Spectre of May 13 no longer scary, say analysts
BY SYED JAYMAL ZAHIID SEPTEMBER 4, 2013
KUALA LUMPUR, Sept 4 — Despite continuous attempts by political parties to mine the May 13, 1969 race riots for support, analysts think most Malaysians have moved on.
Wan Saiful Wan Jan of think tank Institute for Democracy and Economic Affairs (IDEAS) said Malaysians are capable of moving away from race politics.
Even though the controversial movie “Tanda Putera” continues to dominate headlines and the various political parties are either defending or attacking the movie’s accuracy in its depiction of May 13, most Malaysians are irritated at worst or amused at best.
“Malaysians are capable of moving away from race politics. The problem has always been the politicians. It is they who want us divided so we must ensure that the politicians are not allowed to do that anymore,” said Wan Saiful.
“To blame May 13 on the Chinese or any ethnic group is divisive. It is wrong to racialise May 13. There were many dimensions of the incident,” DAP’s Liew Chin Tong said.
While Tourism and Culture Minister Datuk Seri Nazri Aziz had praised and defended the film, saying that it was indeed true that “some” Chinese had triggered the riots, he said it was wrong to pigeonhole the Chinese community based on the actions of some individuals.
However, Merdeka Center’s Ibrahim Suffian said that most of Malaysia’s voter population — the youth — are not affected by the debate.
“It is the politicians who are trying to comment on it and give it a racial angle but ordinary Malaysians are not affected by it.
“Most of them are born after May 13 or the new village era,” Ibrahim said.
Instead they look with a critical eye at how the authorities have allowed “Tanda Putera” to be screened while another locally-made film, “The New Village”, a love story set in the Emergency era, remains in limbo under orders from the Home Ministry despite being approved for theatrical release earlier.
“The New Village” was scheduled to open on August 22, a week before “Tanda Putera”.
Extreme right-wingers alleged that the Chinese-language movie glorifies the communist insurgents who were active during the Emergency.
Ibrahim said the movie should be screened — just like “Tanda Putera” — and the people should be allowed to decide if it is any good.
“The movies should be allowed to be viewed and politicians be allowed to speak about it but let the movies stand on their own merits,” he said.
After all, everybody — including politicians — have a right to their opinions. But that is exactly what they are, opinions.
Movie version of Malaysian race riot stirs unease
SEPTEMBER 4, 2013
KUALA LUMPUR, Sept 4 — At a crucial point in the film “Tanda Putera”, ethnic Chinese youths urinate on a pole flying the flag of a Malaysian state, setting off events that push the country into a deadly race riot that still haunts the national consciousness four decades later.
The publicly funded movie, which opened recently in Malaysia after a long delay, is stirring up racial sentiment at a sensitive time over its depiction of the ethnic Chinese minority as the aggressors in the violent events of May 13, 1969.
The “bumiputera” system of preferential treatment for ethnic Malays, who make up two-thirds of the population, was born out of the riots and continues to be the number one complaint among the country’s ethnic Chinese.
The film, released as Malaysia marked its 56th year of independence and as Prime Minister Datuk Seri Najib Razak prepares for a possible leadership battle within his party in October, plays on deep-seated fears at a time when Chinese disloyalty has been blamed for the government’s depleted majority in May’s election.
The predominantly ethnic Chinese state of Penang has advised cinemas not to screen “Tanda Putera” on the grounds that it crosses a line by using public funds to promote hate.
Creative licence should not be used to spread lies that may cause racial disharmony, he added.
That is a charge Shuhaimi Baba, the film’s director, denies.
“Historical facts carry many backstories written by different sources on the same subjects,” she told Reuters. “Film makers use creative licence to put them together in a story or else they become documentaries.”
The movie — whose Malay title means “Mark of a Prince” — was held back before the election in May for fear of alienating ethnic Chinese. Their votes went to the opposition anyway, sharply cutting the government’s winning margin.
Hardliners in Najib’s Umno party equated the disaffection of ethnic Chinese with betrayal and the intemperate mood has simmered. Najib’s cabinet has only two ethnic Chinese ministers, both in minor posts.
Official versions of the 1969 riots are scant on detail.
About 200 people are said to have been killed in the clashes in and around the capital, Kuala Lumpur, after opposition parties supported by the ethnic Chinese community made inroads in a general election three days earlier.
Shuhaimi’s film builds the picture of the looming disaster in a series of heavy-handed scenes, potraying the Chinese mainly as shadowy figures who bring mayhem. In contrast, the Malays show restraint and dignity even as events spin out of control.
“Tanda Putera” makes much of the role played by Abdul Razak Hussein, the deputy prime minister at the time and the father of the current prime minister, in securing peace in the face of personal tragedy.
Shown as strong, self-effacing and principled, Razak has no discernible fault in the film. He hides his terminal leukaemia, finally succumbing to it in scenes at a London clinic.
The film flays foreign correspondents for biased reporting on the riots and gives a nod to the theory that mainly ethnic Chinese communist elements had a hand in the trouble.
Better known for horror movies, Shuhaimi said the question of too much or too little creative licence did not apply in a feature film like “Tanda Putera”.
She said she was “now in the midst of getting the film back on screen in Penang”. — Reuters
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