It was Amir Muhammad who brought my attention to the ingenuity
behind the one-word-title of the late Yasmin Ahmad’s movies. With the right choice,
it can evoke a sufficient sense of curiosity in finding about more about the
film in question, which is exactly what you want in a title. And KIL is
definitely just that.
Almost instantly, one would associate it with the word ‘kill’
but also the question ‘why the misspelling?’ Clearly it’s done on purpose but
to what means? Intrigued now, aren’t we? Well, mission accomplished. However, when you do watch the film and later find
out that Kil actually refers to Akil’s nickname, which is the main character
but also a play on the main theme of the film which is death, does the
cleverness shines through. The reason I’m
making such a big deal out of this is many of today’s local films do not give
much thought on titles and it is so refreshing to see one that does. And we
haven’t even begun to talk about the trailer.
The trailer, riding in tandem with the title, is even more
impressive as a selling tool for the film. I have lost count the number of
times when a trailer means nothing more to the local filmmakers than selecting
a few scenes from the film and put them through a blender and serve it up as a
legitimate promotional item. What part of attracting viewers do they not
understand? But the people behind KIL clearly had grasped the correct concept.
A trailer is like a little film itself. It has a beginning,
a middle and an end. It should start slow, exciting in the middle and finished
with a cliffhanger so the viewer would be left eager to find out what would
happen for the rest of the film. And that’s how KIL’s trailer left me. Will Akil
(Redza Minhat) have his wish in the end? And how does Zara (Cristina Suzanne)
fit in all of this mess? Is she the savior or otherwise? Questions that definitely
left me queuing up for cinema tickets.
As for the film itself, I couldn’t help but put my hands together
and applaud for what is a novel and valiant effort by Nik Amir Mustapha and his
brilliant cast and crew. To be honest, I was surprised a film that deals about
death and suicide received the green light to be made and shown to public by
the censorship department. Credit when credit’s due. They, too, deserves a pat
on the back for their part in paving the way for something new.
It terms of writing, it has an interesting storyline where
about halfway through the film, I pretty much can predict the direction it is
headed and in that moment, I thought to myself, there is an angle where it can
take that would make both the story better and surprise the audience with a
twist. And it pleases me so much that it did exactly just that. Dare I say it
is even my favorite part of the film. Furthermore, the NGO bit at the end was
just icing on the cake. A minor detail but one that made the premise more Malaysian
in terms of setting and context.
As for acting performance, Redza and Cristina both did
well-enough in terms of carrying this film. Redza, with his background in
theater, portrayed the brooding, depressed individual commendably. While Cristina,
leading her first feature film, played the delectable love interest rather fine
though her inexperience tends to show. But being a young actress, she can only
get better in time.
However, special praise must be reserved for the supporting
cast as there are multiple scene stealers in this film. You do get a feeling
the scenes involving these characters is done in improv. And it is evident they
are good at it and that what makes it more enjoyable. There’s Dira Abu Zahar
who played Salina the receptionist who despite having to face Akil’s edgy demeanor
more than once continue to remain calm and courteous in their interactions. Then
there’s Akil’s boss, a firm and yet concerned leader who sing to himself in his
own time. And of course, there’s Junad Md Nor a.k.a. @_TheJebs who plays Akil’s
officemate that has an awkward working relationship with Akil due to his depressive
nature. Even Ella justified her cameo appearance as Akils’s dependable neighbor.
On the technical side, there’s something profound about serving
the city of KL’s skyline as the film’s backdrop. As a city dweller myself, I am
more than familiar with the view of KL Tower and KLCC on any given day but
every time we join Akil on the rooftop contemplating we can’t help but also
lose ourselves staring into the distance. For this, I have to give credit to SY
Chong.
Being a low budget film, praises also to the sound
department which, in particular, managed
to deliver the crisp clanging sound of the bullet casing hitting the floor as
if our ears were next to it on the ground. That is evident that money was well
spent where it matters.
Even the wardrobe makes sense. Given, Redza is one good looking
man but dress him a fitted shirt and slim tie suddenly he’s our very own Ryan Gosling.
