This Indonesian war epic from Rapi studios, the people who brought us THE DEVIL'S SWORD, plays, at some times, with the slanted melodrama of a vintage American WW II pic, and, at others, with the irony and emotional intensity of Sam Fuller on top of his game. It tells the story of a guerrilla army from an Indonesian village during the war with the Dutch in 1945. It has the highest production values of any Rapi film I've seen, which isn't saying much, but what it lacks in resources, it more than makes up for with its crackling energy and genuine heart. The initiated will note that this is true of any Rapi film available in English, most of which are lore-heavy horror or martial-arts fantasy tempered with a weirdness that's never been exceeded by films made anywhere else in the world.
What sets this one apart is its realized ambition. This is no B-movie diversion; this is a sweat-dripping labor of love. It has an ensemble cast which includes, but in no way defers to, the best-known action star of Indonesia's film boom of the nineteen-eighties, Barry Prima. It's notable that Prima played the comic-book folk-hero fighting the Dutch colonials in the early nineteenth century crowd-pleaser THE WARRIOR. Here he fights them a century later, with guns and grenades, rather than sorcery and swords. He gives a fine performance as a character, not a hero. The heroism in this film is shared by many, including a thief reformed by his thirst for revenge and at least two women who fight, in completely credible roles, with at least as much grit as the men in the film.
The characters' weaknesses are likewise shared, and that's just one of the things that gives HELL RAIDERS its surprising ability to haunt the viewer long after it ends. Another is a bloodless image of the effects of torture created by an actress and an up-close camera. Another manifests in arresting moments of the aforementioned irony, which work due to the skillful cohesiveness of the complex script that sets them up. Despite an understandable and certainly not unique tendency to villainize the enemy, HELL RAIDERS possesses humanity, honesty, and insight that place it far above, say, a MISSING IN ACTION film.
Despite the transcendence, there's plenty of gore, shock value, and pulse-pounding action to enhance the other elements, thanks, in no small part, to art director El Badrun, the special-effects master of Indonesia. This guy can create, in a hut in the middle of a freaking jungle, more interesting and creative spectacle than ten-thousand art-school key-jockeys in Hollywood.
The film's roughly two-hour running time, much like its budget, far exceeds that of the usual Rapi film. I highly recommend investing that time, as well as the time and/or money it takes to find a copy of this precious little piece of obscure world cinema.
What sets this one apart is its realized ambition. This is no B-movie diversion; this is a sweat-dripping labor of love. It has an ensemble cast which includes, but in no way defers to, the best-known action star of Indonesia's film boom of the nineteen-eighties, Barry Prima. It's notable that Prima played the comic-book folk-hero fighting the Dutch colonials in the early nineteenth century crowd-pleaser THE WARRIOR. Here he fights them a century later, with guns and grenades, rather than sorcery and swords. He gives a fine performance as a character, not a hero. The heroism in this film is shared by many, including a thief reformed by his thirst for revenge and at least two women who fight, in completely credible roles, with at least as much grit as the men in the film.
The characters' weaknesses are likewise shared, and that's just one of the things that gives HELL RAIDERS its surprising ability to haunt the viewer long after it ends. Another is a bloodless image of the effects of torture created by an actress and an up-close camera. Another manifests in arresting moments of the aforementioned irony, which work due to the skillful cohesiveness of the complex script that sets them up. Despite an understandable and certainly not unique tendency to villainize the enemy, HELL RAIDERS possesses humanity, honesty, and insight that place it far above, say, a MISSING IN ACTION film.
Despite the transcendence, there's plenty of gore, shock value, and pulse-pounding action to enhance the other elements, thanks, in no small part, to art director El Badrun, the special-effects master of Indonesia. This guy can create, in a hut in the middle of a freaking jungle, more interesting and creative spectacle than ten-thousand art-school key-jockeys in Hollywood.
The film's roughly two-hour running time, much like its budget, far exceeds that of the usual Rapi film. I highly recommend investing that time, as well as the time and/or money it takes to find a copy of this precious little piece of obscure world cinema.
