“Upin & Ipin: Keris Siamang Tunggal”: Beyond Animation

by Muhammad Hidayat Fahmi

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Upin & Ipin: Keris Siamang Tunggal (The Lone Gibbon Kris) is the fourth instalment in the film franchise of the animated television series of Upin & Ipin produced by Les’ Copaque Production. In succession, it is the third successfully produced featured film with the cancellation of the second instalment, Laksamana Upin & Ipin, in 2012.

Just four days after its release, the film managed to collect around one fourth of its total production cost by accumulating almost RM5.3 million - a plausible feat in the Malaysian film industry. Consequently, the film grossed around RM25 million in the next three weeks, making it the highest grossing animation film in Malaysia. It is now the highest rated Malaysian movie on IMDb with a 9.6/10 rating, dethroning Paskal which previously held the top position with a rating of 8.8.

The film begins with a scene set in a fantasy world called Inderaloka in which the Maharaja is seen to be holding off the sole coup d'état propagated by Raja Bersiong, fending him off with the incomplete legendary kris. In his dying breath, the Maharaja sends off the kris as the only means to stop Raja Bersiong, hoping that it will get into the hands of someone “worthy” and of pure heart.

The setting then changes to that of the normal world where Upin & Ipin reside in before they, along with their friends, are caught in a dimensional crack after touching the kris which was somehow in the possession of Tok Dalang, kept in his basement. This idea of dimensional travel was first hinted in Geng: Pengembaraan Bermula in 2009 where Opet, a mystical being, accidentally entered into the normal world, but this theory of the “other” dimension was not really elucidated as compared to this 2019 adaptation.

As one of Malaysian’s finest in the animation industry, Les’ Copaque Production definitely has its expertise in 3D animation and CGI (computer-generated imagery). However, the film received its glamourous appraisal even in international level such as from Singapore, Brunei, and Indonesia not just because of this but also thanks to its contents and features that exploit on the inclusion of Malay folklores in its epic plot.

Characters from classic local fairy tales such as from Bawang Putih Bawang Merah, Batu Belah Batu Betangkup, Si Tanggang, Angan-angan Mat Jenin, Nujum Pak Belalang, and Legenda Raja Bersiong were given new lights in the story to fit its storyline. The characters’ personal lives were used in the film to showcase several moral values meant to educate the younger generation; the focus target of the film.

The use of traditional elements in the film is also something worth to be praised such as the use of Jawi portrayed as the inscription on the kris reminding us of how the writings are significant to represent our rich local culture. However, one may say that the film also has certain loopholes with the over exaggerated fantasy elements such as the satay tree, karipap animals, and plants that look like a traditional kuih.

Nonetheless, the film definitely deserves its overwhelming positive reactions with its unique approach and considerate planning. Burhanuddin Radzi, the film’s executive producer remarked, “We took five years to make the film to increase our staff’s technical expertise in animation. This is to ensure Keris Siamang Tunggal is on par with the quality of international animated films and, at the same time, to elevate the standards of Malaysia’s animation industry.”