FACULTY OF BUSINESS AND MANAGEMENT

MALAYSIAN CINEMA
(FDC411)

GROUP ASSIGNMENT:
HISTORY OF MALAYSIAN CINEMA: FROM STUDIO JALAN AMPAS TO
INDEPENDENT COMPANY

PREPARED BY:
NAME MATRIC NUMBER
KAMARUL ARIFFIN BIN KHAIRIL 2018297762
MUHAMMAD NAZEEM BIN ROSZALLI 2018297568
NUR AQILAH SYAHIRAH BINTI KAMARUSZAMAN 2018802308
NUR DAMIA AINA BT ABDUL RAZAK 2018801656
NURIEN SYAHIRAH BINTI MOHD NIZAM 2018653494
SYAZA AMINAH BINTI SAFIAN 2018424232

GROUP:
BAE6B

PREPARED FOR:
SIR AZRI BIN ABU HASSAN

SUBMISSION DATE: 17th JUNE 2020

Table of Contents
ABSTRACT...............................................................................................................................................3
1.0 INTRODUCTION...............................................................................................................................4
3.0 SHAW BROTHERS............................................................................................................................7
3.1 HISTORY OF SHAW BROTHERS..............................................................................................7
3.2 WHAT SHAW BROTHERS DOING NOW.................................................................................9
4.0 HISTORY OF MALAY FILM PRODUCTION.............................................................................11
5.0 THE GOLDEN ERA OF THE MALAYSIAN FILM INDUSTRY...............................................13
6.0 THE FALL OF MALAY FILM PRODUCTION............................................................................15
7.0 P. RAMLEE’S AFFILIATION WITH JALAN AMPAS...............................................................17
REFERENCES........................................................................................................................................19

2
 ABSTRACT

This report is about history of Malaysian cinema titled from Studio Jalan Ampas to an
independent company. It refers to the original Malay film production back in 1933. Malaysian
cinema in the old days was popular among the locals because of the story outline of the film with
all the messages and lessons conveyed in the film produced. Moreover, Malay film is considered
popular and well-known due to the actors and directors itself. P Ramlee and Shaw Brothers were
known to have great chemistry and unquestionable skills in producing and directing while acting
in the film itself. From this discussion, we find out that there are golden era and fall era of the
Malaysian cinema. Golden era of the Malay film is what make Malaysian cinema more famous
even in another country. The golden era of Malay film began after the Japanese Independence.
From the findings, golden era of Malay film when movie magic swept through the length of the
peninsula with the 1947 release of the primary post-war Malay film, Seruan Merdeka, which was
produced by Indian businessman K.R.S. Chisty and directed by influential Calcutta-born auteur,
B.S. Rajhan. Next, it is because the films mainly represented the Malays, they showed a sense of
openness in how the Malay group within the films of the golden era was portrayed and lastly,
Seruan Merdeka was a ground-breaking film because it was among the primary to feature Malay
and Chinese actors on screen together. Falls of Malay film come along the golden era. The fall of
Malay films are due to these three factors. First factor is the emergence of black and white
television as an alternative entertainment. The introduction of television in Malaysia started in
1963 caused the shrinking number of cinema-goers. Next, the influx of Indonesian, Hong Kong
and Hollywood foreign films has also been a major contributor to the studio's downfall and
lastly, the fall of Malay film industry was due to P. Ramlee's relocation from Jalan Ampas
to Merdeka Film Productions has reduced Singapore's role as a movie theatre. Not only that, P
Ramlee’s affiliation with Studio Jalan Ampas was what created the famous and well-known
Malay film industry. Based on the findings, if people were to talk about Studio Jalan Ampas, P.
Ramlee’s name would definitely be mentioned as he is ‘synonymous’ to it. Besides, in 1949, B.S
Rajhans invited him to join the Shaw Brothers studio, Malay Film Productions, as a playback
singer. P Ramlee has humbly made his way in the industry as a director and actor.

3
1.0 INTRODUCTION

Just like the colour of films produced, the Malaysian film industry itself is a source of inspiration
from many nations and people. Malaysian cinema in the early 1930s had a lot of ethnicity as well
as international involvement. This continue to reflect the aspects of the country from various
aspect of race, culture, narrative and grappling with the tensions of modernity that conflict with
traditional values. The early films were a collection of classic sentimental, melodrama, horror,
comedy and romantic motifs, mostly reminiscent of the bangsawan (Malay opera) performances
popular with the locals.

