People are going to start saying that I’m extremely left out this time, but yes I’m going to have to admit; I’ve just watched Mukhsin. And this time, I’d say that this movie may just be the best compared to the other two. But, still not the best movie I’ve seen in general.Mukhsin tells a story about falling in love for the first time (or is falling in love an over-statement?). That’s pretty much what the whole story revolves around, first love and how we are never ever able to forget it although we’ve fallen in love for a second time. Falling in love? I wouldn’t know. I’m still asking that same old question: ‘Does love really exist?’
It’s funny that how sometimes you question a lot on why Yasmin does this, and why does she always write a script as such, but then there’s one thing that she never fails to do, she never fails to inspire and she never fails to make me talk about her film. Why have I never felt that way with other movies? In a way, that makes her worth looking up to (or is it him??).
You can definitely see how she tries to stray away from the norm of how movie directors make movies in Malaysia nowadays; if they zip, we zap, if they jingle, we jangle. Trying to be different is something, but trying too hard to be different is something else. In this movie, she’s certainly a bit restrained. One of the reasons to this I suppose is because, children are involved and they would be watching, so you wouldn’t want to be sending the wrong messages. I guess, because of that, I find it a lot more tolerable and acceptable. In some scenes, the script was actually witty, or you could say clever and incredibly real (except for some parts) and due to that, it was entertaining and it had a different approach that I’d prefer over anything else, anytime.
But, it still seems to me that she’s making a movie just to receive recognition; movies that you’re able to showcase in other countries and not fall face. I thought that Mukhsin could need a little brushing up, a) you’re trying to portray a love story but the love isn’t significant enough, and b) the movie should definitely have it’s own score written for it rather than just taking a classical piano piece that even I know of. Music is equally important, and yet it is what she seems to be lacking of mostly in her films.
If I were to ever make a movie, I’d make sure that the audience is as close as they can get with the main character. In my movie, there will be less script and more non-verbal forms of expressions; those genuine, authentic, real expressions I see everyday that a lot of film-makers in Malaysia fail to depict in their film.
|mp3| Robert Schumann – Träumerei (the classical piano tune used in the movie)
