Puteri Gunung Ledang

This handsomely mounted period epic set during the 16th century Malaccan empire is Malaysia's most expensive film at US$5M. The princess of Majapahit, Retno Dumillah, exiles herself to the Malaccan peak of Mount Ophir to entreat the company of her lover, the Malaccan warrior Hang Tuah. This is in open defiance of her brother, Gusti Adipati, the ruler of Majapahit, who had intended to marry her to a prince of the rival Demak empire. Adipati then decides to forge an alliance with the Malaccan sultanate instead by offering his sister as bride to the reigning Sultan, Mahmud. Hang Tuah's allegiance to duty is legendary. He slew his best friend, Hang Jebat, many years prior on the Sultan Mansor's orders. However, the Sultan Mahmud, a preening and decadent ruler, is a pale shadow of the glorious lineage of Malaccan royalty. Should Hang Tuah banish forever his love in favor of a vainglorious tyrant?

Production values are excellent in general. Picture overall has a glossy, polished sheen. Some inexperience in photography is evident – an intruding palm frond at the edges of the frame, actors half cut off at the sides, shot suddenly partially blocked by the back of an actor in front of the camera (!). The period milieu and mise-en-scene are gorgeous, the palace rituals and traditional malay / javanese speech appear authentic. Nice background research there. The music is excellent with a nice mix of western strings and Malay traditional instruments like the sruling during the love scenes and rebana in the palace scenes.

The acting is uniformly above par across the board, especially M. Nasir as the legendary warrior, Hang Tuah. Malaysian actors are some of the finest in this region and Nasir carries a screen presence that conveys the nobility of this most famous of perwira melayu. It is also nice to see Rahim Razali, a household screen personality, in an amiable performance as the Tok Bendahara. Tiara Jacquelina as the titular princess is adequately winsome. The script, however, does not allow her to show why she was such a sought after woman. Sofia Jane appears more assured as the Sultan's wife. Adlin Ramlee's alternately cocky, languid and foppish portrayal of Sultan Mahmud takes some getting used to, but in retrospect, it seems about right. Both the princess and the sultan get a chance to shine with a neat verbal confrontation near the end. The standout is Christine Hakim who, quite frankly, is a class act. Alex Komang is a washout in a poorly written role as the Majapahit prince, consisting exclusively of sneers and scowls.

The story overall could do with a lot more dramatic urgency. Many sequences look thrown in to appease the multiplex crowd, inserted without attention to the overall arc of the story. An earlier sequence of Hang Tuah taking on a posse of 'lanun darat' is very well done. However, there is a gratuitous action sequence which comes in so far off leftfield, involving some silly 70s- style kungfu fighting, that threatens to derail the entire film. This is the sort of action sequence where a fighter slashes his dagger in the air and ten fireballs erupt around him from the ground. Although this was meant as a 'battle of the mind', the overall effect is laughably cheesy. Worse, the whole sequence is arbitrarily inserted at a most inappropriate part of the narrative – there is no buildup and aftermath. Likewise, CGI superimposition of the 'seven requests of the princess', floating across the screen like a ticker tape, is ungainly.

Elsewhere, instead of character driven scenes, we get actors who pose and pose while mouthing purple prose. Many issues are unfocused as a result. Why and how did Hang Tuah and Dumillah fall in love? There are nice scenes of the couple riding horseback, doing an intricate courtship dance, at a lake. They look pretty, like postcards of two people in love, but the scenes lack actual resonance. At one point, Hang Tuah shows the princess his big Keris; she stares in awe at it. Unfortunately, no character driven dialog. The crucial scene where Hang Tuah meets his beloved atop Mount Ophir starts off nicely: like a breathless teenager hopelessly late for a date, he blurts: 'Dah tunggu lama ke?' ('Been waiting long?'). However, this is proceeded by endless swooping, panning and swirling of the camera around the actors including editing that I believe violate the 180 degree rule. All that 'technique' is frankly distracting. What's wrong with action-reaction, medium two shots and close-ups anyway? There are more than several shots where the emphasis was more on a sunset or a waterfall than the characters themselves. Anyway, the lovers go at it with dialog cribbed from a Harlequin romance.

Whither the inner conflict of the noble warrior between love and duty? We do get a solitary soliloquy of sorts: Hang Tuah talking to his reflection in a puddle of water like a refugee from an Ingmar Bergman film, and that's it. Why the great animosity between Hang Tuah and the Java prince? The film offers absolutely no exposition there.

Being a prestige film, direction is serious and high minded. However, this is largely betrayed by a dearth of psychological depth and dramatic weight. A certain lack of joie-de-vivre permeates the film, making one wish that the late great P. Ramlee could lend his charismatic presence to the whole proceedings.

The film ends poetically with Hang Tuah rushing up Mount Ophir in a sequence of solemn and hushed silence, in a moment of cathartic realization and sadness. The broad strokes for a grand tragedy are all there, but the interlocking narrative is unfocused. It's like hearing bits and pieces of a symphony from a distance. It's a shame: the money saved from that silly bit of aerial kungfu fighting could have gone towards additional scenes between the two main characters – the final sequence could have had much more impact.

Sure, the plot was a bit dragging, lame at times, illogical at others, but still, you must give credit for such a beautiful Malaysian movie. The cinematography (spelling?!) was fabulous, perhaps even up to Hollywood standards if i might say so myself.

so what if tiara's not really Javanese? nama pun acting. she played the role quite well, i can't really think of any other Malay actress who could pull it off better. The cast was quite nicely selected too, and aside for the Sabri Yunus jokes (which were one too many) while they were going up Gunung Ledang, the movie was really one of a kind.