The first Malay film began in 1933 with Leila Majnun, which was based on a Persian love story
and had Islamic overtones. This movie was made by Indian Producer S.M Christy and directed
by B.S Rajhans. The story was popular in numerous staging of the bangsawan as well making it
twice to the silver screen because this movie had a limited run in the cinema due to distribution
problems.

The golden era films produced at the pinnacle of Malaysia’s film history are often portrayed as
films that convey a smooth and negotiable identity. Although these films represent the Malays,
the film screened a sense of openness to the Malay ethnic group in the golden era of films. Malay
films produced in at that time, especially the ones directed by P. Ramlee seen as a work that
progressively addresses the socio-cultural issues of new postcolonial nation. A whole new form
of entertainment came into being for the region and went on the create many local films stars,
directors and other film personnel in the process that would have far-reaching effects for the
future of the Malaysian film industry [ CITATION Ang18 \l 17417 ].

4
2.0 HISTORY OF JALAN AMPAS, SINGAPORE

Figure 1: Jalan Ampas, Singapore

Jalan Ampas, Singapore is a street that have many histories that make a development in Malay
film. A street near Balestier Road in Singapore is where the movie studios Malay Film
Productions and Shaw Brothers are located. The name of “Jalan Ampas’ owns its heritage as
asugar cane plantation in the early days. In Malay, ampas tebu (hampas tebu) refers to the
fibrous pulp the remains after sugar cane has been crushed to extract its juice. This is where
many Malay artists strides as an actor for a drama and films that produced by Shaws Brother, and
in the Jalan Ampas, Singapore as a studio to be a place of the actor to act out their drama and
movies.

Malay film produced in Singapore in the 1950s and 1960s coincidentally at one time the country
was experiencing rapid social, political, religious and economic change [ CITATION Sye05 \l
17417 ]. Directed in a direction viewer whose visual entertainment is a bit limited at the time,
Malay films often featured and Malay affect consciousness in such a context. So strong the
power of such a movie to this day, many movie sequences have now established itself as a new
addition to the corpus of Malay metaphors.

5
 .
Figure 1.2: Studio Jalan Ampas in the P’ Ramlee Film

It was back in the late 1940s, the 1950s and the early 1960s, that the studios at No.8 had its best
days, rising to become the most successful Malay film production house of the time. It was also
during that time when as a young and aspiring actor at the studios, P. Ramlee, not only made his
mark as a young singer and songwriter, but also very quickly as an award-winning movie
producer and director. However, 1958 was a turbulent year for the arts career that began to shake
when Malay Film Production was hit hard by the financial crisis [ CITATION Sye05 \l 17417 ] . Most
Malay artist that came from Malaya decided to return home to join the Independent Film Studio
that opened after Malaya achieved independence.

In 2019, a production has released a film that tells the story of the hardships of artist which have
never been shared before and it be produce the film titled Showtime 1958. This movie was
inspired from true story that was shared by the late Datuk Jamil Sulong, this film was a work by
Anwardi Jamil who also plays the role of a director in this film. The movie Showtime 1958 will
feature some of the twenty-four (24) hours of storytelling that took place on an important date for
the movie stars at the Jalan Ampas Studio back then.

Film Showtime 1958 was the first film that produced by the Nafalia Corporation, before this the
producer was in produced a drama and series shows for local television stations. This movie will
start the shooting on June 17, 2019 and is slated to hit theaters nationwide including Singapore
and Brunei.

6
3.0 SHAW BROTHERS
3.1 HISTORY OF SHAW BROTHERS

Figure 2: Shaw Brothers

The Shaw organization began in 1924 led by Shaw brother which is Run Run Shaw and Runme
Shaw. They began their operation in Singapore screening their own brand of silent movies. They
set up their own cinema because the frustrated by local branch. They began to branch out into
Malaysia building new cinemas and operating mobile cinemas for rural areas. However, it was
only with the advent of sound that movies began to really launch themselves. Runme and Run
Run had their foot firmly planted in Malaya in1930, carrying on their film business under two
entities which is Hai Hsin Film Co. and Shaw Brothers. In 1933, Hai Hsin Film Co and Shaw
Brothers debuted in the Directory of Malaya, with both having 116 Robinson road as their office
premises.

