Side note before you start reading the review: this review is my personal opinion about the movie, so it's probably just me who feel this way. Other people might like this movie more than I do, which means we simply have different taste. So what I'm saying is... let's be cool, okay? Try not to kill me if you disagree. Oh and also: this is not a review about Rectoverso The Book.
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| Picture taken from here |
Truth to be told, I haven't read Rectoverso The Book. But if Supernova The Series is any indication, I trust Dewi 'Dee" Lestari talent in storytelling. I was enchanted by her profound insight and rare sensiblity in Supernova The Series, so when my friend dragged me to watch Rectoverso The Movie last week, I kinda had a high expectation. I mean, you already have a good story (or five, in this case) in your hand, right? How could you possibly ruin that?
Well, apparently in many ways (I should have learned my lesson from Harry Potter).
For me personally, Rectoverso The Movie is a snooze-fest. Or in a more simpler term, it's boring. (Am I going to be shot because of this? *looking around warily*)
Generally, I think Rectoverso has good premises, interesting and intriguing characters that could not be found in other movies but unfortunately, I feel that the execution was totally flat from start to end (okay to be fair, it did pick up a little by the end. I'll talk more about this later). Moreover, the story felt all over the place and the details were not carefully thought-out so I did not feel any sort of emotional connection with the characters. Which is such a bummer because I could totally see the potentials there. But I'll give this to Rectoverso: the editing does not feel choppy. The transition between segments is smooth and it does not confuse me as an audience who haven't read the original book source yet - though, I wished that the directors/screen writers of Rectoverso (different segments are directed by different directors) would take some kind of initiative to interlink all segments at some point (which is totally doable. You know, you can make Panca as one of anak-kost in Bunda's boarding house and Reggie's photocopy centre can be located nearby Bunda's boarding house. Anything. It would be like playing 'Where's Waldo' kind of thing). That way, the decision to blend five different segments into one timeline would make more sense and for me personally, it would be more interesting and organic. It would also give a different touch to this movie that differentiates it from the book. But that's only my personal preference. If Rectoverso decided to show me five different movies altogether, I can live with that.
But my review about Rectoverso is not just about the editing. Let's talk about each segments in more details.
Well, apparently in many ways (I should have learned my lesson from Harry Potter).
For me personally, Rectoverso The Movie is a snooze-fest. Or in a more simpler term, it's boring. (Am I going to be shot because of this? *looking around warily*)
Generally, I think Rectoverso has good premises, interesting and intriguing characters that could not be found in other movies but unfortunately, I feel that the execution was totally flat from start to end (okay to be fair, it did pick up a little by the end. I'll talk more about this later). Moreover, the story felt all over the place and the details were not carefully thought-out so I did not feel any sort of emotional connection with the characters. Which is such a bummer because I could totally see the potentials there. But I'll give this to Rectoverso: the editing does not feel choppy. The transition between segments is smooth and it does not confuse me as an audience who haven't read the original book source yet - though, I wished that the directors/screen writers of Rectoverso (different segments are directed by different directors) would take some kind of initiative to interlink all segments at some point (which is totally doable. You know, you can make Panca as one of anak-kost in Bunda's boarding house and Reggie's photocopy centre can be located nearby Bunda's boarding house. Anything. It would be like playing 'Where's Waldo' kind of thing). That way, the decision to blend five different segments into one timeline would make more sense and for me personally, it would be more interesting and organic. It would also give a different touch to this movie that differentiates it from the book. But that's only my personal preference. If Rectoverso decided to show me five different movies altogether, I can live with that.
But my review about Rectoverso is not just about the editing. Let's talk about each segments in more details.
1. MALAIKAT JUGA TAHU (directed by Marcella Zalianty, screenplay by Ve Handojo)
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| (Picture source: here) |
Malaikat Juga Tahu is, hands down, the best segment out of five. Lukman Sardi is the perfect cast for the role of Abang, the autistic man who, despite all of his limitations in life, fall in love romantically with a woman who also happens to be his soon-to-be sister in law, Leia (played by Prisia Nasution). Lukman's potrayal of Abang is heartbreaking and almost, almost made me shed a little tear in the end after spending most of time nodding off out of boredom. But the thing is, I am not completely sure that the high note in the end of this segment can be attributed solely to Lukman's performance as Abang. I suspect that Glen Fredly played a big part on messing with my emotion at that time. His rendition of Malaikat Juga Tahu song (originally sung by Dewi Lestari herself) is just beautiful (aku padamu, Mas Glenn)
But still, Lukman has a top-notch performance in Rectoverso and in turn, makes every other casts in this segment pale in comparison. For me personally, Lukman becomes the emotional anchor as well as the savior of this segment (and the whole movie, as far as I'm concerned).
