by Reza Mardian
Indonesian independence was not handed to us on a silver platter. Quite the contrary, our founding fathers had to proclaim independence in defiance of colonization. While many historical nationalist films focus on the drama and heroic struggles of their protagonists, M.T. Risyaf‘s “Nagabonar” takes an unconventional approach, telling this story through comedy, something not only unusual but surprisingly effective.
Follow our tribute to Netflix by clicking on the image below
Set in North Sumatra, the story follows thet titular character, a former pickpocket who has just been released from jail. He soon learns that Indonesia has declared independence in Jakarta, over 1,883 km away. However, due to its distance from the capital, North Sumatra remains under Dutch colonial threat. In an unexpected twist of fate, he rises to lead a group of independence fighters against the Netherlands.
The screenplay was written by Asrul Sani, based on his original story. A legendary Indonesian screenwriter, Sani penned numerous classics such as “After the Curfew” (1954) and “The Narrow Bridge” (1982). However, it was his 1986 romantic comedy “Chase Me and I’ll Catch You” that cemented his reputation for comedy. In the movie, the humor is embedded in the script, but what makes it even more compelling is how Sani crafts his comedic victims.
One standout scene showcases this mastery. Nagabonar declares his love for a woman, commanding his friend to tell her on his behalf—as if she were his possession. Moments later, one of his subordinates interrupts with an order. He indignantly challenges them as their leader: “Who dares to order me?” The answer? His mother. Without hesitation, he rushes to obey her command. This scene exemplifies Sani’s skill in crafting situational comedy. What starts as a typical male-gaze joke unexpectedly flips into something entirely different, subverting expectations. It’s moments like these that make Sani one of the most respected screenwriters in Indonesian cinema.
Check also this video
As director, M.T. Risyaf’s influence is strongly felt in the film’s dramatic elements and his skillful direction of actors. By the end of the second act, a key character dies in battle, marking a shift from comedy to drama. This transition is handled effectively, without the use of an emotional score to manipulate sadness. Instead, the moment relies entirely on the performances—particularly Dedy Mizwar‘s portrayal of the protagonist, which is both restrained and impactful.
“Nagabonar” is widely recognized as a non-Java-centric film, set in North Sumatra. If it were produced today, it would likely be considered mainstream, as Batak (North Sumatran) communities now have greater purchasing power in the film market. However, in 1986, this was not the case. It may have paved the way for future Indonesian projects featuring Batak themes, representing them fairly without resorting to comical stereotypes. A prime example is the complex mother-son relationship—a dynamic often explored in most Indonesian cultures, especially in the Sumatran tribe.
Interestingly, Dedy Mizwar, who plays Nagabonar, and Roldiah Matulessy, who plays his mother, are not of Batak descent. Yet, their performances received widespread praise, as the accent is notably distinct. Both actors won Citra Awards at the 1987 Indonesian Film Festival (FFI)—Mizwar for Best Actor in a Leading Role and Matulessy for Best Actress in a Supporting Role.
Risyaf’s direction also plays a crucial role in the film’s action sequences. While the camera remains mostly static and does not rely on dynamic shots to convey the fear of war, his approach remains effective. Cinematographer Sri Atmo primarily employs medium and wide shots for the shooting and bombing scenes, emphasizing spectacle rather than tension—which resonated well with Indonesian audiences in the 1980s despite not being a spectacle for modern audiences.
The movie is not praised for its technical achievement but often studied for its cultural and historical significance. Following Indonesian independence, military power was not immediately deployed across the vast archipelago. With over 17,000 islands, securing and protecting every region required time. As a result, the independence war, as depicted in “Nagabonar”, relied heavily on grassroots movements, where local communities bravely fought to defend their newfound freedom from colonial forces still attempting to reclaim control.
One of the movie’s sharpest comedic elements comes from main character and his underlings fabricating military ranks, which both the local residents and colonials believe to be real. By the third act, the national government announces the standardization of military ranks, meaning all ranks—including those that are fabricated—will be reassessed. This serves as a clever commentary on the paradox of independence—the desire for autonomy while still having to comply with a centralized authority.
“Nagabonar” won eight Citra Awards at the 1987 Indonesian Film Festival (FFI), including Best Actor, Best Supporting Actress, Best Screenplay, and Best Picture. It was also Indonesia’s first official submission to the Academy Awards and later spawned two sequels, a digitally re-recorded version in 2008, and a remake project in 2019. It is now available on Netflix worldwide.