But at the same time it also has to be in monotonous colors and the sleeves
rolled up, the tie loosened to give the impression of a lonely paper pusher. And
while having Harun Salim Bachik and Akil’s boss suited up (although a little
ill-fitting, if I might add) to portray them as managerial roles is a no
brainer, the dark suit, white shirt, dark tie combo does present them as a
source of authority and not just merely dressing them up for the sake of it.
KIL also continues in the new proud trend of utilizing music
from local artists. Pesawat, Seven Collar T-Shirt and Bedroom Sanctuary all
made excellent contributions.
But most important of all, in the end there is a legitimate
message behind this film in regards to the important value of human life and how
suicide in never the answer. Besides that, I just have to point out the
amusement it gave me when Nik Amir went meta and have the character Johan as a
filmmaker who insists on telling stories for personal reasons rather than
commercial ones and a deserted cinema hall showing a local film is probably a
situation he personally had come across too many times for his own liking.
Well, enough of the niceties. Despite the myriad of positive
strides KIL has taken, it has its flaws.
When it comes to plot, I could not understand the need to
introduce a mysterious character so late into the film. In this case the agent
supposedly assigned to Akil. At that point the film should be tying up loose
ends instead doing the opposite and raising unnecessary confusion. Wouldn’t it
make better sense if Zara were the assigned agent after all? It certainly would
have added weight to the argument Akil had between Zara. Was the affection real
or just an elaborate ploy?
As for characters, when I first saw Harun Salim Bachik in
the trailer I did wonder whether he is pulling a Robin Williams, as in
comedians playing unnerving villainous characters as Williams did in Insomnia
and One Hour Photo. That would have been an interesting prospect. Alas, it was
not meant to be. Even though, I must say, even within KIL’s storyline, it would
better serve to have Harun portray a colder, slick haircut, a man of few words,
always in control kind of person. For a man who runs a suicide agency, he does
come off as a little too jolly.
Another cameo appearance which I have yet to mention earlier
is Atilia’s. This is because as opposed to the others, her character as Johan’s
disgruntled wife came off as typical and a little too convenient. Johan was
already at the receiving end of criticism to his work from the entertainment
reporters and the public. For his wife to leave him for the same reason is
rather repetitive. A more valid and stronger motive would be for personal
reasons. Such as he has become so consumed by his work that he was beginning to
neglect his duties both as a husband and a father. Rather than rage, she should
be filled with disappointment and heartache. A feeling of betrayal. That is both
a potential tearjerker and a strong final push towards suicidal thoughts.
One more cameo which was rather disappointing was Chong (or
Sati? Whichever you prefer). The only we see him (or her? This is confusing) is
when it gets dropped off at Aunt Ella’s. Other than that, a complete
non-presence. I think the cat could have made a significant contribution to
some light hearted moments. I’m thinking Tom Hanks and Wilson the volleyball
from Cast Away. Akil would bounce his suicidal thoughts to the cat and it will exude
this purring stoic of a figure.
Moving on to scenes. Now, I keep reading people talking
about the rooftop scene when Juliana Evans tried to jump off and Akil talked
her out of it and how it all was so cute and adorable. That’s fine, I guess,
but the one thing I couldn’t shake off is why was Akil so irritably cocky? He himself
thought about suicide but somehow he suddenly thinks he’s better because he had
better reasons? I would prefer if it had been a reflective scene for Akil. That
he saw in Evans what he couldn’t see in himself. Is there such a thing as a
valid reason for suicide? Where does one draw the line? Instead it just made me
want to smack Akil in the face for being such a jerk and so early on in the
film. What gives?
The elevator seduction scene is another that just irritated
me. I realize it was supposed to be all in his head but Zara was still coming
off too strong, slutty even that the concept of sexual tension just went out
the window. Being the most difficult scene to film may be the reason to its hurried
vibe but clearly someone needs to brush up on their seduction technique/direction. You don’t seduce with face on action but with
the power of imagination by using soft touches and subtle language. Think Catherine
Zeta-Jones.
All in all, KIL remains a steadfast effort in expanding the genres
in the local film industry. Before this, I haven’t even heard of the name Nik
Amir Mustapha but as of now, I am intrigued to know what his next project will
be and very much looking forward to it. For those who keep complaining about
the endless stream of sorry excuse of Malaysian films about mat rempits and ghouls,
then KIL provides a valid reason to make good on your word. Besides, Star Trek
and Fast 6 are sold out anyway.
3.5/5
