Speed Racer review (Gua.com.my)

First published in gua.com.my
20 May 2008


by Max Koh

Title:
Speed Racer

Ratings:
7/10

Cast:
Emile Hirsch, Christina Ricci, John Goodman, Susan Sarandon, Matthew Fox, Rain and Paulie Litt

Genre:
Action, Family

Review:
The 1960s anime character (yep, it’s that old!) finally hits the big screen with the Wachowski brothers who lead the pack in this year’s summer movies.

While ‘Iron Man’ continues to wow audience with the stunning iron suit, superb storyline, cool action and Robert Downey Jr, ‘Speed Racer’ seems to fall with a whimper. Then you have ‘Prince Caspian’ of the ‘Narnia’ series, which one can only expect so much from if the first film is of any indication. And will the big green monster ‘Hulk’ fare better this year or get beaten by the ‘Dark Knight’ which is getting an unintended marketing boost with the death of darling Heath Ledger? And of course, Indy’s back!





Oops, before I get too far ahead of myself, let’s get back to ‘Speed Racer’.

“Go, Speed Racer, Go!” If you are expecting some ‘Fast and Furious’ gritty action, look elsewhere. ‘Speed Racer’ is a kiddie show just like the cartoon it is based on. Thanks to the Wachowski brothers (of ‘Matrix’) fame, the graphics are outlandish and the laws of physics are thrown out the window. It is as though Neo woke up in another program designed by the Computer and ‘reality’ operates on a different set of rules. The colours are really bright and the environment is constructed by computer programmers.

Which come to think of it, the film does bear some resemblance to ‘Matrix’. In ‘Speed Racer’, Speed Racer (Hirsch) is the ONE. No one drives as fast and furious as he does. Even after his brother Rex dies in a crash, Speed grows up loyal to the family racing business led by his father, Pops Racer (Goodman), designer of the Mach 5.





When Speed Racer turns down a lucrative offer from Royalton Industries, he also uncovers a terrible secret – that the biggest races are fixed by ruthless tycoons who manipulate drivers to boost sales! With the help of the mysterious Racer X (Fox) and Taejo Togokhan (Korean singer Rain), they form a trinity to challenge the head honchos who rule the racing arena.

And just like Neo, Speed Racer will unwittingly set up a new World Order, only this time it’s the world of motor racing. Cool machines? Check. Babes. Check. Family fun? Check. Pet monkey? Check. That’s right … Speed’s kid brother Sprittle (Litt) and his pet monkey Chim Chim provides some laughs in the film while Goodman seems to enjoy playing Pops Racer.

There is no mistake that Speed Racer is targeted at the kids, but I’m sure it will appeal to audience of all ages.

Eye candy comes in the form of Rain (yes, scream all you K-pop fans), Mathew Fox of ‘Lost’ fame and (surprise, surprise) lead Emile Hirsch who looks like a much younger version of Ewan McGregor. And I must say that he carried the role very well. Guys can squawk at the sight of Christina Ricci who plays Speed’s longtime girlfriend.





With its gamer action, visual wizardry, cartoonish characters and misconstrued reality, ‘Speed Racer’ is built for a fun time at the cinemas. And thankfully it does its job well. For two hours, just sit back and let ‘Speed Racer’ take you for a ride through some mindless fun. I bet you’ll be humming the tune as you leave the cinema.

And probably this is what sets ‘Speed Racer’ apart from Wachowski’s ‘Matrix’ films. They know their target audience and there are no pretensions about it. Kids will love it while adults will enjoy the ride down memory lane. Sing with me again, “Go, Speed Racer, Go!”

In a Joyous Mood (Sunday People)

First published in New Straits Times, Sunday People

2 September 2008

In a joyous mood

MAX KOH 

The Malaysian Philharmonic Orchestra is 10 years old. MAX KOH goes to the birthday party 

During the economic crisis in 1998, classical music aficionados must have thanked the heavens for it was on August 17 that year that the Malaysian Philharmonic Orchestra (MPO) was born.

Along with the opening of the Dewan Filharmonik Petronas (DFP), classical music was made accessible to all and sundry (as long as they didn’t wear shorts, slippers, jeans or T-shirts for the shows).

Talented sparks from all over the world have since appeared at the hall known for its excellent acoustics. From noted orchestras such as the BBC Symphony and New York Philharmonic to respected soloists such as soprano Kiri Te Kanawa and violinist Sarah Chang and Joshua Bell.

Some of the biggest names in the jazz and world music scenes including James Morrison, the Count Basie Orchestra, The Chieftains and Amjad Ali Khan have played at the DFP.

So the decade was marked with a birthday party, on stage of course. It was a nice, cordial affair with guest conductor George Ellis leading the MPO.

The Australian, known to his fans as Big G, was in a jovial mood and set the party off with a swing with his rousing composition, Celebration Overture.

In the introduction to the next piece, Bizet’s Habanera from Carmen Suite No. 2, Ellis pointed out the importance of dynamics in a song; the varying degrees of loudness and softness in a musical passage.

The Habanera comes from the Carmen opera, where the character Carmen performs a stirring dance to woo the handsome soldier, Don Jose.

“We invite you to pay attention to the orchestra members and join the fun,” Ellis told the audience.

Whenever the musical passage flitted from soft to loud, the members of the orchestra would stand up. Soon enough, the audience joined the orchestra in the movements. It was like a big aerobic class in the balloon-decorated hall.

Now, who said you can’t work out to classical music? Ellis then invited us to clap along as tempo was important in the next piece, Grieg’s In The Hall Of The Mountain King..

A popular tune, most recently used in the film Corpse Bride, it originally tells the story of Peer who sneaked into the Mountain Troll King’s castle. Having insulted the king’s daughters, the angry, evil trolls soon chase Peer.

The three-minute song began eerily with the bassoon, which signified Peer’s careful, slow steps.

The music then soon worked itself up into frenzy as the trolls spotted Peer and gave chase.

As Peer desperately ran out of the cave, the music becames louder and faster; before the crashing cymbals and thumping timpani burst forth to silence the other instruments.

The audience could barely catch their breath as they struggled to keep up with the musical frenzy.

As a restful piece, we then had an old Russian fairy tale — the famous Prokofiev’s Peter And The Wolf.

It tells of the story of Peter who ventures out the garden gates into the countryside and meets a host of characters.

For the orchestra piece, each character was given its own motif played by an instrument. The bird was played by the flute, the cat by the clarinet, and so on.

Eventually, the big bad wolf appeared played by three French horns.

Wonderfully performed by the orchestra, the story was easily conjured to life. Many smiles were lit that evening, both children and adult.

Then came the lovely ballets of Shostakovich, the Polka and the Gallop.

