo Talks KINGDOM, His Involvement in THE RAID Remake, the Potential for More Rumlow / Crossbones in CAPTAIN AMERICA 3, and More'. Collider. Retrieved 13 June 2014.
71. ^Paur, John (16 June 2014). 'Frank Grillo Cast in The Raid remake'. Geek Tyrant. Retrieved 16 June 2014.
72. ^Sneider, Jeff (4 August 2014). 'Taylor Kitsch Offered Lead in 'The Raid' Remake (Exclusive)'. TheWrap. Retrieved 4 August 2014.
73. ^Patches, Matt (15 August 2014). 'Legendary Status Not Required: How Sylvester Stallone Plucked 'Expendables 3' Director Patrick Hughes Out of Obscurity'. Grantland.
74. ^'Patrick Hughes Exits 'The Raid' Remake, Along With Screen Gems (Exclusive)'. Tracking-Board.com. 23 October 2015.
75. ^Chitwood, Adam (15 February 2017). 'Joe Carnahan and Frank Grillo Are Tackling 'The Raid' Remake'. Collider.
76. ^'Komik Film 'The Raid' Digarap Alumni Itenas' (in Indonesian). Pikiran Rakyat. 21 May 2012.
77. ^'Claycat's The Raid'. Youtube.com. Lee Hardcastle. 11 May 2012.
78. ^'THE RAID Anime TV spot (c. 1994)'. Youtube.com. Philip Askins. 19 May 2012.
79. ^''The Raid' Creator Gareth Evans Developing Comic Book Spinoff'. The Hollywood Reporter. 22 June 2016.

External links[edit]

• The Raid: Redemption on IMDb
• The Raid: Redemption at AllMovie

Cinema of Indonesia has a long history. Though film industry is currently the fastest-growing sub-sector of creative economy of Indonesia, it had went through a long and struggling period. The number of moviegoers in the country were more than 42 million in 2017. As of 2018, there are about 1700 screens in Indonesia, which is expected to reach 3000 by 2020. 21 Cineplex, CGV Cinemas and Cinemaxx currently dominate the movie theater industry in Indonesia.^[1]

• 1History

History[edit]

Colonial era[edit]

The first showing of films in the Dutch East Indies was in 1900,^[5] and over the next twenty years foreign productions – generally from the United States – were imported and shown throughout the country.^[6] Domestic production of documentaries had begun in 1911^[7] but were unable to compete with imported works.^[6] By 1923 a local feature film production spearheaded by the Middle East Film Co. was announced, but the work was not completed.^[8]

The first domestically produced film in the Indies was in 1926: Loetoeng Kasaroeng, a silent film by Dutch director L. Heuveldorp. This adaptation of the Sundanese legend was made with local actors by the NV Java Film Company in Bandung and premiered on 31 December 1926 at the Elite and Majestic Theatres in Bandung.^[9] The following year, G. Krugers – who had served as a technician and cinematographer for Loetoeng Kasaroeng^[10] – released his directorial debut (the second film in the Indies), Eulis Atjih. Owing to Loetoeng Kasaroeng's limited release, Kruger was able to advertise his film as the colony's first.^[11] A year later, the second novel to be adapted to film in Indonesia, Setangan Berloemoer Darah, was produced by Tan Boen Soan.^[12]

Ethnic Chinese directors and producers, capitalising on the success of films produced in Shanghai, China, became involved in the colony's cinema beginning in 1928, when Nelson Wong completed Lily van Java.^[13][14] Although the Wongs went on hiatus, other ethnic Chinese became involved in film. Several Chinese owned start-ups are recorded from 1929 on, including Nancing Film with Resia Boroboedoer (1928) and Tan's Film with Njai Dasima (1929).^[15] By the early 1930s Chinese-owned businesses were the dominating force in the country's film industry.^[16]

After the Great Depression reached the Indies, production slowed tremendously: the Dutch East Indies government collected higher taxes and cinemas sold tickets at lower prices, ensuring that there was a very low profit margin for local films. As a result, cinemas in the colony mainly showed Hollywood productions, while the domestic industry decayed.^[17]The Teng Chun, who had made his debut in 1931 with Boenga Roos dari Tjikembang, was the only producer able to release films during 1934 and early 1935: his low budget but popular films were mainly inspired by Chinese mythology or martial arts, and although aimed at ethnic Chinese proved popular among native audiences because of their action sequences.^[18]

