Directed by B. N. Rao
Written by B. N. Rao
(story), S. Hassan Shahab (dialogue)
Songs by P. Ramlee and Yusoff B., with lyrics by Jamil Sulong
Produced by Malay Film Productions (Shaw Brothers)
In Malay
Cast: P. Ramlee, Normadiah, Haji Mahadi, Daeng Idris, Salleh Kamil, Neng Yatimah,
Siti Tg. Perak
Jamil (P. Ramlee) is the son of a wealthy family in Kuala Lumpur who falls in love with their maid’s daughter Norma (Normadiah). His class-conscious parents, however, do not approve of their relationship. Noorma and her mother are given a sum of money and sent back to their kampong. This prompts Jamil to quit his family and its riches to seek a reunion with her beloved Norma. Soon, they are happily married and pursue a frugal lifestyle. With the death of his mother-in-law and the arrival of his newborn son, Jamil struggles to make ends meet with his job as a painter. He overworks and strains his eyes so much that he goes blind.
“Noorma is obliged to work as a waitress and lusted after by Saleh, one of the customers. Fortunately, her guardian angel, Aziz, another frequenter of the café, an honourable and educated man, protects her from Saleh’s importuning. Jamil misreads the situation, assumes that Aziz is her lover, and leaves home [for Kuala Lumpur; Noorma follows him there]. In the course of this densely-layered plot, Saleh attempts to seduce her and is accidentally killed when she defends herself. On her appearance at the murder trial, who should the judge turn out to be but the kindly Aziz? Knowing the background to the case, he clears Noorma of the charge, helps her find Jamil who has taken refuge in a poor people’s home, recommends a doctor who will cure Jamil’s blindness, and reunites the couple with the small son. “Senyap dan Sunyi” [1:22:04] strikes one most forcibly as an expression of the loneliness suffered by the hero, both from blindness and from being denied, however temporarily, the solace of wife and child.”
(James Harding and Ahmad Sarji, ‘P. Ramlee: The Bright Star’, 2002, pages 63-64)
Quoting from Timothy Barnard, 'Sedih sampai buta: Blindness, modernity and tradition in Malay films of the 1950s and 1960s', 2005:
"In the same year [1953] that 'Ibu' [ Ссылка ] was released, another film featuring blindness
was made, also starring P. Ramlee. This film was 'Siapa Salah' (Who is guilty?) [...] In both 'Ibu' and 'Siapa Salah', issues related to modernity for post-war Malays are placed in a clearer perspective. While Bangkok is the location of urban alienation in 'Juwita' [1951] [ Ссылка ], 'Ibu' and 'Siapa Salah' locate it in the two capitals of
Malay modernity, Singapore and Kuala Lumpur. In these two latter films, individualism and materialism are associated with important Malay urban
centres, and represent danger to the Malay psyche. This danger can be seen in the character of Ratna in 'Ibu', whose goal is to steal Raimy's money and manipulate him, as well as Jamil's parents in 'Siapa Salah' who reject Noorma because of her status in the household. Blindness in the two films represents an ability to understand the evils of such attitudes, as well as an escape from the pressures of a rapidly changing society.
"In 'Siapa Salah', Jamil
escapes from the pressures of providing for his family in a market economy by losing his sight. He then becomes a background character, while the story follows the problems that Noorma faces in the urban environment of Kuala Lumpur, where she is alone, sexually assaulted, and even put on trial for defending herself. In 'Siapa Salah', as well as in the earlier 'Juwita', however, there is hope that this blindness can be cured. It only takes a kind individual
who is willing to share, an individual who reflects the wisdom of kampung values and knowledge of the benefits of modernity. Thus, the contradictions between a black-and-white consideration of the two worlds - of the urban
and rural - are exposed. Whether it is the band leader Ramlee in 'Juwita' or the judge in 'Siapa Salah' who also represents the goodness of the 'blind' and caring Western judicial system - they point the way to balance between the two extremes of modernity and tradition."
Film locations (in Singapore):
Supreme Court
[0:01]
MacRitchie Reservoir [6:25]
Tanjong Pagar Railway Station
[34:43]
Bukit Timah Road (vicinity of King Albert Park) [38:20]
Orchard Road (with Pavilion Cinema) [1:33:40]
Former Tanah Merah Gun Powder Magazine (Upper East Coast Road) [2:21:18]
Singapore Film Locations Archive -
[ Ссылка ]