The two movements from the ballet, The Limpid Stream, turned out to be lively romps, with boisterous duets and rattling percussion. They fit the celebratory mood that evening.

Alas, all parties must come to an end. And the MPO gave us a treat with the classic birthday song.

The audience stood up and sang along as a big birthday cake was being wheeled out onstage.

We all got a cupcake each. Aww.

To me, it was way too short a party as it ended in less than an hour. But it was fun, so thank you and best wishes.

Transcendental Performance (Sunday People)

First published in New Straits Times, Sunday People
29 March 2008

Transcendental performance 

MAX KOH 

TFA dancers in the Pallavi

Geetha in Sakti He Keshi Madhana Mudharan

DANSEUSE Geetha Shankaran-Lam was the undoubtedly star in Transcendance, the latest performance by The Temple of Fine Arts, which explores the themes of the sensuous self and the sublime spirit. 

The performance that ran for three nights at Panggung Bandaraya in Kuala Lumpur, also marked the premiere of new and original works by odissi guru Durga Charan Ranbir, disciple of the late great guru Deba Prasad Das and featured music by guru Ramahari Das. 

The new repertoire was a direct outcome from the Odissi Yatra (sacred journey) undertaken by Geetha and her students last December to various parts of India. 

The result of that journey was the dance — Geetha’s offering to the gods, gurus and the audience. 

It offered a repertoire that explored how dance, music, lyrics, rhythm, emotion and drama brought about the psycho-physical condition conducive for such an experience of transcendence. 

Under the artistic direction of Geetha, these works are presented as solo and group pieces in Transcendance. 

The night began with Mangalacaran, the opening dance performed by dancers to invoke the blessings of divinity. In this interpretation, the dancers personified the swan (hamsa) which is regarded as the bird of wisdom and freedom.

The dancers arched their backs and gestured like the bird. Against the resplendent backdrop of giant lotus flowers onstage; they looked absolutely graceful.

Geetha offered Sakhi He Keshi Madhana Mudharan. The work is based on Jeyadeva’s Gita Govinda which is sung daily during worship at the Puri Jagannath temple in Orissa. 

The dance was about the romance between Krishna and Radha, and the twists and turns of the relationship — desire and despair, separation and union, fantasy and reality. It was set with the composer’s obvious purpose of seeking transcendence through his praise. 

Her interpretation of the song showcased her mastery of the abhinay (the expressive form through hand gestures, facial expressions and body movements).

I was mesmerised by her poetic brilliance and lush erotic imaginary. 

Overall, the dancers — comprising mainly students of TFA — were competent in the Pallavi where the melody is elaborated through eye movements, beautiful body postures and intricate footwork. It was based on the Keervani raag, a typical South Indian scale that evokes feeling of elegance and joy. Its basic melody uplifted the mood as the dancers explored the creative possibilities in pure dance (nritta).

But the apex of the night’s show was Geetha’s take on the Pallavi. This time it was original choreography by guru Kelucharan Mohapatra based on the Arabhi raag, and reinterpreted by odissi dancer Parveen Nair and Geetha herself.

She exhibited poise and a grace that could only have come from her years of dance experience. 

For those who missed Transcendance, you can catch it on their Youtube profile in the following link: http://uk.youtube.com/user/TFAvideo

Unique Approach to Baroque (Sunday People)

First published in New Straits Times, Sunday People

17 November 2007

Unique Approach to Baroque

The works of baroque composers are given a new spin in the capable hands of flautist Emmanuel Pahud and the Berlin Baroque Soloists. MAX KOH writes

 

Award winner Emmanuel Pahud

EMMANUEL Pahud is a celebrated flautist who plays with the prestigious Berlin Philharmonic Orchestra. He’s also a solo artist and the only flautist in the world to have a solo recording contract with a major record company (EMI) and was named the “Instrumentalist of the Year” at the Victoire de la Musique Award, Paris in 1997.

Known for his versatility, musicality and extraordinary technique, he recently wowed the audience at the Dewan Filharmonik Petronas (DFP) by playing selected baroque pieces from composers Vivaldi, Pisendel, Bach, and Telemann. 

Pahud was accompanied by the Berlin Baroque Soloists, a 14-member-ensemble comprising members of the renowned Berlin Orchestra. 

Led by director Rainer Kussmaul, the ensemble has a unique approach to the music of the 1600s and 1700s by using old bows of different periods on old but modernised instruments. It is said to capture the true essence of the work, as one could imagine it being heard within the castle walls centuries ago. 

With such a winning combination, one could expect nothing short of magic during their debut performance at the DFP. 

On the first night, Pahud and the Soloists performed an all-Vivaldi repertoire, rendering flawlessly the Concerto grosso in D minor, Concerto in Viola d’amore in D and Concerto for Flute in G minor “La Notte”. 

Pahud soared above the wonderful waves of melodies created by the esteemed ensemble. The soloists were no less remarkable. 

The next evening saw the two artistes perform selected pieces such as Pisendel’s Sonata in C minor, Telemann’s Concerto Ripieno in E flat, Viola Concerto in G, Concerto for Transverse Flute in D and Bach’s Brandenburg Concerto No.5 in D, Concerto for Flute, Violin and Harpsicord & Strings in A minor. 

Pahud first picked up a musical instrument when he heard music coming from his neighbour. 

“At that time, I asked my mother ‘what is that sound?’. When I found out that it was Mozart’s Flute Concerto No. 1, I fell in love with it immediately,” he says. 

Pahud was five years old then. The following year, he studied music in Rome under the tutelage of Francois Binet, then in Brussels with Michel Moinil and Carlos Bruneel and in Basel with Peter-Lukas Graf. 

However, his first instrument was not the flute. “I actually first learned the violin. My brother, on the other hand, took up the viola. However, I soon feel in love with the sound of the flute and took up the instrument. My brother on the other hand, continued to play the violin. But today, he’s an engineer,” says Pahud, laughing at the recollection. 

His passion for music soon led him to the Conservatoire National Superieur de Musique de Paris, where he graduated with the Premier Prix in 1990. He then continued his studies with Aurele Nicolet, a world-renowned flautist and teacher. 

Pahud has won first prizes in many major competitions. In 1992, he won eight out of the 12 prizes at the international music competitions of Geneva and Kobe in 1989 and Duino in 1988. He also took the Soloist’s Prize in the Community Radio Awards in Switzerland, and the European Council’s Juventus Prize. 

At 22, Pahud made history when he was appointed the youngest principal flute of the Berlin Philharmonic Orchestra. Before that he held the same position with the Basle Radio Symphony. By then, Pahud was the only flautist in the world to have a contract with a major recording company, EMI. 

