The religion of Islam is strongly being portrayed throughout both of his films, Kaki Bakar and Jogho. For example, in Kaki Bakar, Kusuma and his siblings are doing their revision on their Islam religion studies every night. Their father, Kakang even teach and correct them if they read it wrongly and insist on asking them to repeat the sentence after him. On the other hand, in the movie Jogho, Mamat’s son, Jusul who is studying in one of the religion schools in Kelantan. There is once when Mamat went to visit Jusul in Kelantan, Jusul told and advised Mamat that he should not revenge and kill the murderer who killed Lazim. However, although they have the Islam religion in them, but they are still conducting the wrong doing. For example, in Kaki Bakar, although Kakang is a man who is holy and sincere to his God, when his status is being lowered, he will go and burn down the house of the one who lowered down his status in the society. Other than that, in Jogho, although Mamat is also a man who is sincere to his God, however he holds the grudge in looking for the murderer of his brother, Lazim and wanted to revenge for his brother.
Male Dominant Society
In both of U Wei films, Kaki Bakar and Jogho, males are portrayed as strong and are the decision makers for their families. For example, in the movie Jogho, Mamat is asking his wife, Minah to gives him all their saving in order for him to try his luck to bet during the bullfights. Minah tries to persuade Mamat not to spend the money because they are running out money for their daily expenses, daily groceries and even their son, Jusuh’s school expenses. However, it was unsuccessful and Mamat even asks Minah to think positively that he will definitely win the match. On the other hand, in the movie Kaki Bakar, Kakang scolds his wife in the truck when she is trying to wipe the blood on his son, Kusuma’s forehead that “He is not a girl to be coddled.”. Indirectly, he implies that man is strong and should bare all the responsibility no matter in the family or society, whereas girls should obey the orders from the males. In the same scene, Kakang’s wife even scolded by his own son, Kusuma because he does not want his mother to wipe the blood for him. We can clearly see the differences on the status of the males and females in the Malay society. Other than that, females are also portrayed as weak and have no voice in the society other than doing the daily chores. In Kaki Bakar and Jogho, the female characters in the films can only cry when their male family member are in trouble. They are helpless and do not have the power to make the changes. Besides, they are also those who merely obeying the order from the male characters in the films. For example, in Kaki Bakar, when Kakang asks both of his daughters to hold Kusuma from preventing him to runaway, they are just following their father instruction without questioning anything. They hold Kusuma tight even their mother asks them to let him go, “That’s the instruction from father, we don’t dare to let him go.”, that is the reply from both of her daughters.
Mise-en-scene
U Wei uses the Malay’s traditional mise-en-scene in both his films, Kaki Bakar and Jogho. He is portraying the lifestyle of the Malay who stays in the rural area. In both of his films, we can clearly see that both of the families are staying at the rural area where there are no skyscraper or high technological products. They are even staying in the traditional wooden house. Other than that, we can also see big open field with trees and bushes in both of these films. The filmmaker likes to portray the living and the problem occurred in the Malay who stays in rural area.
Mise-en-shot
We can obviously observe the slow dolly and tracking camera movement in both of his films, Kaki Bakar and Jogho. There is a scene in Kaki Bakar where Kusuma’s brother and sister are doing their Islamic studies revision in room, and Kusuma is having a nap in the living room while his another sister and mother are preparing dinner. The filmmaker uses a slow dolly camera movement in presenting this particular scene. A smooth and slow dolly camera movement gives audiences the feeling of calmness in the village and to enhance the emotion in the film itself. Furthermore, in Jogho, the filmmaker also uses the dolly camera movement when Mamat is being jailed. The dolly movement enables audiences to see the doings of the prisoners in the prison. Other than that, it is also uses to enhance the feeling in the story.
FilemMalaysia. (n.d.). Jogho. Retrieved December 6, 2011 from http://www.filemkita.com/filem/j/jogho_01.html
Itar, A. A. (2011). Film saya untuk diri sendiri. Retrieved December 6, 2011 from
http://www.sinemamalaysia.com.my/main/clippingnews/Filem_saya_untuk_diri_sendiri_4613
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