7
 Figure 2.1: Run Run Shaw Figure 2.2: Runme Shaw

In 1933 Shaw brothers had produced the Cantonese opera film Normal Dragon which proved a
breakthrough for them in both Singapore and Hong Kong. In the following years, the great
depression led to decline in cinema attendance. Shaw brothers began to produced film locally in
order to minimize the cost and also diversified into theme park and other live attraction.

Shaw had amassed an empire about 139 cinemas across South East Asia in 1939. But when the
time of War, the Japanese invaded Singapore and seized most of Shaw asset. Not only that, they
were forced to use their cinema as to display pro Japanese propaganda movies throughout the
occupation. In the following war, Shaw’s regrouped and their operations once again expanded
into more cinemas and increase film production.

The Shaw Brothers was founded on 27 December 1958, 61 years ago with Run Run Shaw as
president. Shaw Brothers consists of three Shaw brothers which are Runje, Runme and Runme
founded by Tianyi Film Company in 1925. Now, all Shaw brothers had passed away. Their
eldest brother, Runje Shaw died in Shanghai at the age 79 years old on 17 February 1975. After
that, Runde Shaw was the second oldest of Shaw Brothers died in Hong Kong on 18 September
1973 (aged 75 years). While Runme Shaw died on 2 March 1985 (aged 84) because on 1
September 1982, in Singapore, Runme Shaw fell accidentally. Although he was able to walk
home, he soon thereafter collapsed and went into a coma for two and a half years. The last
brother was Run Run Shaw, he died at his residence on 7 January 2014, aged 106, and survived
by his four children, nine grandchildren and several great-grandchildren. The family did not give
the cause of the death.

8
3.2 WHAT SHAW BROTHERS DOING NOW

As we know, Shaw Brothers is the biggest film production company of port that operated from
1925 to 2011. Many Malaysian film they produced and all the film very popular at the time. In
Malaysia, their favorite director was P.Ramlee. P.Ramlee was known for Malay style romantics
and comedy such as Nujum Pa' Belalang, Seniman Bujang Lapok and Do Re Mi.

After that, The Clearwater Bay site at Clearwater Bay Road and Ngan Ying Road are the
previous home of Shaw Studio (built 1960–1961), further because the vacated TVB headquarters
and studios (1986–2003, since relocated to TVB City) and Celestial Pictures. There are also
apartment blocks want to accommodate Shaw actors. The newer Shaw House and Shaw Villa are
there. the positioning has been vacant since 2003 and has been targeted for redevelopment
several times since 2006. In 2015, Hong Kong's Antiquities board declared the entire studio
complex a site of cultural significance, and subsequent redevelopment plans have included
measures to revive and preserve the prevailing structures. a replacement Shaw Studios (note the
plural s) has been built at Tseung Kwan O Industrial Estate and was opened piecemeal between
2006 and 2008.

After Sir Run Run Shaw died, Mona Fong, Shaw’s second wife helped him run media empire for
decades. She joined his studio Shaw Brothers as a procurement manager in 1969 and was
promoted to managing director in 1996. From 1988 to her retirement in 2012, she served
variously as director, deputy chairman and managing director of TVB. Fong was believed to
have taken charge of the Shaw family trust after her husband's death. She liked to invest in
property and was said to be worth more than HK$2 billion (S$345 million) herself. But she died
on Wednesday (November 22, 2017). She was 83 at that time. Mona Fong died peacefully in
Hong Kong Sanatorium and Hospital with family by her side. While no cause of death was
given, Ming Pao Daily News said she suffered from a blood disease, which led to immunity
problem. [ CITATION THE17 \l 1033 ]

Finally, Astro dedicates SHAW Channel 399 as tribute to Sir Run Run Shaw. The dedicated
SHAW Channel (Astro Channel 399) will be available from 5th to 11th May 2014, to all 3.9
million Astro and NJOI customers. They felt honored to celebrate the life and works of the Late