In an attempt to show that locally produced, well-made films could be profitable, the Dutch journalist Albert Balink, who had no formal film experience,^[19] produced Pareh in 1935 in collaboration with Nelson Wong and his brothers. Though the film, costing 20 times as much as most contemporary productions, was an ultimately failure, it affected The Teng Chun's directorial style; the latter took less traditional stories.^[20] Balink's next attempt, Terang Boelan, was released two years later. Unlike Pareh, Terang Boelan was a marked commercial success, earning 200,000 Straits dollars (then equivalent to US$ 114,470^[21]) in two months.^[22] These two films are, according to American visual anthropologist Karl G. Heider, Indonesia's most important films of the 1930s.^[23]

The triple successes of Terang Boelan, Fatima (1938), and Alang-Alang (1939) revived the domestic film industry.^[24] Four new production houses were established in 1940,^[25] and actors and actresses previously attached to theatrical troupes entered the film industry, which was reaching new audiences.^[26] The new works, fourteen in 1940 and thirty in 1941,^[27] generally followed the formula established by Terang Boelan: songs, beautiful scenery and romance.^[28] Others, such as Asmara Moerni, attempted to reach the growing native intelligentsia by drawing journalists or figures from the growing nationalist movement into cinema.^[29]

Japanese occupation[edit]

After its genesis during the Dutch colonial era, the Indonesian film industry was coopted by the Japanese occupiers during the Second World War as a propaganda tool. The first thing the Japanese did was to halt all film production in Indonesia. Then the Office of Cultural Enlightenment (啓民文化指導所) headed by Ishimoto Tokichi appropriated facilities from all filmmaking organisations consolidating them into a single studio which became the Jakarta branch of The Japan Film Corporation (日本映画社) or Nichi'ei.^[30] The majority of films made in Indonesia under the Japanese were educational films and newsreels produced for audiences in Japan. The Jakarta branch was strategically placed at the extreme southern end of Japan's empire and soon became a centre of newsreel production in that region. Popular news serials such as News from the South and Berita Film di Djawa were produced here. Japanese newsreels promoted such topics as conscripted 'romusha' labourers (ロムシャの生活, 1944), voluntary enlistment into the imperial Japanese Army (南の願望, 1944), and Japanese language acquisition by Indonesian children (ニッポン語競技会, 1944).^[31]

The great victory in Japan's occupation of the Indonesian film industry did not lie in financial gain. Local Japanese-sponsored film production (other than newsreels) remained essentially negligible and the domestic exhibition market was too underdeveloped to be financially viable. However, Nichi'ei's occupation of the Indonesian film industry was a strategic victory over the West, demonstrating that a non-Western Asian nation could displace Hollywood and the Dutch. Indonesia was one of the last areas in the empire to surrender and many who worked at Nichi'ei stayed on after defeat to work for Indonesian independence from the Dutch.^[31]

Korean director Hae Yeong (aka Hinatsu Eitaro) was one such person who migrated to Java from Korea in 1945 where he made the controversial 'documentary' Calling Australia (豪州の呼び声, 1944). After the war, Hae changed his name to Dr. Huyung, married an Indonesian woman with whom he had two sons, and directed three films before his death in 1952, Between Sky and Earth (1951), Gladis Olah Raga (1951), and Bunga Rumar Makan (1952). Calling Australia was commissioned by the Imperial Japanese Army and depicted Japanese prisoner of war camps as if they were country clubs showing prisoners feasting on steak and beer, swimming, and playing sports. After the war, the film caused such a stir that The Netherlands Indies Film Unit rushed into production Nippon Presents which used some of the P.O.W.s from Calling Australia to expose that film as Japanese lies. In 1987, Australian filmmaker Graham Shirley assembled the remaining survivors to make yet another documentary about how both regimes had conspired to exploit the prisoners each for their own purposes.^[31]

After independence[edit]

After independence, the Sukarno government used it for nationalistic, anti-Imperialism purposes. Foreign film imports were banned. After the overthrow of Sukarno by Suharto's New Order regime, films were regulated through a censorship code that aimed to maintain the social order and regime grip on society.^[32]Usmar Ismail, a director from West Sumatra made a major imprint in Indonesian film in the 1950s and 1960s.^[33]

1980s[edit]

