Muhammad Kilau bin Rasu, popularly know as ‘Mat Kilau', or alternatively known as Mohamed bin Ibrahim or ‘Mat Siam', was a local chieftain and folk hero from Pahang, Malaysia, best known for his role in the Pahang Uprising (1891-1895) against the British Empire. The exceptional valor demonstrated by Mat Kilau in the uprising have gained him a place in popular memory as one of the heroes of Malay nationalism. Syamsul Yusof directs a martial arts film based on the historical character, in a movie that is as one-sided as all the recent action movies we have seen throughout the world, from “Top Gun” to “Wolf Warrior”.
The film begins in 1890 in Pahang, as the British arrive in the area. Their greed, their violent ways, and their will to disrupt the Islamic ways of the locals become evident from the introductory scene, which ends up in bloody violence as the colonialists' ruthlessness is in full bloom. This episode essentially is the turning point for the Malaysians to start thinking about insurrection. However, they will first have to deal with internal conflict, since there are also those who do not see Mat Kilau's choice as the leader of their army with a positive eye, while a number of locals, including almighty Toga, have already signed up with the British. Gradually, though, the conflicts are left to the side, and the battle begins.
Allow me to begin with the negative. Syamsul Yusof's film, based on his own and Shahruddin Dali's script is shamelessly pro-Islamic, to the point that the power of Allah is “chanted” almost constantly, anti-Indian and anti-Chinese, with the soldiers the British use being almost exclusively Indian, and the Chinese merchants of the area helping them in other ways, and Anti-British, with the colonialists presented as true bloodthirtsy demons in a way that looks both sinister and cartoonish. Particularly their military leader, Kapten Syers, appears as if he jumped out of a Thundercats episode with his animalistic facade, engulfing the aforementioned traits to the highest degree. It is also definitely pro-Malay, although the internal fights and the locals who help the British tone down this element a bit.
Considering the aforementioned, the story here is one of a hero and his friends, fighting against all odds and triumphing at the end, although not without much sacrifice. As it becomes evident, this is something like the base story of every other action/martial arts movie out there, something which is not, though, a bad thing necessarily. And that is particularly because Yayan Ruhian's action choreography (who also plays Toga) is one of the best we have seen during the recent years, with the fights, particularly the hand-combat ones, being as impressive as they are brutal. In that fashion, he benefits the most by Adi Putra's presence as Mat Kilay, a true martial arts force who emits speed and strength with every movement, as Pencak Silat finds one of its apogees in his presence. Beto Kusyairy as Wahid, Fattah Amin as Awang, Johan Asari as Yassin and Ali Karimi as Brahim cement the prowess in the action here, with Ruhian providing the cherry on the top, both throughout the movie and in the rather intense finale. Probably the only issue with the action is the scene in the end when the two forces clash, as Yusof could have handled the presence of so many actors on screen a bit better and some rather excessive theatrics during the fights.
Apart from action, the level of violence here, including torture, borders on exploitation on times, with the pregnant woman scene staying on mind, even if it is not fully depicted. Azami Alias and Rahimi Maidin's cinematography captures both these elements and the action in the best fashion, also highlighting the beauties of the area on occasion. The job done in the costumes cement the overall quality of the production, which is quite high, as mirrored in the quality of the image. The extensive use of slow motion also works well for the most part, while Yusof's own editing results in a rather fast pace, which suits the overall aesthetics to perfection. The acting, on the other hand, apart from the martial arts scenes, is characterized by theatricality and excessiveness, to the point that occasionally looks ridiculous
One will definitely have to overcome the intense propagandistic elements in “Mat Kilau”, but beyond that, as a martial arts film, this is one of the best of the year.