And also, I'm not sure if I should be nitpicking about several details in this segment but I found some of the part are not as convincing as it should. I remember one scene when Abang throws tantrum because he lost one of his soap bar (the object of his OCD) and the mom panickly reacted by continuously asking: "Kenapa Abang? Kenapa Abang??" *cue dramatic face*
Err, he was standing in front of his soap bar pyramid, for God's sake, and you still ask him why? And as a mother who lives years with autistic man like Abang, don't you think you should have spare soap-bars hidden somewhere just in case this kind of thing happened? And when Abang tried to run away, the anak-anak kostan (don't know how to say this in English, haha) just stood aside without actually trying to stop him? Tsk.
But still, Lukman has a top-notch performance in Rectoverso and in turn, makes every other casts in this segment pale in comparison. For me personally, Lukman becomes the emotional anchor as well as the savior of this segment (and the whole movie, as far as I'm concerned).
And also, I'm not sure if I should be nitpicking about several details in this segment but I found some of the part are not as convincing as it should. I remember one scene when Abang throws tantrum because he lost one of his soap bar (the object of his OCD) and the mom panickly reacted by continuously asking: "Kenapa Abang? Kenapa Abang??" *cue dramatic face*
Err, he was standing in front of his soap bar pyramid, for God's sake, and you still ask him why? And as a mother who lives years with autistic man like Abang, don't you think you should have spare soap-bars hidden somewhere just in case this kind of thing happened? And when Abang tried to run away, the anak-anak kostan (don't know how to say this in English, haha) just stood aside without actually trying to stop him? Tsk.
Okay, I know this is a plot device to show the audience how angelic Leia is towards Abang but I feel like there should be another way that could be used other than that. I just feel uncomfortable when a movie (or a story) resorts to being dramatic and over the top for the sake of being dramatic or worse, to wring the tears out of the audience without actually caring for the little details or the back story that propells the necessity of such dramatic cliches (I don't understand what I just said). I guess my point is this: I'm all up for angsty-mopey-scenes and I am more than ready to cry a bucket over a sad scene - just give me the reason. Don't just show me all that horror and crying faces. Gimme the story instead, so I can connect emotionally with all characters.
Sadly, this lack of details problem keeps recurring in other segments and thus, becomes my biggest problem with Rectoverso.
2. FIRASAT (directed by Rachel Maryam, screenplay by Indra Herlambang)
How do I put my opinion about this segment in the nicest way possible?Well, the idea is great, the execution is cringeful.
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| Picture source : here |
I guess this is the case where the movie cannot fully translate the book's magic into the big screen. Again, I haven't read Rectoverso, but I sort of understand the concept that 'Firasat' tries to bring forward. It tells a story about Senja (played by Asmirandah), who seems to have a certain interest in the general idea of premonition and thus, becomes the member of Klub Firasat where Panca (played by Dwi Sasono) is the leader. How cool is that?
But, what's supposed to be contemplative and thoughtful (and maybe sarcastically witty) discussion about fate and its implications in life turns into this wimpy, sulky and gloomy depiction of a young woman who is scared out of her wit because of her 'ability'. And the stilted dialogue does not help this segment's case, either. The dialogue does not flow naturally as the normal conversation does and it certainly does not create the mysterious ambiance that I wish to see in this segment. I also feel that this segment does not dig deep enough on the concept of premonition and its different meaning for both Senja and Panca. Again with the lack of details.
On the acting front, none of the casts have the same intensity as Lukman Sardi but I do wish Panca's character is fleshed-out more in the way that would make him carry an elusive and enigmatic aura, because I believe Dwi Sasono has the necessary ability to present Panca's character with a little bit more emotional weight than what I saw at the cinema the other day, if given the opportunity. And although I have nothing against Asmirandah, I think I would prefer someone else to play Senja's character, someone with wider range of emotional expressions who then can portray Senja's vulnerability better and not making her looking lethargic and anemic. I just don't see it in Asmirandah, who acts out Senja in the way that she knows best: sinetron-ish.
But, what's supposed to be contemplative and thoughtful (and maybe sarcastically witty) discussion about fate and its implications in life turns into this wimpy, sulky and gloomy depiction of a young woman who is scared out of her wit because of her 'ability'. And the stilted dialogue does not help this segment's case, either. The dialogue does not flow naturally as the normal conversation does and it certainly does not create the mysterious ambiance that I wish to see in this segment. I also feel that this segment does not dig deep enough on the concept of premonition and its different meaning for both Senja and Panca. Again with the lack of details.