The industry reached its peak in the 1980s, with successful films such as Naga Bonar (1987) and Catatan si Boy (1989). Warkop's comedy films, directed by Arizal also proved to be successful. The industry has also found appeal among teens with such fare as Pintar-pintar Bodoh (1982), and Maju Kena Mundur Kena (1984). Actors during this era included Deddy Mizwar, Eva Arnaz, Lidya Kandou, Onky Alexander, Meriam Bellina, Rano Karno, and Paramitha Rusady.^[34] The film Tjoet Nja' Dhien (1988) winning 9 Citra Awards at the 1988 Indonesian Film Festival.^[35] It was also the first Indonesian movie chosen for screening at the Cannes Film Festival,^[35] where it was awarded Best International Film in 1989.^[36]

1990s[edit]

However, by the 1990s imports of foreign films resumed, and the artistic quality of Indonesian films was reduced due to competition, especially from the US and Hong Kong. The number of movies produced decreased significantly, from 115 movies in 1990 to just 37 in 1993.^[37] Rampant counterfeiting and television also contributed to the degradation of Indonesian cinema. In decade, Indonesian cinema was dominated by serial electronic cinema (sinetron). Multivision Plus under Raam Punjabi, controlled one of many cinema companies who produced sinetron. The majority of films produced were exploitive, adult-themed B-movies shown in budget cinemas and outdoor screenings or direct-to-video or television.^[34] In 1996, 33 films were made in Indonesia, with majority of the films produced were filled with adult-themed content, and later on decreased significantly. Only seven domestic films were made in 1999.

2000s[edit]

Under the Reformasi movement of the post-Suharto era, independent filmmaking was a rebirth of the filming industry in Indonesia, where films started addressing topics which were previously banned such as religion, race, love and other topics.^[32]

In 2002, the domestic films made increased from only 6 in 2001, to 10 films, and as the years passed on, the domestic films made increased significantly.

Recent notable films include Ada Apa dengan Cinta? directed by Rudi Soedjarwo in 2002, Eliana Eliana, directed by Riri Riza, and Arisan! starring Tora Sudiro, which was released in 2005, Beauty and Warrior, Indonesia's first animatedfeature film was released. That same year Gie (dir.Riri Riza), based on a biopic of Indonesian activist Soe Hok Gie, was also released.

The release of Ayat-Ayat Cinta, directed by Hanung Bramantyo, attracted one segment of audience like never before in the Indonesian filming. The melodramatic story did not give new approaches to cinematic storytelling but the crossover between Islam and modern-romance story has succeeded in luring Muslims around the country into cinemas.^[38]

In 2009, Infinite Frameworks released their first full-length animation movie, Sing to the Dawn ('Meraih Mimpi' in Indonesian). The movie itself is almost Indonesian-made since some of top members are foreigners. However, all artists and dubbers are Indonesian and most of the dubbers are top celebrities like Gita Gutawa, Surya Saputra, Jajang C. Noer, etc.

2010s[edit]

Between 2010 until 2011, due to the substantial increase in value added tax applied to foreign films, cinemas no longer have access to many foreign films, including Oscar-winning films. Foreign films include major box offices from the west, and other major film producers of the world. This has caused a massive ripple effect on the country's economy. It is assumed that this increases purchase of unlicensed DVDs. However, even copyright violating DVDs now take longer to obtain. The minimum cost to view a foreign film not screened locally, is 1 million Rupiah. This is equivalent to US$100, as it includes a plane ticket to Singapore.^[39]

The Indonesian film market is in the C, D, E classes, and due to this, foreign porn stars such as Sasha Grey, Vicky Vette, Maria Ozawa, Sora Aoi, and Rin Sakuragi have been invited to play a part in movies. Most locally made movies are low-budget horror films.^[40]

But locally made film quality has gone up since 2011, this was attested by the international release of films such as The Raid (2011)^[41] and its 2014 sequel,^[42]Modus Anomali (2012), Dilema (2012), Lovely Man (2012), Java Heat (2013) and Pengabdi Setan (2017).^[43]

Film festivals[edit]

The major film festival of Indonesia is the Jakarta International Film Festival (JiFFest) held every year in December since 1998. The eighth festival began on 8 December 2006 with Babel, a film starring Brad Pitt and Cate Blanchett. The 9th JiFFest was held on 7–16 December 2007.

Jakarta also hosted film festivals such as the 52nd Asia-Pacific Film Festival (APFF) on 18–22 November 2008.

Another event is the Indonesian Film Festival (Festival Film Indonesia/FFI), which has been held intermittently since 1955. From 1973 to 1992, the festival was held annually and then discontinued until it was later revived in 2004. It hosts a competition, which hands out the Citra Award.

