Puteri Gunung Ledang: Impressions

For just this once, I can't really call what I'm about to write a review yet. It's more along the lines of the conscious (and some unconscious) impressions I got while viewing Puteri Gunung Ledang (yes, it's ad hoc and there's hell to pay, worksense) just now. Whilst some may disagree, I'll cut to the core of this write up here and now (in case you don't feel like reading through) :

Even if it's not the uber-mega-special epic Malaysian film some of us has come to expect, PGL is notable in the sense that if there's one film I have no qualms about letting go abroad, it's this one. If they ever decide to package a film on DVD, I'm putting my money here. Want to know why? Read on.

Before we continue: yes, I am aware of the environmental damage the making of this film wrought, but this article focuses solely on its merits as a film, and I'm not trying to downplay the damage or costs in any way.

It's difficult not to compare Saw Teong Hin's effort with Zhang Yimou's latest, The House of Flying Daggers. Both feature a love story as the essence, both are beautifully shot, and there is a restrained slow pace to everything. Unsurprisingly, the similarities end there. SURPRISINGLY, I much prefer PGL to HoTFD not because of any twisted sense of patriotism. Instead, PGL chooses to do one thing, which is tell the love story of Gusti Putri and Hang Tuah, and does it well without having to resort to convoluted twists and repetitive scenes of Tuah rescuing the damsel in distress.

Which is perhaps another reason I like this film. Tiara Jacquelina's Gusti Putri, though bound by her birth to a destiny not to her choosing, is no mere weakling. She has immense supernatural powers, knows how to (and DOES) stare down a Sultan and more importantly, does not back down from what she thinks she deserves.

One would think that with the reverence that is shown to the source material and the culture of whom it is based, it's a purely Malay-centric effort. Instead, the diverse nature of its production (from the director to cinematographer) becomes its biggest asset (although I have to say here, some people harping about how the princess should be more Malay and all really sickens me, it's a creative interpretation, get a life!). There is a sheen of loving realism, of wanting the characters to become more than mythic archetypes and therefore it becomes a Malaysian film by merit of it simply being different, and because of the way it handles the little touches (mannerisms, dress, religion).

Yes, the love theme does figure prominently (as a blogger mentions, for the life of me I find some of the person's insinuations a little off base) but then again there is a sense of it being grander than just romantic love. The characters have to deal with love and responsibility in all its incarnations, and not even the mighty battle prowess of Tuah can withstand their onslaught.

There are, however, some things I do have to make note of. Firstly, it's that in the second half of the film one begins to feel the slow pace of the film, and this does jeopardise our viewers who are so used to MTV-style quick cuts. One does understand that the slow pace is purposely done, although the editing could have been a little tighter. The special effects are noteworthy (especially a very well done matte scene showing the Malacca harbour) but still look a little too CGI-ish, although honestly this is very forgivable, given that this is a first in Malaysia's film history.

So is PGL worth a watch? I'd have to say a resounding yes. Bearing in mind it's the first Malaysian film I've actually paid to watch in a cinema in years (yes years) there are much more worse ways to spend two hours plus of your life. Just relax, don't expect a Peter Jacksonesque LOTR treatment, and enjoy what may be the biggest fluke in Malaysian film history.

Oh bosh, I like it, and I think there are some people out there who will, too.

Ash.ox gives PGL a temporary 3.5 out of 5