His debut CD, the Complete Mozart Concertos For Flute And For Flute And Harp With The Berlin Philharmonic And Claudio Abbado, was released in 1997 and earned the Diapason’s “CD Of The Year” Fono-Forum award, and the “Geijitsu” award from the Japanese recording industry. His other acclaimed recordings include Flotenmusik and a recital disc of French works with Eric Le Sage. 

Although this is his first time performing in Malaysia, it is not his first time with the BBS. 

“We have been playing with each other, even before the inception of the BBS 12 years ago,” explains BBS director Kussmaul. “We would, from time to time, feature Pahud as our special guest when performing around the world.” 

Adds Pahud: “On the average, soloists would play 40-50 concerts. However, I believe that we’ve played more than 80 in the last six months. You can say we practically live on stage. 

“I guess that is how much I love music and performing. It is in my blood. Whether solo or with an orchestra, I suppose I’ll love doing this until the day I die.” 

And it is this magical collaboration between the Soloists and Pahud that has brought the works of the baroque composers to life. It’s amazing how they managed to lend a unique and inimitable tone to each piece. And how music of the old world is relived within the walls of our hall.

Atonement review (gua.com.my)

First published in gua.com.my

8 Jan 2008

Title:

Atonement

Rating: 

8/10

Cast:

Keira Knightley, James McAvoy, Romola Garai, Vanessa Redgrave, Brenda Bletyhn and Saoirse Ronan

Genre:

Drama, Romance  

Review:

Based on Ian McEwan’s best-selling novel in 2001, Atonement is one of those rare films that do justice to the book.

Accolades must be given to director Joe Wright (Pride & Prejudice) and screenwriter Christopher Hampton (Dangerous Liaisons) for doing such a brilliant job of transferring the themes from paper to reel. 

The film truly deserves its seven nominations at the upcoming Golden Globe awards. 

Atonement explores how a young girl motivated by jealousy and lust, irrevocably change the lives of those closest to her. 

The film opens on a hot summer day in 1935 as 13-year-old Briony Tallis (Ronan) finishes her manuscript for a play entitled ‘The Trials of Arabella’ in her lush English countryside mansion. 

Little does she know that she is about to plunge the lives of her sister Cecilia (Knightley) and Robbie Turner (McAvoy) - the housekeeper’s son who is secretly in love with Cecilia - into an indefinite chasm of separation.

Broiny first catches sight of Cecilia stripping in front of Turner at the front lawn, through the tainted glass of an upstairs window. When Cecilia dips herself into the fountain, a distorted view begins to form in Briony’s mind. It is childhood naivety or unbridled jealousy?

Through a series of events, first seen through the Briony’s perspective and then replayed for the audience through Turner’s eyes, we discover how misinterpretation and unchecked emotions can alter the present reality of our understanding. 

Through this skewed vision, Briony soon levels a serious accusation against Turner on a crime that he did not commit, and irrevocably separating the lovers. 

Five years later we find Turner fighting the Germans in France. After serving time, Turner was ‘enlisted’ in the army and is now making his way to Dunkirk to be transported back home to be with his loved one, Cecilia. 

Cecilia is now a nurse and not on speaking terms with Briony. She has not forgiven her sister for her foolish action. 

The grown-up Briony now realises the full extent of her folly. She is tormented by her misdeed and expresses her guilt and regret by typing on her typewriter when she is not nursing the sick during the day. 

Will Briony be able to atone for her wrongdoings? Will she be able to reconcile the lovers by telling the truth about her incriminating testimony? 

In over two hours, the film captured all the riches found in McEwan’s dense and very internalised novel. The intricacies of human emotions and dark impulses are masterly conveyed. 

The re-creation of the war scene at Dunkirk was simply astounding. Through a long-shot (five minutes and thirty seconds) Wright was able to portray the full-scale of the terrible landscape as described in McEwan’s novel. 

When words failed, the visuals did the talking. 

But the film would not have worked if not for the wonderful screenwriting and beautiful cinematography. Not to mention the excellent editing and an exceptional soundtrack that makes Atonement a possible forerunner during the awards season. 

Keira Knightley’s acting is commendable. However, Ronan deserves special mention for her exceptional portrayal of 13-year-old Briony. She is a star in the making. 

But a word of caution: watch out for the final scene. A question still remains: Can an artist ever atone for her wrongdoings through art? 

The film may leave you on a sad note but Atonement is one film you do not want to miss. 

     

Did you know? 

Atonement is director Joe Wright’s second feature film after 2005’s Pride & Prejudice, which is based on Jane Austen’s beloved novel. The film was nominated for four Academy Awards.

This is the second time Wright has worked with Keira Knightley, who was also cast as the main character in Pride & Prejudice. 

The long shot through Dunbirk beach took less than five takes to film.

Sweeney Todd: The Demon Barber on Fleet Street review (gua.com.my)

First published in gua.com.my 

31 Jan 2008

Title:

Sweeney Todd: The Demon Barber on Fleet Street

Rating:

8/10

Cast:

Johnny Depp, Helena Bonham Carter, Alan Rickman, Sacha Baron Cohen, Timothy Spall, Jamie Campbell and Jayne Wisener

Genre:

Musical, Thriller, Crime

Review:

Don’t let the trailers fool you. There’s nothing sweet or chirpy about “Sweeney Todd”. Those expecting a light-hearted comedy with gothic embellishments should watch “Corpse Bride” or “Edward Scissorhands” instead.

“Sweeney Todd” is as macabre as it gets, even by Tim Burton’s standards. This is not your typical Burton film where beneath all the eerie aesthetics is a sweet little girl with a feel-good message.

No, you won’t walk out of the cinema feeling good at all. But yet, despite the gore and violence, you just can’t turn your eyes away. You may squirm at the sight of blood oozing, spurting and spraying out from people’s necks – but you just … can’t … take … your … eyes … off … the screen.

   

The film may be bloody, but the graphics pale in comparison to the disturbing message of the film. The insights that we are offered into the mind of the deranged, vengeful spirit that is Sweeney Todd (Depp) are deeply unsettling – even by today’s desensitised standards. 

When he sings about “people who are filled with shit!” – you know he means it. The ease with which he kills people is troubling. Only vengeance and hatred seems to fill this maniac’s black vision – whose pain and pathos can only be quenched by the shedding of blood of the ‘guilty’.

 



 

Because in his mind, no one is truly innocent. His only friends are his silver razor blades which higher purpose is to ‘drip rubies’ and kill the judge (Rickman) who ruined his once tranquil life.

“Swing your razor wide! Sweeney, hold it to the skies. Freely flows the blood of those who moralise.”

Even his closest acquaintance, Mrs. Lovett (Carter) has her own agenda in buttressing Todd’s needs. Todd’s victims are dumped into her basement where she grinds and bakes their bodies into delicious meat pies. They are then served to unsuspecting customers who patron her shop.