9
Sir Run Run Shaw through the SHAW Channel that available to all Astro and NJOI customers
from 5th to 11th May 2014 at no additional cost as and Astro will continue to offer their customers
greater value and choice. This dedicated channel will carry six iconic Shaw Brothers Studio’s
classic movies that, we believe, resonate with Malaysian viewers. The late Sir Run Run Shaw
may be a legendary media mogul and philanthropist, widely known for being the founding father
of the Shaw Brothers Studio, one among the biggest film production companies within the world,
producing some 1,000 films over decades, and successively released a series of ‘Huangmei’
opera films and martial arts flicks, and instrumental in shaping the Chinese media culture. He
was also a renowned philanthropist having made countless donations to urban center and lots of
parts of the planet for the good thing about education, scientific and technological research,
medical and welfare services, further as culture and art. He died in urban center on 7th Jan 2014
at the age of 106. [ CITATION Ast14 \l 1033 ]

10
4.0 HISTORY OF MALAY FILM PRODUCTION

Figure 3: Malay Film Production Studio

In 1937, brothers Runme Shaw and Run Run Shaw announced plans establish film production
facilities in Malaya for the making of Malay films. In 1940, the brothers build their own studio
for producing Malay and Cantonese Pictures on Moulmein Road in Singapore. Equipment and
technician were imported from Hong Kong to begin work on Malay film with Malay cast.
[ CITATION The40 \l 1033 ]

Then, the brothers hired Hou Yao and Wan Hoi-ling from China. They are first film directors to
make seven Malay films for Shaw before World War II including Mutiara (1940), Bermadu
(1940), Ibu tiri (1941), Terang Bulan di
Malaya (1941), Hanchor Hati (1941), Toping
Saitan (1941) and Tiga Kekaseh (1947)
[ CITATION His14 \l 1033 ] . Mutiara film starred
by Haron and Tina which is a singer from
Medan. It is a Malay first film made in
Singapore by Shawn and was premiered at
Alhambra Cinema on 20 July 1940. [ CITATION
The401 \l 1033 ]

11
 Figure 3.1: Alhambra Cinema, Singapore

In 1945, World War II ended. The previous studio has been seized by the Japanese occupation
and caused Shaw brothers spent $1,000,000 to rebuilt studio facilities disrupted by the World
War II. The new studio’s named Malay Film Production (MFP) and also known as Studio Jalan
Ampas. The studio was located at No 8, Jalan Ampas, Off Balestier Road, Singapore. [ CITATION
The41 \l 1033 ].

Malay Film Production then produced the first post war Malay film in 1947 which is Singapura
Di Waktu Malam which aired on 15 November 1947. The film is directed by B S Rajhans with
the genre of comedy drama and featured by Siput Sarawak (Ramlah Abdullah) and was shot in
Singapore, Muar and Segamat. [ CITATION The47 \l 1033 ]

On 23 August 1949, Shaw’s local Malay Film enterprise was formally incorporate as Malay Film
Production. Seeing the success that B S Rajhans have made, Shaws Brothers hired others Indian
director film namely L Krishnan, S Ramanathan and B N Rao. Malay Film Production studio
also have personnel comprised Chinese and Indian technichian. For instance, Shaw Vee Ngok
(studio manager), Kwek Chip Jian (production manager), R.C Purushotam and Abu Bakar Ali
(cameramen) and mores. Futhermore, Shaw also hired Filipino directors like Ramon Estella. At
that time, Hussein Haniff is one of the fews Malay directors but more Malay directors and
scriptwriters are then added, with P. Ramlee became the most famous [ CITATION His14 \l 1033 ].

Malay Film Production produced more than 150 Malay films during its operation. In the late
1960s, the Malay Film Production suffered a decline as the local film industry faced competition
for television and foreign audiences as well as increasing costs arising due to labor disputes. In
1967, the Malay Film Production studio finally closed down after 20 years of operation.
[ CITATION The67 \l 1033 ]

12
5.0 THE GOLDEN ERA OF THE MALAYSIAN FILM INDUSTRY
The period of the 1950s to the late 1960s has often been touted because of the Golden Era
of the Malaysian industry. It is already two and a half decade long golden age of Malay cinema
began soon after the end of the Second World War with the surrender of the Japanese Imperial
Army and the much-welcomed return of the British liberating forces. [ CITATION Ang18 \l 1033 ]