Movie theatres[edit]

As of 2018, there are about 1700 screens in Indonesia, which is expected to reach 3000 by 2020. Cineplex 21, CGV Cinemas and Cinemaxx currently dominate the movie theater industry in Indonesia with 1,003, 275 and 203 screens, respectively.^[44]

The largest cinema chain in Indonesia is 21 Cineplex, which has cinemas spread throughout thirty cities on the islands of Sumatra, Java, Kalimantan, Bali, Sulawesi, Moluccas, and Papua. It has 3 separate brands, namely Cinema 21, Cinema XXI and The Premiere to target different markets. Since 2012, Cinema 21 outlets are gradually being renovated to become Cinema XXI.

Another cinema chain is Blitzmegaplex, which opened its first location in 2006. In 2017, the brand name was changed to CGV.^[45] As of January 2019 it has already opened 57 theaters with 249 screens in 21 cities across Indonesia.^[46] Its Megaplex at Grand Indonesia in Jakarta, is dubbed Indonesia's largest cineplex by the MURI (Indonesian Record Museum).

Facts about taj mahal. The Taj Mahal, built in Agra, India, has many stories revolving around it. Let us look at some of the interesting facts about Taj Mahal. Shah Jahan and Mumtaz Mahal. Mughal Emperor Shah Jahan had the Taj Mahal built in memory of his third wife, Mumtaz Mahal, whom he held precious. Mumtaz Mahal was giving birth to the fourteenth child of the.

Cinemaxx, launched by Lippo Group, opened its first cinema at The Plaza Semanggi on 17 August 2014. Cinemaxx currently operates 45 cinemas with more than 200 screens in Indonesia. It expects to open 300 cinemas with 2,000 screens spread across 85 cities in the next ten years.^[47]

In May 2017, Agung Sedayu Group opened FLIX Cinema, with its first outlet at PIK Avenue, North Jakarta. Three months later, it opened its second outlet at Grand Galaxy Park, Bekasi. It plans to open outlets at District 8 Shopping Centre, South Jakarta and Mall of Indonesia, North Jakarta (replacing CGV).

Many smaller independent cinemas also exist, such as Platinum, New Star, BES Cinema, Surya Yudha Cinema, and Dakota Cinema.

Bibliography[edit]

• A to Z about Indonesian Film, Ekky Imanjaya (Bandung: Mizan, 2006).
• Katalog Film Indonesia 1926-2005, JB Kristanto (Jakarta: Nalar, 2006). ISBN978-979-99395-3-1

See also[edit]

References[edit]