Providing comic relief, albeit briefly – is counterfeit barber Pirelli (Cohen aka Borat aka Ali G) who attempts to blackmail Todd when he recognises him. Needless to say, he is taken care of in a very bloody and unforgettable manner – thus instigating Todd’s killing spree.

Todd’s crimes may be abominable – but Depp successfully puts a human face to Todd’s reign of terror. As troubling as it sounds, it’s almost like empathising with Hilter or a mass murderer.

The ending is tragic – but we do not feel satisfied. Nor angry. The outcome is strangely distressing. In a world where students massacre their friends in school, and the horror stories at Auschwitz are being disputed – we wonder if there are any goodness left in the world.

If you are depressed, don’t watch this. The only place that is deeper than the dumps is hell. One does wonder whether the person who wrote this is a misanthropist in the first place?

Did you know? 

“Sweeney Todd” first appeared in various 19th century English language works as a barber and an early example of a serial killer.

The film is adapted from the Tony award-winning play of the same name by Stephen Sondheim (music) and Hugh Wheeler (play) that opened in Broadway in 1979.

For the Love of Randai (Sunday People)

First published in New Straits Times, Sunday People
11 May 2008

For the Love of Randai

IT is for the love for art that husband-wife team Ahmad Tamimi Siregar and Zulhaila returns to the stage for Randai Kasih Menanti, a musical theatre based on the Minangkabau traditional art form, MAX KOH writes.







Zulhaila and Ahmad Tamimi Siregar


FOURTEEN years ago, Ahmad Tamimi Siregar and his wife, Zulhaila Siregar, staged a musical called Randai Kasih Menanti for a royal audience.

The King then (Sultan Azlan Shah) was so pleased with the performance that Ahmad Tamimi was offered a fellowship to the Rockerfeller Foundation in the US.

When Istana Budaya approached the couple to re-stage the musical, Zulhaila thought that it would be a challenge for them.

“We are not doing it for the money but the passion,” says Zulhaila who runs production company SkrinGold with her husband.

Randai Kasih Menanti is a post-modern approach to a Minangkabau classic. It reveals the dark secret of an island, and a mother’s hope for her son’s return.

Zulhaila, the production’s dance director and executive producer, is very tight-lipped about the storyline: “For that, you would have to come and watch the show for yourself.”



For Randai Kasih Menanti this time around, Zulhaila says: “We are happy to find dancers from Istana Budaya and Aswara to help us put the production together. They are really a talented bunch.”

The classic was written by renowned Malay writers Bustami Kamal, Sabri Mohd Zin, and Khalid Salleh. The script for the play was written by Sabri a.k.a. Samoza.

At the interview at Istana Budaya, Zulhaila shows the book on which the musical is based on.

It looked like it had survived wind, fire, earthquake and countless coffee spills. “Sorry, I’ve had this book for more than 14 years,” she says with a laugh.

But what is a randai? “A randai is a popular Minangkabau art form where a group of dancers form a circle called the gelombang. The gelombang features martial arts movements such as the silat and also a very unique thigh-slapping percussion movement called tapuak.

“As the circle moves, individuals come to the centre and perform. The gelombang and bakaba (storytelling) depicts time lapses in a story.”

This popular folk theatre combines elements of song, dance, music, martial arts and acting and integrates three of the oldest and popular Minangkabau art tradition — silat, bakaba and saluang jo dendang (song and flute).

For Randai Kasih Menanti, the actors will perform out of the circle, unlike in the conventional randai.

“I hope that people will come and be enlightened about this traditional Minangkabau art form.

We will also be using some new technology to enhance the performance,” she adds.

“While the art form may be new to some people, it is a fact that randai is known even in the US,” says Zulhaila.

Randai Kasih Menanti features veteran actor Datuk Yusni Hamid and newcomers Safura, Zulkafli Zain, Sabrina Hassan, Shariful Azmi, Megat Sharizal and Ray Redzuan.

It is directed by Ahmad Tamimi.

* Randai Kasih Menanti is on at Panggung Sari Istana Budaya, Jalan Tun Razak, KL until May 18 at 8.30pm, with 3pm matinees on May 11 & 18. Tickets range from RM30 to RM150. Call 03-40265558.

Spinning Poetry (Sunday People)

First published in New Straits Times, Sunday People
8 December 2007


Spinning poetry
MAX KOH

Charlie Dark is his name, poetry is his game, and MAX KOH takes stock of this Brit’s mettle





Slammin’ poets (from left)Charlie Dark, Div, Liyana and Priya


IN a room full of students and expatriates, Charlie Dark spews out words sounding like a rapid-firing machine gun.

Everyone is listening intently. His voice is lyrical. His deliverance is arresting.

He easily conjures images of growing up in East London in the 90s, embellishing his words with a sense of wit and prose.

Deejay, producer, writer, and teacher, Dark at the Singapore Writers Festival was also the Renaissance man of the new millennium, who continually inspires young people all over the world to perform poetry for an audience.

The 38-year-old poet will soon perform in Kuala Lumpur, under the aegis of the British Council.

“In London, the poetry scene has come to the stage where people will start throwing heaps of praise on a poet even though the poet has just written three or four poems.

“When praise is thrown around too easily, the poet becomes lazy.

“Here,” says Dark, “people really have to work hard to build a scene. And by the time (the scene) is thriving, the poets would have nurtured themselves pretty well to take over,” said the father of two. “And that’s going to be mind-blowing.”

Four Malaysians — Diyva K.M. Jiwa, Liyana Yusof, Priya K (who won the British Council’s Wayang Kata IV) and Jerome Kugan — performed at the recent festival and attended Dark’s workshop.

Says Dark: “I really do think than the Malaysian poets can whack off stage those so-called top poets in the UK now. The standard of writing here is better.

“I supposed I’m just disillusioned with the whole scene in UK. The poetry scene in the UK and US are done, so to speak. Europe is not popping. But here, things are really booming. I guess I’m excited because it reminds me of the time when it started in the UK, in 1991.”

That’s when Dark booked a flight to New York because of the thriving poetry scene in that city. All of 21, he worked as a hairdresser’s assistant to save enough money for that trip.

“I realised that poetry could exist beyond the written word. So I came back to Britain, got in touch with some friends, and we used this old art gallery in Brixton to host our first few events. Mum would make food, and we would have DJs and rappers perform in between poetry readings.” The event gave rise to the Urban Poet’s Society.

Dark’s love with poetry began when he was 13. “I received a scholarship to attend a traditional English public school and I was one of the only three black kids in the school of 1,000 children. I was very unhappy.

“Then, this teacher gave me a notebook and a pen and told me to write whatever I felt. She told me that my pen was my weapon. One day, a bully came up to me and I read what I had written, ‘Touch me, and I would crush you like how the giants crush the mountains.’

