Union Films

Union Films was a film production company established in Batavia, Dutch East Indies, in 1940 during a major revival of the local motion-picture industry. The company was founded by ethnic Chinese businessmen Ang Hock Liem and Tjoa Ma Tjoen. Ang Hock Liem financed the enterprise and received producer credit on most of its releases, while Tjoa Ma Tjoen managed its day-to-day operations. Union was based on Prinsenlaan, in the area now known as Mangga Besar in Jakarta, and publicly presented itself as an enterprise intended to improve the quality of Indonesian art. The company emerged after the commercial success of films including Terang Boelan, Fatima, and Alang-Alang had demonstrated that locally produced films could attract substantial audiences. Union was one of four new production houses established in 1940. It released seven black-and-white feature films over approximately two years, all receiving theatrical distribution in the Dutch East Indies. Some titles, including Bajar dengan Djiwa and Asmara Moerni, were also shown in Singapore. Union's first release was Kedok Ketawa, issued in July 1940 and directed by Jo An Djan. The film combined romance, crime, and the masked-avenger motif, and received favorable contemporary comments for its photography and overall quality. After this debut, Union hired the prominent screenwriter Saeroen, who had worked on Terang Boelan and at Tan's Film. His scripts helped establish a direction that sought to appeal to the Indies' expanding educated and professional audience rather than relying solely on theatrical conventions common in contemporary commercial cinema. Saeroen wrote several of Union's best-known productions, including Harta Berdarah, Asmara Moerni, and Wanita dan Satria. These films addressed charity, education, class, gender relations, social status, and personal responsibility. Union's productions frequently used performers and creative personnel associated with stage, music, martial arts, and the emerging film sector, while also introducing or advancing actors such as Djoewariah and Raden Soekarno, who later became widely known as Rendra Karno. The company also employed directors and technicians including R Hu, Rd Ariffien, and Boen Kin Nam. After Saeroen and Ariffien moved to rival Star Film in 1941, Union continued production under different creative leadership. Its last two completed films, Soeara Berbisa and Mega Mendoeng, placed greater emphasis on realism and educated audiences. Union also began a historical film titled Damar Woelan, set in the Majapahit era, but production was halted as the threat of Japanese invasion intensified. The Japanese occupation of the Dutch East Indies in March 1942 brought the company to an end, and Union never reopened. The company's films continued to be screened into the mid-1940s, but its entire output is now believed to be lost. Despite its brief existence, Union Films occupies a notable position in Indonesian cinema history. It contributed to the prewar expansion of local film production, experimented with socially oriented stories and more realistic presentation, and helped launch or develop the careers of performers and filmmakers who remained active after the occupation. Among its former personnel, Rd Ariffien continued directing into the 1960s, Djoewariah returned to film in the postwar period, Rendra Karno worked through the 1970s, and Basoeki Resobowo later became an influential art director.

Union Films was formed in Batavia in 1940, when the Dutch East Indies film industry was recovering from the damage caused by the Great Depression. The strong performance of locally produced pictures such as Terang Boelan, Fatima, and Alang-Alang encouraged new investment and led to the creation of several studios. Union was financed by Ang Hock Liem and administered by Tjoa Ma Tjoen. Its stated cultural ambition was to raise the standard of Indonesian art through film. The studio's first production, Kedok Ketawa, premiered in July 1940. Directed by Jo An Djan, it followed a young couple whose struggle against criminals involved the intervention of a masked figure. Contemporary notices were generally favorable, particularly regarding the film's photography and resemblance in quality to imported productions. Jo An Djan subsequently left for another company, and Union brought in the writer Saeroen, whose earlier credits included Terang Boelan and work for Tan's Film. Saeroen's first Union script was Harta Berdarah, directed by R Hu and Rd Ariffien and released in October 1940. The story used a conflict over wealth and charity to present a moral social theme. Union followed it with Bajar dengan Djiwa in early 1941, a drama about a young woman forced into exploitation because of her father's debt. The film marked Djoewariah's screen debut and she soon became one of the studio's principal actresses. Asmara Moerni, released in April 1941, was designed in part to reach educated viewers. It paired Djoewariah with the young doctor Adnan Kapau Gani in a story about education, social hierarchy, and marriage. Although its reception was mixed, the film represented Union's attempt to distinguish itself from stage-derived conventions. Wanita dan Satria, released in July, continued this orientation through the story of a privileged womanizer who abuses his social position and is eventually punished. Its marketing stressed the non-theatrical background of its performers, while contemporary commentary recognized its treatment of women's vulnerable position in Muslim society. Wanita dan Satria was the last Union film associated with both Saeroen and Ariffien; both soon moved to Star Film. R Hu remained with the studio and directed Soeara Berbisa, a late-1941 story in which two rivals for a woman's affection discover that they are brothers. Boen Kin Nam assisted with direction after working as a sound technician. The final completed production, Mega Mendoeng, was directed by Boen and starred Raden Soekarno and the newcomer Sofiati. These last films placed a stronger emphasis on realism and on stories considered suitable for educated audiences. Union planned an additional historical picture, Damar Woelan, set during the Majapahit period. The worsening international situation prevented completion. By late 1941, authorities and studios were preparing for the possibility of a Japanese invasion, and some production houses considered relocating from Batavia or suspending operations. The Japanese occupation in March 1942 ended Union's activities permanently. The company made seven released feature films in roughly two years. Its pictures were distributed widely in the Dutch East Indies, with at least some titles screened in Singapore, and screenings continued into the mid-1940s. All seven films are now believed to be lost. Union's institutional life was brief, but its legacy continued through its personnel. Djoewariah returned to the screen after the war, Raden Soekarno later worked under the name Rendra Karno, and Basoeki Resobowo moved into important art-direction work. Ariffien was the principal former Union director to maintain a long directing career, continuing into the 1960s.