Although they didn't win best movie for the FFM that year, I dare say they deserve credit for creating something as beautiful as that, definitely worth the millions spent.

I'd say the movie was a great achievement for the Malaysian movie industry, really, it'd be worth it just to watch it for the beautiful shots.

I thought this movie was a good effort to move the Malaysian movie industry forward. Yes, it was abit slow paced, but at least it wasn't one of those stereotypical movies you had in the mid 90's. What I'm irritated about is the fact that you keep mentioning the fact that the bad movies are made by MALAY people and the movies are dominated by MALAY people. Whats your problem against the Malays? You're supposed to comment about the movie, no one cares about your involvement in the film,the fact that you're one of the musicians (big huge freakin deal) plus you're being a pure racist because you keep bringing up the point that despite the fact that the movie is made by a Chinese, its still slow moving. Are you trying to imply that it should have been better because it was made by a Chinese and if it was directed by a Malay , it would have sucked?! The oh-so rotten Malay movie scene? You mean MALAYSIAN movie scene don't you? Because other than Malay movies being made in Malaysia, we sure don't hear about Chinese people making movies in Malaysia, or do you? Why do you point out at the Malays so much? If you're going to post a comment about a movie, keep it real. No one wants to read your stupid racist comments or your minor involvement in the movie. Get over the race issue already and GROW up!

I can be considered involved in the production of this movie. If you listen closely to the music of the movie, you will find the strings sound are real, not some cheap MIDI sound like most movies from Malaysia are using. I'm one of the violinists in there. Anyway, I am right now studying in New York, I recorded the original score right before I came here. I long to watch this movie since I walked out from the studio. So I asked my mom to send me the VCD of this movie. After finally watching this movie, I was quite happy about the seriousness of the production in a Malaysian film. However, I have never liked to watch Malaysian movies (dominated by Malay language films), because of its slow and meaningless pace. It is sad to say that this hasn't changed a bit in PGL, which I think is the greatest pity. (Even though this movie is directed by a Chinese!!) The movie could be shortened to 2 hours --- if not one and a half --- if the hyper-slow parts were being changed into a somewhat reasonable pace. But overall, I would like to say that I'm happy to see Malaysians try to make this movie a jump start (if it is) for the oh-so-rotten Malay movie scene. Like the another review, I feel the same that some elements like action (I don't like to use the word violence) could be enhanced, it could be better. Those elements are hanging in the middle of nowhere in this film. In fact, I think this issue might be caused by the strict censorship system (if there is a "system") in Malaysia. If we Malaysians want to push the film industry further to the world, PLEASE, the censorship board should reconsider the poor censorship system average that flows from time to time and, PLEASE, give filmmakers a bigger space in creativity. More budget and more money doesn't promise better movies!! Artistic quality is the most most crucial element in making a great movie!!

For the first time in my life, I really have to admit that Puteri Gunung Ledang is so far the first Malaysian movie that contains all the right ingredients for a good and watchable movie. Truthfully, I have never liked any Malaysian-made movies before PGL, thinking that either the filmmakers here never actually bother for quality for the sake of money or perhaps, obviously, that they don't know the proper principles of film-making after all. When I decided to watch PGL a few weeks ago, I kept asking myself if this money was worth the ticket price. Fortunately, it was. Thanks to Teong Hin Saw's brilliant direction, PGL gives a refreshingly new perspective to the casual viewers and also fans of World History.

Basically, it is a love story between Hang Tuah, the legendary Malay Warrior of Malacca and the Javanese princess Gusti Putri (the title character) whose relationship arouses the tensions between two worlds: the Sultanate of Malacca and the Majapahit Empire. The plot may be a bit straightforward but its production values makes a major leap over the previous Malaysian outings; you can safely assume that PGL is definitely a work of a pro. Great cinematography (forget about the Cameron Highlands issue), exhilarating camera moves and editing, decent fighting sequences and quality SFX prove it all. Casting, on the other side, is a mixed bag: some perform extremely well, expressing their powerful gestures convincingly while the rest are surprisingly wooden, leaving lots of rooms for improvement.

It's true that PGL is not without flaws: the most obvious is the pacing of the entire movie and as a result, it is not a well balanced movie. The lack of any action sequence in the middle act makes the movie seem a bit draggy, filled with long (twisted for some viewers) conversations, tight focus upon the two lovers and other unnecessary slow-moving sequences. Unlike any international epic movies you have seen, PGL is rated 'G', suitable for the whole family, which basically means that it contains no forms of profanity or suggestive elements that may otherwise prove sensitive to some viewers. This only cheapens the maturity of this movie: for me, the whole movie, despite excellent production values, feels mild and unsatisfying as if I ate a half-baked cake.

PGL could have been a great contender in any film festival if a) it were a bit more sensual (ala Ang Lee's Crouching Tiger, Hidden Dragon), b) more violent (ala Peter Jackson's The Lord of the Rings trilogy), c) more thought-provoking and visually more disturbing (ala Ron Howard's A Beautiful Mind). Despite these inevitable drawbacks, the Malaysian film industry seems to be taking the right path and this is just the beginning. For now, PGL feels like a good movie. Not phenomenal, though.