“He stopped bullying me. That’s the power of the written word.”

From then, Dark fills volumes with poetry. He wrote about his first kiss to even the fried rice he’s eating at the time of this interview.

“Wow! I never tasted anything like this before,” exclaims Dark before proceeding to take a picture of the ubiquitous local dish with his camera-phone.

“I must show this to my mates back in UK. They often don’t understand when I go on and on about food,” says Dark.

So, are you going to write a poem about nasi goreng? “Of course, I will. Expect me to perform it today,” he replies.

Dark’s key to captivating his audience is establishing a connection with the audience from the start.

“I use a lot of humour in my work. I try to connect with the audience right away. I guess, what really works is that I tell every day stories to which the audience can relate. A lot of reminiscing goes on in my performance. ”

As good as Dark is, he is unfazed by his talent. “It’s not rocket science. Why pretend that it’s hard to do? The reason I perform poetry is to tell them that the average man has a story to tell, and that the story is interesting and important. And that like me, he can do it well.”

* Catch Charlie Dark with Priya, Liyana, and Singaporeans Bani Haykal and Ng Yi Sheng in Wayang Kata V at 8.30pm tonight, at No Black Tie (Jalan Mesui off Jalan Nagasari, Kuala Lumpur). Admission: RM10.

Jordin Sparks review (gua.com.my)

Originally published in gua.com.my
9 February 2008



by Max Koh

Album:
Jordin Sparks

Ratings:
6/10

Genre:
Pop, R&B

Review:
We were all shocked when Ruben Studdard, Taylor Hicks and Katherine McPhee were dropped like hot cakes from their record labels. Okay, maybe not so shocked. We knew that they weren't doing well on the charts.

While they serve as sober reminders that winning ‘American Idol' does not guarantee sales success (Hicks sold less than 1 million records while Studdard sold a disappointing 230,000 copies), attention has shifted to last year's winner Jordin Sparks who has just released her debut album.

Fans will be pleased to know that everything we loved about Sparks is here: big vocals, wholesome image, and her infectious bubbly personality that was such an appeal during the show. (the surly Simon Cowell deems it as “being too cute.” Whatever, Simon.)

Unlike Daughty's soaring debut, “Jordin Sparks” has been climbing up the charts slowly but surely. It reached the Top 10 on the US charts and it appears that Sparks is here to stay for a while.

Lead single “Tattoo” is infectious but is not the best track on the album. It merely hints at the R&B/electronica/pop elements that have been stylised to suit her youthful voice.

“Now You Tell Me” is a soaring ballad and her duet with Chris Brown on “No Air” is a pretty upbeat ditty that is poised for greatness.

Elsewhere, you'll find no fault in the easy-listening “Next To You” and “Just For The Record” where her saccharine vocals come to the fore.

The standout must be “Permanent Monday” which sounds like a cross between a power ballad and an indie rock song. It is easily the best track on the album and has a stirring string section.

The album could have been excellent if not for the forgettable electronica-pop numbers like “Freeze” and “Shy Boy” which are not that appealing, I must say.

All in all, this is still one of the better debuts to have come out of the show. Whether she has the staying power to be a Kelly Clarkson or Carrie Underwood remains a question that only time can answer.

What others say …
“Jordin may still be a juvie, but she's a bona fide pop star. She earns her props as convincingly here as she did on TV.” Amazon.com

“Despite the misfires, Jordin Sparks is as much effervescent fun as any post-Idol bow.” Entertainment Weekly

The Dead Girl (gua.com.my)

Originally published in gua.com.my
18 Feb 2008


by Max Koh

Title:
The Dead Girl

Ratings:
7/10

Cast:
Toni Collette, Brittany Murphy, Marcia Gay Hayden, Rose Byrne, James Franco, Josh Brolin, Giovanni Ribisi, Kerry Washington, Mary Beth Ruth, Piper Laurie and Mary Steenbergen

Genre:
Drama, Mystery, Thriller

Review:
There is a perpetual sadness that hangs over “The Dead Girl”, the second feature film by independent director Karen Moncrieff.

The movie opens with the body of a dead girl (Murphy in one of her most mesmerising performances). However, the focus of the film is not on finding out how the girl died. Instead it examines how lives are irrevocably changed by her death.



Presented through five different stories, the movie offers an unflinching look at how the murder affects the lives of the various female characters, whose relation to the dead girl may not be obvious from the beginning.

As the stories draw you in (helped tremendously by the excellent cast), you can’t help but be affected by the bleakness that dominates their lives and their struggle to break free from it.

In the first story, ‘The Stranger’, Arden (Collette) discovers the body of the murdered girl and overnight becomes a local celebrity. However, she is berated and scorned by her abusive but ailing mother (Laurie in grandma-“Carrie”-mode) who calls her ugly and despises the attention she is getting. Arden meets a stranger (Ribisi) and is attracted to him despite his unhealthy obsession with serial killers. Eventually, she decides to elope with him.



‘The Sister’ revolves around a forensic undergraduate who examines the dead girl’s body and is convinced that it is her sister who has been missing for 15 years. Her mom (Steenbergen), however, refuses to give up on her missing daughter, thus preventing her from having closure and moving on. She becomes dependent on anti-depressants and shuns the interest of a young colleague (Franco). Her mom does not see that she is on the verge of losing her remaining living daughter in a bid to find her dead one.



Mary Beth Hurt is ‘The Wife’ whose relationship with her husband, Carl, is on the verge of a breakdown. He often leaves the house for long periods of time and she is left to pick up his mess. One day, she finds incriminating evidence that could link her husband to the dead girl’s murder.

In ‘The Mother’, we meet the dead girl’s mom, Melora (Hayden). It is easily the most moving story in the film. It has been years since her daughter, Krista, ran away from home, where she became a drug addict and prostitute. To understand her daughter’s life, Melora meets Krista’s roommate, Rosetta (Washington), and eventually learns out about her illegitimate three-year-old granddaughter, Ashley. Melora takes her granddaughter in and promises to love her as she did Krista.



Finally, we meet ‘The Dead Girl’ who turns out to be the most buoyant and ‘alive’ character in the film despite the oppressive circumstances. We follow Krista’s final hours as she finds her way across town to surprise her daughter who is turning three years old the next day.

“The Dead Girl” may be bleak but there are underlying optimistic nuances. ‘The Mother’ gets a second chance by caring for her granddaughter. The forensic sister eventually opens up her heart. And therein lies the irony – it takes a dead girl to revive the lives of others.

Did you know?
This film was nominated for Best Picture and Best Supporting Female (Hurt) at the Independent Spirit Awards last year.

