Datok Merah’s Grandson

A period drama with Malay symbolisms, myth and folklore, the title Chuchu Datok Merah points to the mental image Malays have of themselves as descendants of Hang Tuah, the legendary Malay warrior of Malacca. Awang Janggut is very much a pseudo-warrior. Instead of a “keris”, a warrior’s weapon, he owns a prize-winning rooster. His battlefield is the cock fight arena. Home is a big but empty house inherited from his ancestor, and prefers living in poverty to working. The closest he comes to the high life of a warrior is when a rich businessman employs him as a bodyguard after he prevents hooligans from taunting the latter’s daughter Siti. Despite knowing Awang is married, Siti continues to flirt with him, causing him to leave his pregnant wife alone. She eventually falls sick and has a miscarriage. The film is a social criticism of people who rest on their laurels and ancestry instead of working for themselves. It is also one of the finest examples of the anti-hero in Malay cinema.

Directed by M. Amin, Datok Merah’s Grandson leans on a strong ensemble — Nordin Ahmad, Latifah Omar, Rose Yatimah — to carry a story that balances spectacle with character.

The film landed with audiences for its craft and performances, and remains one of the most talked-about drama titles of 1963.