After that, movie magic swept through the length of the peninsula with the 1947 release of the
primary post-war Malay film, Seruan Merdeka, produced by Indian businessman K.R.S. Chisty
and directed by influential Calcutta-born auteur, B.S. Rajhan who was also the director of the
primary Malay language film, Leila Majnun, some eight years before war arrived on the shores
of Malaya in December 1941. The 1933 movie release was adapted from a classic geographical
region folklore about the love relationship between the two main characters, Leila and Majnun.
The film was first shown to pack audiences at Singapore's Alhambra Theatre in Beach Road for
every week before moving on to Penang for a fortnight. This is one of the golden age in our
Malaysian films. But no known copies of this movie are known to exist today although another
version featuring Nordin Ahmad and Latifah Omar was filmed in 1962. [ CITATION Ang18 \l 1033 ]

Besides that, the golden era films produced at the peak of Malaysian film history are often
described as films which portray identities that are fluid and subject to negotiations. While the
films mainly represented the Malays, they showed a sense of openness in how the
Malay group within the films of the golden era was portrayed. For example, Amir Muhammad,
in his review of Malay films from 1948 to 1973, suggests that issues like religion, ethnicity and
gender were not rigidly portrayed within the films.

In addition, Seruan Merdeka was a ground-breaking film because it was among the primary to
feature Malay and Chinese actors on screen together. Scenes of interracial cooperation to resist
the Japanese aggressors fired up the spirit of camaraderie among viewers as they are targeting
the plot. Unfortunately, the film was deemed an advert failure because of limited exposure and
therefore the only a few numbers of cinemas within the country at that point. [CITATION Sen19

13
\t \l 1033 ]. The appeal of the golden era Malay films is usually attributed to the combo of the
local and global cultural influences in film style and narration. One amongst the explanations
why Malay films of the time gave the impression to attract audiences across ethnicity could be
due to the universal and global aspect of the first Malay films.

The golden age of Malay cinema was symbolic for a generation of film audiences who witnessed
the transition from an oral storytelling tradition to a more dynamic and entertaining sort on the
silver screen. We realize that the Malay industry had achieved lots during its relatively short
reign of 25 years. The result was the prolific production of over 250 Malay films, and it had
spawned a formidable line-up of celebrity Malay stars, many of whom are still remembered with
fondness to the present day. [CITATION Ala19 \t \l 1033 ]

At the identical time, the continued popularity of those classics certify that they still enjoy a good
little bit of airtime on television still as during the occasional festival screenings. As a result, the
current generation of young Malaysians are kept within the understand the time when Malay
movie magic ruled the silver screens everywhere Malaya. [CITATION Ala19 \t \l 1033 ]

14
6.0 THE FALL OF MALAY FILM PRODUCTION

Malay Film Production has going on well after the new establishment due to Japanese war.
Malay Film Productions Ltd. only last for 20 years after the first film in 1947. The main factors
that led to the failure of the Malay film industry began in the late 1960s.

The first factor of fall of Malay film industry is the emergence of black and white television as
an alternative entertainment. The introduction of television in Malaysia started in 1963. The
introduction of television ended up to shrinking number of cinema-goers. The western has started
the innovation of television and their country has been using the television for their
entertainment and so this give an impact to other country. Later on, the convergence of ICT
allowed the producer of the culture product can be dealt directly to the consumer without
government intervention [ CITATION Hiz19 \l 1033 ]. This resulted to the western culture to be
exported directly to the consumer without being filtered by the government agency. It was the
arrival and pervasion of the television that diverted the focus and interest of locals away from
local productions. Malay film industry faces challenges in brainstorming ideas to gain back the
attention and interest of the locals for local productions[ CITATION Hiz19 \l 1033 ].