1. ^ ^ab'Number of Cinema Screens in Indonesia Expected to Double Over Next 3 Years'. Jakarta Globe. Retrieved 15 November 2018.
2. ^'Average national film production'. UNESCO Institute for Statistics. Retrieved 5 November 2013.
3. ^'Table 11: Exhibition - Admissions & Gross Box Office (GBO)'. UNESCO Institute for Statistics. Retrieved 5 November 2013.
4. ^'Indonesia the next biggest box office market'. Film Journal. Retrieved 11 December 2017.
5. ^Biran 2009, p. 2.
6. ^ ^abBiran 2009, pp. 33–35.
7. ^Biran 2009, p. 53.
8. ^Biran 2009, p. 57.
9. ^Robertson, Patrick (September 1993). The Guinness Book of Movie Facts & Feats. Abbeville Press. ISBN978-1-55859-697-9.
10. ^Biran 2009, pp. 60–61.
11. ^Biran 2009, p. 73.
12. ^Woodrich 2014, p. 27.
13. ^Biran 2009, p. 77.
14. ^JCG, Lily van Java.
15. ^Biran 2009, p. 379.
16. ^Biran 2009, pp. 380–381.
17. ^Biran 2009, p. 145.
18. ^Biran 2009, pp. 147–150.
19. ^Jakarta City Government, Albert Balink.
20. ^Biran 2009, pp. 160–162.
21. ^New York Times 1938, Foreign Exchange.
22. ^Biran 2009.
23. ^Heider, Karl G. (1991). Indonesian Cinema: National Culture on Screen. U of Hawaii P. p. 15. ISBN9780824813673. Retrieved 23 July 2012.
24. ^Biran 2009, p. 182.
25. ^Biran 2009, p. 205.
26. ^Said 1982, p. 27.
27. ^Biran 2009, p. 380–383.
28. ^Biran 2009, p. 25; Said 1982, p. 25.
29. ^Biran 2009, p. 260.
30. ^Baskett, Michael (2008). The Attractive Empire: Transnational Film Culture in Imperial Japan. Honolulu: University of Hawai'i Press. ISBN978-0-8248-3223-0.
31. ^ ^abcBaskett, The Attractive Empire.
32. ^ ^abSen, Krishna (2006). Giecko, Anne Tereska (ed.). Contemporary Asian Cinema, Indonesia: Screening a Nation in the Post-New Order. Oxford/New York: Berg. pp. 96–107. ISBN978-1-84520-237-8.
33. ^Nowell-Smith, Geoffrey (1996). The Oxford History of World Cinema. Oxford/New York: Oxford University Press. p. 690. ISBN978-0-19-811257-0.
34. ^ ^abKristianto, JB (2 July 2005). 'Sepuluh Tahun Terakhir Perfilman Indonesia' (in Indonesian). Kompas. Archived from the original on 13 January 2008. Retrieved 31 October 2016.
35. ^ ^abMonash 2007-08-03, Tjoet Nja' Dhien.
36. ^Siapno 2006, p. 25.
37. ^Kondisi Perfilman di Indonesia
38. ^Sasono, Eric (4 April 2008). 'Pertemuan Baru Islam dan Cinta'. Kompas. Archived from the original on 19 July 2013.
39. ^'New Import Policy Will Kill Indonesian Film Industry: Noorca'. Jakarta Globe. 21 February 2011. Archived from the original on 23 September 2012. Retrieved 31 October 2016.
40. ^Belford, Aubrey (28 March 2011). 'Porn Stars, Clad? They Seem to Appeal to Indonesian Filmgoers'. The New York Times. Retrieved 31 October 2016.
41. ^Bradshaw, Peter (17 May 2012). 'The Raid - review'. The Guardian. Archived from the original on 27 December 2016. Retrieved 27 December 2016.
42. ^Rizky Sekar Afrisia (24 January 2014). ''The Raid 2: Berandal' Mengguncang Festival Film Internasional' (in Indonesian). Viva. Archived from the original on 7 April 2018. Retrieved 6 April 2018.
43. ^Yosephina, Liza (3 April 2018). ''Pengabdi Setan' opens at No. 1 in Hong Kong'. The Jakarta Post. Archived from the original on 6 April 2018. Retrieved 5 April 2018.
44. ^'Number of Cinema Screens in Indonesia Expected to Double Over Next 3 Years'. Jakarta Globe. Retrieved 15 November 2018.
45. ^'CGV Blitz Rebrands, Changes Name to CGV Cinemas'. The Jakarta Globe. Retrieved 9 June 2017.
46. ^'Kontrak Habis, CGV MoI Ditutup'. Kompas. Retrieved 15 January 2019.
47. ^'Cinemaxx Hadir di Mall Living World Pekanbaru'. Berita Satu. Retrieved 28 September 2018.

Works cited[edit]

• 'Albert Balink'. Encyclopedia of Jakarta (in Indonesian). Jakarta City Government. Archived from the original on 24 July 2012. Retrieved 24 July 2012.
• Biran, Misbach Yusa (2009). Sejarah Film 1900–1950: Bikin Film di Jawa [History of Film 1900–1950: Making Films in Java] (in Indonesian). Jakarta: Komunitas Bamboo working with the Jakarta Art Council. ISBN978-979-3731-58-2.
• 'Foreign Exchange'. The New York Times. New York. 8 June 1938. Retrieved 24 November 2012.(subscription required)
• 'Lily van Java'. Encyclopedia of Jakarta (in Indonesian). Jakarta: Jakarta City Government. Archived from the original on 21 August 2012. Retrieved 21 August 2012.
• Said, Salim (1982). Profil Dunia Film Indonesia [Profile of Indonesian Cinema] (in Indonesian). Jakarta: Grafiti Pers. OCLC9507803.
• Woodrich, Chris (2014). Ekranisasi Awal: Adapting Films to the Silver Screen in the Dutch East Indies (Master of Arts thesis). Gadjah Mada University.

External links[edit]

• Indonesian films at the Internet Movie Database
• 21 Cineplex – Indonesian movie-theater chain
• Blitz Megaplex - Indonesian multiplex chain
• Cinemaxx - Indonesian movie-theater chain
• EngageMedia - social change film online from Indonesia and the Asia-Pacific
• Rumah Film - Resource of Indonesian Film, in Indonesian Language
• filmindonesia.or.id - Online version of JB Kristanto's film catalogue and article archive on Indonesian Films, in Indonesian Language