Vantage Point review (gua.com.my)

Originally published in gua.com.my
21 February 2008


by Max Koh


Title:
Vantage Point

Ratings:
6/10

Cast:
Dennis Quaid, Matthew Fox, Forest Whitaker, Bruce McGill, Edgar Ramirez, Said Taghmaoui, Sigourney Weaver and William Hurt

Genre:
Action, Thriller

Review:
In “Vantage Point”, the attempted assassination of the US President is told from eight different perspectives.

Thomas Barnes (Quaid) and Kent Taylor (Fox) are two Secret Service agents assigned to protect US President Ashton (Hurt) who is in Spain for a landmark summit on global terrorism.

When he is shot at the summit and bombs go off, chaos ensues. Amongst the crowd is Howard Lewis (Whitaker), an American tourist who thinks he has captured the killer with his video camera.

Also at the scene is news producer Rex Brooks (Weaver) who has recorded the whole incident on camera with her news team.



A high-paced action thriller, “Vantage Point” explores the period before and right after the assassination attempt from the unique perspectives of eight key participants. They include the president, Secret Service agents and terrorists.

Beginning with the news producer’s, each viewpoint is like a piece of the puzzle falling into place, the truth being uncovered for audiences to see.

“If you were to follow only one story, you wouldn’t find out the truth about what really happened,” says director Pete Travis. “As you see each story, you see something else that you never knew before. It’s only when you get to the end that you figure out what really went on.”



Although the idea is not really new, the suspense will keep you at the edge of your seat. The “cliffhanger endings” for each perspective makes the experience only more intense as the events ‘rewind’ to reveal other viewpoints.

Along the way, you also get a cool car chase across the Spanish capital.



Dennis Quaid does an awesome job as the agent with a turbulent past. Forest Whitaker is lovable as the “citizen hero” who tries to save an innocent girl’s life while William Hurt embodies all the qualities of a certain US President.

My only gripe is Matthew Fox, whom I feel, was miscast for the role. He simply could not tackle the intensity of the character. I like him in “Lost” but here he does not deliver.
Like most US-ego-centric action movies, the US supremacy nuances are very much present in this film. Although the script does take a few jabs at the propaganda-driven mainstream media; a sentiment most local political bloggers can relate to.

However, it is not the intention of the film to be smart or preachy about the issues it delves on.



Like the narrative style it adopts, “Vantage Point” presents itself as a really good action thriller film. Not quite “The Constant Gardener”, but not as dumb as “Die Hard 4”.

Overall, “Vantage Point” delivers with the right amount of style and substance to entertain the first date but not enough to make a lasting impression.

Did you know?
Director Pete Travis was a social worker before he made movies. This attracted the attention of Whitaker, winner of 2006 Academy Award® for Best Actor for his portrayal in The King of Scotland, to star in this film.

Besides the Hollywood heavyweights, the film also feature international stars such as Spain’s Eduardo Noriega (star of “Abre los ojos”, the original version of “Vanilla Sky”), Israel’s Ayelet Zurer (“Munich”), France’s Saïd Taghmaoui (“La Haine”), and Venezuelan actor Edgar Ramirez (“The Bourne Ultimatum”).

 

Ka Wha Korean BBQ (Gua.com.my)

Originally published on gua.com.my
18 March 2008



by Max Koh

Recent years have seen a slow but steady migration of Korean expatriates to Malaysia. And with their arrival, countless Korean eateries have mushroomed in the Klang Valley, not only to satisfy the cravings of their countrymen but also food lovers here.

But it is not always that you find an authentic Korean restaurant that serves really good food. I’ve had my fair share of bad experiences where I have been left disappointed with the quality and authenticity of the food. And the price was not exactly wallet-friendly either.

However, nestled in the bustling hub of Bangsar is a Korean restaurant that offers some of the best Korean fare in town. My friends, the gem is Ka Wha – a cosy little restaurant that specialises in Korean BBQ. And surprisingly, it is affordable!

What is Korean BBQ, you ask? Well, it is not Lea & Perrins marinated burgers flipped over a grill or satay sticks being grilled to perfection over a slow fire.




While these images are enough to satisfy the most voracious gourmand, only true epicureans will gamely take on the most exotic of Oriental flavours that Korea has to offer besides kimchi and singer Rain (although some of my female friends call him a “yummy treat”).

Korean BBQ features a metal plate over charcoal located at the center of the table. Gourmands then cook their food (usually slices of marinated and un-marinated meat) over the charcoal fire.

The result is a scintillating dining experience, as you not only get to eat your food but play with it too! Okay, you should note that I am only kidding, as Koreans are known for their strict and proper dining etiquette.

For example, you should not lift your rice or soup bowls from the table. That is bad manners. And unlike the Japanese, you should never make any unnecessary noises while chewing your food. It is considered uncouth.

But I digress.



The restaurant is decorated in traditional Korean décor, with wooden chairs, tables and Korean lanterns. But as many of you know – the clothes do not maketh the man.

At the heart of the restaurant is a Korean lady helming a team of waiters and chefs. Therefore, you can be rest assured there are no wolves in sheep clothing here. It is as authentically Korean as you can imagine.

While the restaurant is open for lunch and dinner, gourmands wanting to sample the whole spectrum of Korean cuisine should take advantage of the all-you-can-eat dinner buffet at RM38+.

Yup! I am not kidding you. For that price, you can order anything you want from the menu; all sorts of raw meat and their variant parts, salads (take your pick from Korean Style Lettuce Salad, Spring Onion Salad, Mixed Salad with Wasabi Dressing), Korean Pizza with Kimchi, Hot Stone Bowl Bibymbab (rice dish), steamed and grilled mackerel, prawns, squid, oxtail soup, seaweed soup etc. (Salivating yet?)

All in all, you have an unlimited (Yes, UNLIMITED!!!) order of 60 dishes that you can choose from. Besides that, you have the blue-marked items that allow only one order per person. This includes the ox tongue, beef stomach and intestines, raw beef with egg yolk and pear, and raw beef tripe. It may not sound appetising, but trust me after you’ve cooked it over the charcoal and put it in your mouth, you would want to order another plate. I know I did.


Speaking of which, the service is excellent! The waiter changes the metal plate periodically (it becomes black from the constant grilling) and would constantly keep a lookout for the intensity of the fire.

The result is a fuss-free dining and cooking experience that will not go awry. (Although we did burn some cabbage leaves on the charcoal. Oops, my sincerest apologies to my Korean friends. Mianhamnida! I promise to behave after this.)

Oh, I forget to mention that as with all Korean fare, dinner begins with more than 10 plates of appetisers to get the ball rolling. Yep, not one or two but 10 plates to satisfy your palates while you wait for your food to cook! How cool is that?

The appetisers include kimchi (of course!), potatoes strips, ikan bilis, taugeh, salad and other kinds of veggies to turn your face (and tummy) green.

To help you wash down the enormous variety (and amount) of food, I strongly recommend that you try the various traditional Korean alcoholic drinks available.