On the acting front, none of the casts have the same intensity as Lukman Sardi but I do wish Panca's character is fleshed-out more in the way that would make him carry an elusive and enigmatic aura, because I believe Dwi Sasono has the necessary ability to present Panca's character with a little bit more emotional weight than what I saw at the cinema the other day, if given the opportunity. And although I have nothing against Asmirandah, I think I would prefer someone else to play Senja's character, someone with wider range of emotional expressions who then can portray Senja's vulnerability better and not making her looking lethargic and anemic. I just don't see it in Asmirandah, who acts out Senja in the way that she knows best: sinetron-ish.
3. CICAK DI DINDING (directed by Cathy Sharon, screenplay by Ve Handojo)
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| (Picture source: here) |
If I could wish one thing for this segment, I would say this: It should be hotter! More clothes-ripping! Rough makeout! We're talking about Sophia Latjuba and Yama Carlos (and Tio Pakusadewo) here. The screen should be burning! (but then I guess, it would suffer that dreaded censorship that ruins all the fun in the movie. Meh)
Anyway, Cicak Di Dinding tells a story about Taja (played by Yama Carlos), a timid young artist who falls for the seductive Saras (played by Sophia Latjuba) one day. The first part of this segment is interesting enough for me since it shows the sexual chemistry between the two lead casts, but then it takes a nosedive when Saras and Taja coincidentally meets up for the second time. Again, the problem here is the stilted dialogue that makes me raise my eyebrows high because, um, nobody talks like that. The dialogue does not create the crackling mood about two strangers who are attracted to each other and in turn, it makes the prior sexual chemistry between Sophia and Yama (the one that happened when both of them did not talk much) sizzles out just like that until it's practically non-existent. Too bad.
*pout* I want my sexy time back.
*pout* I want my sexy time back.
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| (Picture source: here) |
4. HANYA ISYARAT (directed by Happy Salma, screenplay by Key Mangunsong)
Watching this segment is a hard work for me.
"Hanya Isyarat" segment tells a story about Al (played by Amanda Soekasah), the quiet and introvert young woman, who takes a getaway trip with five fellow backpackers she hasn't met before. For some unknown reasons, she falls for one of them, Raga (played Hamush Daud), although so far she could only see his back (Hey, back is sexy. There's even a song singing about that). Again, this is another great premise waiting to be played out on the screen and yet, the execution falls short. I especially dislike the use of Al's not-so-subtle narration about how she has fallen for Raga even before she met him, because that narration kinda gives away the most valuable information in this segment, in the way that is too early and too easy. It probably works in the book, but in the form of movie, using narration like that kinda takes away all the excitement of slowly finding out more information about the characters. This segment keeps hammering on one point directly - about how Al is curiously attracted to Raga - over and over again, using only narration as its one major device (and briefly, also using Al's sketch of Raga's back), up to the point until I scratch my head and ask myself: "Okay. Al is hot for Raga. I got it. So what?" I just don't feel the need to invest myself emotionally to know about Al and her feelings for Raga anymore, because well, I know. You told me already, Movie. Fifteen times.
If I were the screenwriters for this segment, this is what I would do: I'd focus on Al's expression, gestures, movements and any other little details, that would slowly giving away hints that she has feeling for Raga. I'd focus on her stealing glances at him, smiling nervously, fluttering eyes, beating hearts - anything that would show (rather than tell) the audience that Al, is indeed, fallen for Raga. And I'd put focus shots on Raga as well. His movements, his gestures, his physical features that would put audience in Al's shoes and falls for the same charms that Raga oozes out (not just accepting what Al keeps saying all the time). That way, I'll find another ways to 'narrate' the basic idea of this story: how Al is curiously attracted to Raga.
If only.
Other than the abuse of narration, the stilted dialogue is, once again, the big problem that makes me groan. Everybody talks like they are reading a textbook, instead of conversing normally with one another. The group talk scene, where both Raga and Al pours their hearts out, felt really awkward with the idea of love and life gets thrown away clumsily. And I'm going to be brutally honest here - the acting in this segment makes everything even worse. For me personally, the acting in 'Hanya Firasat' is clearly the weakest compared to other segments. Despite my criticisms, the other four segments are still able to conveys different kind of emotions to the audience (heartbreaking love in Malaikat Juga Tahu, sexual chemistry in Cicak Di Dinding, fear in Firasat and sincerity in Curhat Buat Sahabat). Here? Nothing.
If I'm not mistaken, I remember that one of the backpacker characters in this segment suddenly blurt out comment after hearing Fauzi Baadila's out-of-the-blue talk about 'chaos theory' : "Gue ga tau lo ngomong apaan, man." (or something like that)
Well, I feel you dude. This segment is a pure mystery for me. And not in the good way.
If only.