In addition, the influx of Indonesian, Hong Kong and Hollywood foreign films has also been a
major contributor to the studio's downfall. Malaysian film industry faces competition from
surrounding regional cinemas such as Indonesia, Thailand, Philippines and India as it has failed
to come up with quality content films. For instances, it can be seen from the 1960s to mid-1970s,
Mandarin Film Productions became dominant, especially films produced by the Shaw Brothers
studio in Hong Kong. Shaw Brothers is known to have made a high-quality film which also
consists of moral story for the audiences. Malay film production was highly affected especially
when Shaw Brothers move to Hong Kong. They opened up a new studio which was known as
Movietown. Movietown comprises of the largest and the best equipped studio in Chinese
filmmaking as well as the largest privately owned studio in the world. Moreover, the Hollywood
era began to make a movement in American film history from mid-1960s to early 1980s. This
happen when a new generation of young filmmakers came to prominence in the United States.

15
This new generation influenced types of films produced, their production and marketing, and the
way major studios approached film-making.

Last but not least, the fall of Malay film industry was due to P. Ramlee's relocation from Jalan
Ampas to Merdeka Film Productions has reduced Singapore's role as a movie theatre. Shaw
Brothers and P. Ramlee has worked together from the scratch. Besides that, Shaw Brothers
would provide the machines and technology while P. Ramlee worked as a director, actor and
producer[ CITATION Rah16 \l 1033 ]. They both managed to go through the challenges even
after the Japanese Independence. Moreover, P. Ramlee was the most valuable artist for Malay
Film Productions. He was recruited as a playback singer back then. Not only that, his passions
allowed him to start acting in 42 films and directed 16 films produced by Malay Film
Productions. After the last film made at Jalan Ampas studio, he returned to Malaysia in 1964 to
join Merdeka Film Productions. His departure gave great impact to the local productions as he
contributed a lot to local productions.

16
7.0 P. RAMLEE’S AFFILIATION WITH JALAN AMPAS

The legendary Malay film actor, director, singer, songwriter, musician, composer and producer
that we all know and love, Allahyarham Tan Sri P. Ramlee had its humble beginning before he
became famous. He was nevertheless talented in music nor football but during World War II, he
learnt the basics of music and which abled him to read musical notations. P. Ramlee started
performing at an early age, he played in his village band called Teruna Sekampung and later on
with bands Mutiara and Rindu Malam before he sat his foot to Singapore.

If people were to talk about Studio Jalan Ampas, P. Ramlee’s name would definitely be
mentioned as he is ‘synonymous’ to it. In 1949, B.S Rajhans invited him to join the Shaw
Brothers studio, Malay Film Productions, as a playback singer. P. Ramlee was obliged and
excited to come as he came to Singapore by train, all the way from Pulau Pinang with his violin
in tow. He took his screen test at the studio and sing his first composition titled “Azizah”. The
song later became his signature hit and was featured in his directional debut Penarek Becha (The
Trishaw Puller) in 1955. In his early years at Jalan Ampas, his enthusiasm about mastering all
the aspects of film production can be seen. No task was too menial for him as he worked as a
clapper boy and even assistant cameraman, the Shaw brothers recognized his remarkable talents.
After graduating from playing the villain in the “Chinta” (Love) in 1948, to “hero”, he lent his
voice to film soundtracks.

P. Ramlee then went continue to act in films such as Nasib (Fate, 1949) and Nilam (Sapphire,
1949) before he landing his role as the leading man in the film Bakti (Devotion, 1950) and
Takdir Ilahi (God’s Will, 1950). In Bakti, he acted side Kasma Booty and proved beyond doubt
that he had all the qualities of a star who could not only act but sing as well. While his popularity
as an actor flourished, his musical career also took off. His melodic voice earned him a recording
stint with Hemsley & Co. P. Ramlee’s career took a bit snag after the release of Takdir Ilahi.

According to P. Ramlee close friends, he left Malay Film Productions because the studio did not
meet his demands for an increment. His plans to join another film company, Nusantara
17
Productions, fell through. However, he rejoined Malay Film Productions through his close friend
in the studio and first Malay director, A. Mahadi, to star in Penghidupan (Life) which was
released in the year 1951.

Upon his return, he starred in a number of films which was produced by the Malay Production
Films – Sejoli (Fun, 1951), Juwita (1951), Antara Senyum dan Tangis (Between Smile and
Tears, 1952), Hujan Panas (Rain of Heat, 1953) and Panggilan Pulau (Call of the Island,1954).