The rice wine is the usual choice but I would suggest the Jinro wine made from wheat. Although it contains 19.8% alcohol, it has a nice sweet taste to it.

And to cap off the hearty meal, you can choose ice cream or fruits for dessert. Talk about being spoilt for choice and stuffing yourself silly!

As you leave the restaurant, the waiters and hosts would bow down in gratitude and offer you a piece of Lotte Chewing Gum. The pleasant and warm service is extended until you set your foot out of the door. If only some local eateries would learn a trick or two from these guys!

All in all, Ka Wha offers a very satisfactory dining experience. In fact, I count it as one of the most memorable of my life. Not only was the food excellent, the service was impeccable thanks to the Korean courtesy, and the ambience is apt for casual dining with friends.


And most importantly, it does not burn a hole in your pocket while offering a very hearty dinner to all you big-eaters out there.

I know that I will be back for more Korean BBQ at Ka Wha. And this time, I’ll behave and will not burn any more cabbage. I promise!

The dinner buffet begins from 5:30pm until 10pm every night. Reservations are recommended. Ka Wha Korean BBQ Restaurant (non-halal) is located at 20-1, Jalan Telawi 2, Bangsar Baru, Kuala Lumpur (above Mak Koh restaurant). Call 603-2284 7762 for more information/reservations. Or email them at kawhabbq@hotmail.com.

Edgy Show for Teens (Sunday People)

First published in New Straits Times, Sunday People
8 September 2007

TV: Edgy show for teens

It's all about friendship, writes MAX KOH about 8tv’s new show, Kami — The Series.



A SNAPSHOT of four teenagers walking, and one riding piggyback, down a lonely KL street. Smiles beam from their faces. Their camaraderie is so close that you can’t tell where one ends and another begins. Smells like teen spirit?

Well, yes. It is a photo like this that inspired two writers-directors to come up with Kami — The Series, an eight-part series about the five teenagers and the events that leads them to one another.

Set against the backdrop of the local independent music scene, we follow Lynn, Ali, Abu, Sofie, and Adii through their coming-of-age phase, but it’s a musical journey.

While some of us would give anything to forget those tumultuous years, Fariza Azlina Ishak (Fizzi) and Effendee Mazlan (Fendi) have set out to capture the exuberance of youth on film.



They explain: “All of us remember what it is to be young. We’ve all been through that although our experiences vary. Kami was something we wanted to do through our own perspectives.”

Part of a multi-platform project, Kami the TV series will be followed by a feature-length film to be released next year, produced with the help of Lina Tan and her team at Red Films.

At the same time, a series of gigs featuring local indie bands have been held nationwide with bands like One Buck Short, Bittersweet, and Gerhana Ska Cinta performing.

With so many facets, Fizzi and Fendi are adamant about the crux of the story. It’s all about friendship.

“Kami brings to light some of the perils and issues that plague today’s teens. The five teenagers in the TV series have their own dreams to pursue while wrestling with their ‘demons’ at home or school.

“While the story is set against an indie music backdrop, it’s not about the underground scene per se. It’s really about the friendships we made in our youth.”

But haven’t stories like this been told in countless TV series like One Tree Hill and Dawson’s Creek?

No worries, brother. The two are banking on a non-linear style.

“In the first five episodes, each episode will only focus on a character’s background. It is only on the sixth episode that these five finally meet in KL for the first time.

“Stories like these are sememangnya (usually) cliché. But it is how we capture the emotions and the storytelling that is different,” they say.

While indie bands like Meet Uncle Hussein and Reza Salleh appear in the series, the soundtrack also features rocking contributions from One Buck Short, The Times, Pop Shuvit, Gerhana Ska Cinta, OAG and Couple.

Opening the show is Lagu Untukmu by newbies Meet Uncle Hussein. The music is energetic and emotional which fits the edgy vibe of the show.

“Music is the unifying factor that brings these five together,” Fizzi explains. “At the same time, we also want to introduce these new bands and their music.”

So, why these bands? “Well, we specifically asked for some bands like Bittersweet. By the way, they make really good music. Some were introduced to us. Ultimately, it just depends whether if the music fits the scene or not.”

Great bands. Edgy storytelling. Converging media. Sounds cool. But what about the main cast?

Liyana Jasmay, 19, from Pahang plays Lynn who is an aspiring journalist. She is independent, streetwise and runs her own fanzine called Kami under the pseudonym Teka-Teki.

Syarul Ezani, 18, plays Ali and some say, he’s the “good-looking one” in the bunch. Ali is a struggling musician trying to cope with his parents’ crumbling marriage.

Playing the airhead, Sofie, is Juliana Sophie. The 18-year-old is no stranger as she has hosted several TV shows including Remaja and Ezone.

Then we have Nas-T, the true musician of the group who plays Abu. Nas-T is a DJ with the local rock-rap band Dragon Red. He acted in Bernard Chauly’s Goodbye Boys.

Rounding up the group is newbie Ani Zayanah, 21, who plays Adii, the rock that holds the group together.

As Nirvana’s Kurt Cobain once sang, “Our little group has always been, and always will until the end.”

Friendship forged in the days of our youth is forever.

Kami — The Series is aired on 8tv on Wednesdays at 10pm.

A Fiesta of Music (Sunday People)

First published in New Straits Times, Sunday People on
29 September 2007

A Fiesta of Music

by Max Koh

Torres wooing the Kuala Lumpur crowd.


THE audience at the Dewan Filharmonik Petronas in KLCC felt the heat when flautist Nestor Torres performed with the Malaysian Philharmonic Orchestra recently.

From Latin jazz standards such as Besame Mucho and El Cumbanchero to original compositions from his album, Dances, Prayers And Meditation For Peace, Torres impressed everyone with his virtuosity.

He was accompanied by an ensemble of percussionists, armed with congas, bongos, timbales, and cowbells.

The MPO musicians were also togged for the occasion, ditching the usual black outfits for Latin garb. The male musicians boasted shirts with Hawaiian prints and sunglasses while the female players came in beautiful dresses and wore stilettos.

Portuguese-American Jacomo Bairos was the guest conductor that night billed, Latin Jazz Fiesta. With his flowery hand gestures and jerky body movements, he was fun to watch as well.

But the star was undoubtedly Torres who drew standing ovations for his solos including for Let There Be Light, an uplifting song that offered a glimpse of hope that “when we battle our own demons, like those who bring light after the storm, we shall prevail.”

It began with a marching beat before erupting into a symphony of Latin beats, lush strings and an impressive flute solo.

In 2001, Torres won the Latin Grammy in Pop Instrumental for his album, This Side Of Paradise. While this is usually a milestone in one’s music career, the win proved to be bittersweet as the award night fell on Sept 11.

