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Appendix B: Primary Filmography Plot summaries are provided only for the films that were discussed in some detail but for which plot summaries were not made evident in the chapters. Dates for the films vary according to occasionally contradictory information in FINAS publications such as the Daftar Filem Melayu (1993) and the Filem Malaysia 2975-1999 guide (1999). Bintang Malam (Night Star). Directed by Adman Salleh. With Eman Manan, Shaharuddin Thamby, Fauziah Ahmad Daud, Erma Fatima. Nizarman Productions, 1992. Two sailors, Yazid (Eman Manan) and Johari (Shaharuddin Thamby), dock in a city en route to their hometowns. They check in at a hotel. The next morning, Johari finds the prostitute he took to his room last night, dead in the bathtub. Panicked, he moves to another hotel where the same prostitution racket is based. He tries to help another prostitute Aishah escape from her pimp because she wants to return to her village, thinking her brother (Yazid) is already back. Eventually, Yazid meets up with Johari and discovers that Aishah is Yazid's sister, who was brought by their stepfather to the city after their mother's death. The brother and sister are reunited briefly before being pursued by her pimp, drug dealers, and thugs. Fighting occurs, Johari is shot, and Aishah is wounded. Yazid goes berserk and kills all his opponents. The police arrive and Pak Oleh, a village elder who has accompanied Yazid on this trip, takes the rap for Yazid, who flees. Pak Oleh goes to prison, Yazid returns to the life of a sailor, and Aishah recovers in hospital. Femina. Directed by Aziz M. Osman. With Eman Manan, Erma Fatima, and Susan Lankester. SV Productions, Sendirian Berhad,1993. Tina (Erma Fatima) and Anita (Susan Lankester) are best friends who publish a monthly magazine Femina representing the voices of women seeking equal rights for women. While their struggle is the same, their motives and goals differ. Tina's reasons are mainly defensive because she is bitter about her irresponsible father who abandoned the family and forced her mother to raise her alone in financial difficulties. Anita, on the other hand, is more interested in championing women's rights. The two women's ideology is resisted strongly by some men but they courageously plough on. However, everything changes when Pyan, a minibus driver and the owner of the bus 209 company, subtly succeeds in tempering Tina's radical edge, giving Anita the opportunity to become the sole champion of women's rights. Anita, hoping to oust Tina from the magazine, encourages a younger worker to undermine Tina's credibility. Consequently, Tina is accused of being a traitor, and her special privileges at the magazine are revoked. Confronted with pressure at work and on the social front, Tina is forced to choose. Should she sacrifice her struggle for women's rights or her feelings for Pyan? (from Malaysian Film Festival guide) Layar Lara (The Sad Screen). Directed by Shuhaimi Baba.With Man Bai, Ida Nerina, and Azean Irdawaty. Pesona Pictures, 1997. The film opens with Daud (Man Bai) and the mostly old kampung men and women asking veteran actress, Seniwati Zai (Azean Irdawaty) to describe her experience at the Malaysian Film Festival awards dinner the night before. She jokes about being ignored by the media and people present. Attention had been focused on Ena (Ida Nerina), an up-and-coming young actress who received the best actress award. Two years later, Daud, the nephew of Zai, gets a job as a "gopher" on a film set. The ailing, slightly senile Zai and the other film veterans want a final opportunity to be on the big screen and they urge Daud to make their request known to the director, Malik. Malik is forced by his producer to hire Ena, the prima donna actress, for commercial reasons. Ena does as she pleases on set, manipulating people, flirting with Daud and Malik, fighting with the other actresses, and calling in sick whenever she feels like spending time with her boyfriend instead. Finally, Malik fires her and she realizes how much acting means to her. She dumps her boyfriend Shak and proceeds to make amends. Seniwati Zai and friends eventually get to play extras in the film and Ena and Zai become friends. After various setbacks to the production, the crew receives word that Seniwati Zai has passed away.They all attend her funeral. The film is completed when the actors and director decide to reshoot without pay when their funding runs out...


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