By 1953, Malay Film Productions had to compete with a new competition, the newly formed
Cathay-Keris, a studio formed by cinema owner Ho Ah Loke and Cathay Organization’s
chairman, Dato, Loke Want Tho. Cathay Keris offered a lucrative financial contract as a strategy
to attract experienced film crew and stars to their new in the East Coast. ‘Buloh Perindu’ (1953)
was the first Malay that was shot in color. Not many films that being shot in color back in the
day as the process is complicated and costly.

Knowing this, the Shaws have to step up their game, they made P. Ramlee into director from his
hit starrer ‘Hang Tuah’ in 1955. By that time, he was already an accomplished songwriter as well
as actor, but he was keen and eager to prove that Malay actors can be just as good and capable as
the Indians in making high quality films. P. Ramlee was 26 years old during the time.

Consequently, Penarek Becha (Trishaw Puller,1955) was released and it was directed by him, in
which he also played the hero in the film. The film was a huge success that it catapulted the
Malay film industry to an international level and also getting a nod from Majalah Filem dan
Sukan. For the next 2 decades, the multi-talented Tan Sri P. Ramlee won multiple international
awards (including film festivals in Hong Kong and Japan) for work spanning over 70 films and
200 songs. His following directional efforts won multiple awards at the Asian Film Festival.

P. Ramlee’s is a versatile actor and his films encompassed multiple genres, the reason for
winning fans of all races and generations. From drama to comedy but his versatility was most
apparent in comedies, also remembered best for his works the genre. Any of his films will
guarantee to fill seats and he became the king of Malay box office. After Singapore merge with
Malaysia in 1963, the same year P. Ramlee made his last film a Jalan Ampas – Tiga Abdul
before he went to Merdeka Film Productions in Kuala Lumpur.

18
Some of films that won awards produced by Malay Film Productions are Best Musical Score for
Hang Tuah (Legend of Hang Tuah) in 1956, 4th Asian Film Festival, Tokyo, while in 1957, Best
Male Actor for Anak-ku Sazali (My Son, Sazali), 4th Asian Film Festival, Tokyo and Best
Comedy Film for Pendekar Buang Lapok (The Three Bachelor Teller), 6th Asian Film Festival in
1959.

REFERENCES
Aljunied, S. M. (2005). Films as Social History - P. Ramlee's "Seniman Bujang Lapok" and Malays in
Singapore (1950s-60s). The Heritage Jurnol, 1-21.

Angelina Wong Wei, W. S. (2018). The Golden Era of the Malaysian Film Industry: Cross-Cultural
Dialogue and Negotiations of Ethnicity in a Budding Nation. Kajian Malaysia, Vol. 36, 1-24.

Angeline Wong Wei Wei, S. P. (2018, April 27). THE GOLDEN ERA OF THE MALAYSIAN FILM INDUSTRY:
CROSSCULTURAL DIALOGUE AND NEGOTIATIONS OF ETHNICITY IN A. Kajian Malaysia, Vol. 36,
No. 1, 2018, 1–24, pp. 6-18.

Arman, P. (2019, June 9). Rahsia & Kisah Benar di Studio Jalan Ampas Bakal Dirungkai Dalam 'Showtime
1958'. Retrieved from Murai: https://murai.my/2019/62156/rahsia-kisah-benar-di-studio-jalan-
ampas-bakal-dirungkai-dalam-showtime-1958/

Astro. (2014, June 18). Astro dedicates SHAW Channel 399 as tribute to Sir Run Run Shaw. Retrieved
from Astro: https://www.astro.com.my/mediaroom/articledetails.aspx?id=189&state=

Hisham, H. T. (May 2019). The Impact of Globalization on the Malaysia. ISSN: 2278-3075, Volume-8
Issue-7S2, 143.

HistorySG. (2014). SHAW VENTURES INTO LOCAL MALAY FILM PRODUCTION. Retrieved from A
Singapore Government Agency Website: http://eresources.nlb.gov.sg/history/events/6854ed6a-
6614-4ecc-b728-278f0a8ffb98#8

Muthalib, H. A. (n.d.). Malaysian Cinema Then & Now: A Brief History (1933-2011).

Neo, P., & Abd Rahman, N. A. (2016, August 12). P. Ramlee. Retrieved from Singapore Infopedia:
https://eresources.nlb.gov.sg/infopedia/articles/SIP_1490_2009-03-23.html

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