“I remember the awards show in Los Angeles was cancelled due to the bombing of the World Trade Centre,” said Torres in an interview that afternoon at a hotel in Kuala Lumpur.

“Even though I had won the Grammy, it did not feel good in light of the evil that day.

“That’s when I decided to go to New York to meditate and play my flute in various houses of worship.

“I wanted to be a conduit for whatever energy that was present in New York that time, and channel it into music that will inspire, empower, and revitalise the people.”

Torres played in St Peter’s Church, which is just around the corner of Ground Zero, the Congregational Darech Amuno Synagogue, the Community City Church of New York, and the Soka Gakkai International-USA Buddhist Culture Centre.

Out of the ashes of the 9/11 tragedy came the songs for his 2006 album, Dances, Prayers And Meditation For Peace.

Befittingly then, when Torres played the songs from his recent album, the mood was meditative.

The night turned really sentimental when Torres performed Over The Rainbow. “I am really impressed by Malaysia, a nation which is relatively young but is yet rich with so much experience,” Torres said before he took up his flute.

“It is this marriage of experience and vigour that will surely bless this nation for years to come. I am honoured to be here with you during this season of celebration.”

We left DFP with smiles.

Woman in Love (Sunday People)

First published in New Straits Times, Sunday People
20 January 2008

Woman in Love 

MAX KOH

IT’S a dark night as I walk down a quiet street in Brickfields, my path illuminated only by the headlights of passing vehicles.

But as soon as I enter The Temple Of Fine Arts, I am greeted by a flurry of activity: Indian ragas emanating from portable cassette decks, children stamping their feet to the tala (rhythm) being played, and students swirling in dance as their parents look on proudly.

I was there to speak to an emerging artiste — Hemavathi Sivanesan or Hema — who has just performed her arangetram (graduation performance) last September.

Among those in the audience that day was acclaimed international dancer Mavin Khoo.

“With Hema, I saw the potential of a dancer who has a destiny with dance,” said Khoo who then proposed a project to further hone her skills.

“All I do is to provide a platform for her to further develop herself as a dancer and an artiste.”

Khoo feels that after a dancer’s solo debut, the performer usually takes a step backwards — a psychological reversal — instead of developing herself as a solo dancer.

“I wanted to tap into the physical and emotional energy that was still present. The next step was necessary in the tradition of Indian classical dance — a two-hour solo repertoire.”

Which brings us to Hema’s maiden solo performance called Mardhuya: The Sacred Feminine On A Journey of Love. The dance is choreographed by Khoo, who once trained under Hema’s mother, TFA’s senior dance teacher Vasuki Sivanesan — a “perfect cycle”, he adds.

Says the 20-year-old Hema: “Mardhuya is essentially about love. It is about the different types of experiences that a woman goes through in her life.”

To explore the nuances of the female spirit, Hema had to tap into her own emotions and explore the many different expressions of feminine love.

Says Khoo: “Classical Indian dance has always been imbued with so much spirituality. However with Mardhuya, I choose instead to focus on the theme of love that is so universal and accessible to everyone.

“In the classical Indian form, there are specifics ideas about who you are. What I try to do with Hema is to develop a relationship between the dancer and form, and eventually enable the dancer to find herself as a modern person living within the art form.”

Hema began studying ballet at the age of four. She took to bharatanatyam when she was six years old, under the guidance of her mother, Vasuki.

But it was only in Form Four that Hema says she realised her true calling.

“It’s funny but I always wanted to be a doctor. But it was at that time when I realised I kept thinking about dancing and how I love to be in that world.”

But the dancing world is no bed of roses as Khoo describes it: “A career which you must constantly improve yourself because the next day, a new face will always emerge.”

“That is why I’m actually envious of Hema. She is still in that mental stage when it is all about the art,” says Khoo.

“And she will be fascinating to watch. She’s now at the foetal point as an artiste. In 10 years, when you see her perform again, you’ll appreciate it even more as you’ll see how she has developed as an artiste.”

“Khoo is not only a teacher but also a good friend to me,” says Hema. “I think my understanding of the art form has deepened from my time with him. And it really helps a lot as I will be going to Perth to do my degree in performing arts.”


Hema performs Mardhuya: The Sacred Feminine On A Journey of Love, with nattuvagam (chanting to the exact beat) by Mavin Khoo, on Jan 25 at 8pm. Venue: Actors’ Studio, Bangsar Shopping Centre. Admission by a minimum donation of RM30. Invitations available at the Temple of Fine Arts, Brickfields, KL. Call 03-2743709.

Secured Commitment (Sunday People)

Originally published in New Strait Times, Sunday People
20 December 2007

Secured Commitment

MAX KOH

BRIAN has borrowed money from a friend who is a tai ee lung (loan shark). He thinks he will be treated differently as he’s a friend.

The poor chap finds out otherwise.





This is the premise behind the short film, Unsecured Loan, by independent film maker Julianne Block, shown recently at the IndiCine Kuala Lumpur Performing Arts Centre in Sentul.


The audience is kept at the edge of their seats with all that action as Brian tries to get the money to settle the debt.

The 11-minute film offers flashbacks, scenes playing in reverse, split screens and curious camera angles.

The intimate gathering applauded the effort by Block who directed, wrote and produced the film.

“Believe it or not,” says Block, “I did not study filmmaking. In high school, I excelled in Maths and Physics.”

The tall, lanky Block with a distinct German accent is an architect and that earned her a living but it was meeting aspiring filmmaker Marc Fehse at a German university which eventually led her to her calling.

Fehse was making an independent horror film called Mutation. He needed someone to do special effects make-up and I was roped in. “It was a trash film, but I had lots of fun doing it,” she says with a laugh.

Block says she soon realised that she needed experience outside of Germany.

Fascinated by Asian culture, she sold everything and moved to Hong Kong two years ago.

“I chose Hong Kong because it was the hub of film-making in Asia and I hoped that it would lead me to the US. But Hong Kong was difficult to break into,” says Block who then moved to Malaysia.

She began working on her brother’s short story called Geschäft ist Geschäft, which became Unsecured Loan.

The film was shot on a very short budget and all the actors and crew members agreed to work pro bono, spurred on by a common interest in filmmaking.

Sean Yap, whom Block met during Joe Hisham’s “Acting for Beginners” classes, was roped in to play the role of Brian. She thought that he fitted the character like a glove as he projected a very fierce demeanour during class.

Yap Yen Sam stumbled into the project through his son who heard about the auditions.

Says Yap: “I guessed they picked me (to play the loan shark) because I was the only fellow who fitted the description.”

Block is now working on her first 90-minute feature film, Free Ashes, a character driven piece. A bigger project which will need more funds, an unfazed Block says: “I will continue making films because it is what I love to do”.