The industry faces tough obstacles that make it difficult to catch up with fast-improving producers like Hong Kong, Japan, and South Korea – and now China – despite government encouragement and funding.

Raintree Pictures, a local company, has made some two-dozen films, which have mostly a local theme that appeals to Singaporeans but not to a global audience.

(Its launch in 1998 marked a watershed for Singapore films. Raintree is the filmmaking subsidiary of MediaCorp, the government-owned TV operator, and Temasek is a major shareholder.)

That Singaporeans rank among the world’s most avid cinemagoers, coupled with the low investments – generally below S$1mil (RM2.28mil) each film – have prevented any significant flow of red ink on the bottom line.

About half are profitable. The chances of Singapore producing a blockbuster for an international market aren’t likely to materialise soon unless done with large-scale foreign talent.

In fact, Singapore is sliding backwards compared with Hong Kong and Japan in the use of digital, animated technology and sound effects in action-packed movies that worldwide fans prefer. Instead, the industry will probably make gradual progress in its own form and pace.

The reason lies in the lack of creativity and talent in most spheres of filmmaking.

A film reviewer commented: “Our history is short. We can’t push the pace. But given all the obstacles, the progress has been encouraging.”

With the exception of a few emerging producers and actors, who have gained experience over the years, the city-state still lacks a depth of vital supporting talent that the industry requires.

These range from scriptwriters to choreographers, and from cartoonists to songwriters.

“The problem is that our industry has not got out of our village mentality yet,” a film critic said. “We should start making films for the world market.”

Other obstacles include:

> Singapore (Independence: 1965) lacks sufficient history, especially a messy past, which could produce a variety of themes for good films;

> There are insufficient authors and books that could be turned into film ideas. Singaporeans make good bankers but are backward in the field of creative writing;

> There are insufficient local writers and books that could be turned into good film ideas;

> It hasn’t the wide-open spaces like rivers, mountains, valleys and jungles that provide a variety of settings. Usually producers use scenes of Housing Board (HDB) flats, the beaches or other local places. For variety, they have to go to neighbouring countries;

> The themes in Singapore’s restrictive environment are limited with the thin-skinned government frowning on anything that is deemed damaging to the image of the country or itself; and

> Race and religious controversies are a definite “no, no!”

There has been some loosening of censorship regulations in recent years but it is unlikely to extend to films about high-level government corruption, playing up opposition politics or crooked policemen in Singapore.

“I doubt the authorities will allow any film about a corrupt prime minister or a crooked chief justice taking bribes from drug traffickers,” a drama student said.

“Neither will it encourage portrayal of Singapore as a violent place, like a speedy car chase along Orchard Road with bungling policemen losing out,” he added. Why? It throws Singapore in a bad light.

These are common themes in foreign films. Living within such boundaries has placed local filmmakers in a straitjacket when competing in the world.

“We need chaos and disorganised government to create a good plot, something not possible here,” the student said.

In the early days of locally produced TV soap operas, the police spokesman once wrote a letter of complaint against one scene in which the Singapore police was portrayed in “bad light.”

Please do not portray the Singapore Police Force in such a manner, he said. “In real life policemen do not behave in such a manner.”

As a result of concern about adverse reaction – as well as a lack of experience – Singapore generally limits producing to movies with a soft theme like romance, family values, comedy and themes that reflect the quiet life here.

There have been few or no action-packed movies that are comparable in standards with imported films.

Jack Neo, the most successful producer-cum-actor has brought out films that poke fun at the government (Just Follow Law) or ridiculous aspects of school streaming (I Not Stupid), gambling, and loan sharks (A Long) or about the “nanny” government that intrudes on Singaporeans’ lives.

But many Singaporean (and some Malaysian) fans love these movies, complete with Singlish and dialects, which poke fun at their own social idiosyncrasies or the government’s unpopular policies.

It is a form of emotional release.

Is there hope for the future? Yes, as society continues to loosen up to allow for greater creativity.

Some recent inroads have been made, including the following:

> A record 20 Singapore films were showcased at last year’s Cannes Film Market, a trade event of the famed Cannes Film Festival.

> To explore foreign talents, Lucasfilm, which produces films like Jackie Chan’s Rush Hour 3 and Star Wars is building a base for creating multimedia animation and digital effects in Singapore. Several Singaporeans are already working in its San Francisco headquarters.

The success of the film industry is about ideas and creativity. Play the game and Singapore could become a regional film centre in 20 years’ time.

o Seah Chiang Nee is a veteran journalist and editor of the information website littlespeck.com

                                                      Home