Other than the abuse of narration, the stilted dialogue is, once again, the big problem that makes me groan. Everybody talks like they are reading a textbook, instead of conversing normally with one another. The group talk scene, where both Raga and Al pours their hearts out, felt really awkward with the idea of love and life gets thrown away clumsily. And I'm going to be brutally honest here - the acting in this segment makes everything even worse. For me personally, the acting in 'Hanya Firasat' is clearly the weakest compared to other segments. Despite my criticisms, the other four segments are still able to conveys different kind of emotions to the audience (heartbreaking love in Malaikat Juga Tahu, sexual chemistry in Cicak Di Dinding, fear in Firasat and sincerity in Curhat Buat Sahabat). Here? Nothing.
If I'm not mistaken, I remember that one of the backpacker characters in this segment suddenly blurt out comment after hearing Fauzi Baadila's out-of-the-blue talk about 'chaos theory' : "Gue ga tau lo ngomong apaan, man." (or something like that)
Well, I feel you dude. This segment is a pure mystery for me. And not in the good way.
5. CURHAT BUAT SAHABAT (directed by Olga Lydia, screenplay by Ilya Sigma and Priesnanda Dwi Satria)
The premise of Curhat Buat Sahabat is probably the simplest one. It centers around Amanda (played by Acha Septriasa) and her bestfriend Reggie (Indra Birowo) who has always been a loyal listener to Amanda's tale of seemingly never ending quest in search of perfect boyfriend. Despite its simplicity, Beside Malaikat Juga Tahu, I personally think that Curhat Buat Sahabat is the next best segment in Rectoverso. It's light, it's funny and it clearly has an idea what it wants to tell. The characterization is done well, with information about each characters given away bits by bits through a series of flashbacks. Acha and Indra plays their part as best-friends really well, through their dialogue and facial expressions. To be honest, I can't seem to remember anything to complain about in this segment.
In fact, I can't seem to remember anything at all. Curhat Buat Sahabat is like a short story in a magazine that could be finished easily in one sitting. It makes us laugh briefly but it's not memorable enough to make us go around telling everybody excitedly about this particular story. It's not boring but it does not give the same impact that Malaikat Juga Tahu gives through Lukman's performance as Abang.
But still, it's not boring. It keeps me interested from start to end and that's enough.
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| (Picture source: here) |
So in short, my review of Rectoverso The Movie is kind of a mixed bag. It certainly has good parts in it but the bad parts (the lack of details, the clumsy dialogue) are not something that I can overlook either. I sincerely think that Rectoverso The Movie owes a lot to its awesome casts with their stellar acting (although not all of them) that breathes life into the not-so-thought-out plots that might be utterly mind boggling otherwise.
Film adaptation is difficult, I know. I've been disappointed by film adaptation far too often (I still don't want to watch Harry Potter The Movie Part One and Two) so I do have this tendency to think that most books are better than its movie counterparts. But I don't think it's impossible either, to create a well produced film adaptation. I've seen a lot of great ones and looking at those, I believe creativity is the key. Because, it takes more than just putting visuals to the lines of words that we read in the book to re-create the feeling and the mood of one written story. So, instead of just 'adapting' the story, I personally think that, in order to make a great film adaptation, what movie-makers should do is grasp the very basic 'heart' of the story that they are going to adapt and then find ways to present that 'heart' (it doesn't necessarily have to use the same device that the source book uses), which would be able to help the audience to feel the same excitement that they originally get from reading the book. In this case, Rectoverso does not quite successful.
But still, I'd suggest people to take my review with a grain of salt (aka: please, don't kill me) and recommend them to go check Rectoverso The Movie in the cinema. Rectoverso might not be the best Indonesian movie in my book but there are performances that should not be missed (scroll back up, you'll know what kind of performance that I'm talking about). Besides, Rectoverso is directorial debut for all of the directors here, so points for efforts! *throws confetti*
Film adaptation is difficult, I know. I've been disappointed by film adaptation far too often (I still don't want to watch Harry Potter The Movie Part One and Two) so I do have this tendency to think that most books are better than its movie counterparts. But I don't think it's impossible either, to create a well produced film adaptation. I've seen a lot of great ones and looking at those, I believe creativity is the key. Because, it takes more than just putting visuals to the lines of words that we read in the book to re-create the feeling and the mood of one written story. So, instead of just 'adapting' the story, I personally think that, in order to make a great film adaptation, what movie-makers should do is grasp the very basic 'heart' of the story that they are going to adapt and then find ways to present that 'heart' (it doesn't necessarily have to use the same device that the source book uses), which would be able to help the audience to feel the same excitement that they originally get from reading the book. In this case, Rectoverso does not quite successful.
But still, I'd suggest people to take my review with a grain of salt (aka: please, don't kill me) and recommend them to go check Rectoverso The Movie in the cinema. Rectoverso might not be the best Indonesian movie in my book but there are performances that should not be missed (scroll back up, you'll know what kind of performance that I'm talking about). Besides, Rectoverso is directorial debut for all of the directors here, so points for efforts! *throws confetti*
Cheers!
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