• 1942

  Union Films dissolved

  [1]Union Filmsen.wikipedia.org

  The Japanese occupation halted production and the company closed permanently before its planned Damar Woelan could be completed.

• 1941

  Union expands its socially oriented repertoire

  [1]Union Filmsen.wikipedia.org

  Bajar dengan Djiwa, Asmara Moerni, and Wanita dan Satria addressed debt, education, class, gender, and social responsibility.

• 1941

  Saeroen and Rd Ariffien leave for Star Film

  [1]Union Filmsen.wikipedia.org

  The writer and director departed after Wanita dan Satria, requiring Union to continue under new creative leadership.

• 1940

  Company established in Batavia

  [1]Union Filmsen.wikipedia.org

  Ang Hock Liem and Tjoa Ma Tjoen established Union Films during the revival of the Dutch East Indies film industry.

• 1940

  Kedok Ketawa released

  [1]Union Filmsen.wikipedia.org

  Union's debut feature premiered in July and received favorable notices for its production quality.

A prewar Indies film studio positioned around improving local cinematic quality, reaching educated audiences, and moving some productions away from conventional theatrical melodrama toward socially engaged and more realistic storytelling.

• Black-and-white feature film · 1940

  Kedok Ketawa

  Union Films' debut, released in July 1940 and directed by Jo An Djan. The story follows a young couple confronted by criminals and aided by a masked bandit. Oedjang, Fatimah, and Basoeki Resobowo were among the credited performers. Contemporary responses highlighted its photography and considered its quality competitive with imported films. The film is believed to be lost.

• Black-and-white feature film · 1940

  Harta Berdarah

  Released in October 1940, this film was directed by R Hu and Rd Ariffien and written by Saeroen. Its plot centers on a young man who persuades a miserly hajji to become more charitable. The production featured singer Soelastri and martial artist Zonder. It was part of Union's early effort to combine popular entertainment with an explicit moral theme.

• Black-and-white feature film · 1941

  Bajar dengan Djiwa

  A drama released by February 1941 and directed by R Hu. The story concerns a young woman sold to a loan shark so that her father's debt can be paid. It introduced Djoewariah to film, beginning her association with Union and helping establish her as one of the studio's leading performers. The title also received screenings in Singapore.

• Black-and-white feature film · 1941

  Asmara Moerni

  Directed by Rd Ariffien from a Saeroen script, this April 1941 romance paired Djoewariah with the young doctor Adnan Kapau Gani. A central relationship between a man and his former maid develops after she receives an education, allowing the film to explore social mobility and class boundaries. Reviews were divided, but the project clearly targeted educated audiences.

• Black-and-white feature film · 1941

  Wanita dan Satria

  Released in July 1941, this Djoewariah vehicle follows a well-born womanizer who exploits his social standing to gain women's trust before facing consequences. Union promoted the picture as distinct from theatrical traditions and emphasized the cast's non-stage backgrounds. Contemporary commentary noted its depiction of women's insecure position and the question of women's rights in Muslim society.

• Black-and-white feature film · 1941

  Soeara Berbisa

  A late-1941 production directed by R Hu and written by Djojopranoto. Two young men compete for a woman's love before discovering that they are long-lost brothers. Boen Kin Nam served as assistant director after working as a sound technician. The film belonged to Union's later phase, which placed greater weight on realism and educated viewers.

• Black-and-white feature film · 1942

  Mega Mendoeng

  Union's final completed production, released in early 1942. Directed by Boen, it was a romance starring Raden Soekarno and newcomer Sofiati. Together with Soeara Berbisa, it represented the studio's late shift toward realism. The film was completed shortly before Union was closed during the Japanese occupation and is believed to be lost.

• 1942

  Production halted and company dissolvedOther

  Background

  Union had begun work on Damar Woelan as the threat of a Japanese invasion grew and film studios considered suspending activities or moving away from Batavia.

  Action taken

  The company stopped production and closed after the Japanese occupation of the Dutch East Indies.

  Aftermath

  Union never reopened, although its released films continued to be screened into the mid-1940s.

  Source

• 1941

  Shift toward realism and educated audiencesStrategy

  Background

  After Saeroen and Rd Ariffien left for Star Film, Union continued production with new creative leadership and sought to distance its later films from conventional theatrical formulas.

  Action taken

  The studio produced Soeara Berbisa and Mega Mendoeng with a stronger emphasis on realistic presentation and stories intended for educated viewers.

  Aftermath

  The strategy was cut short by the Japanese occupation, which ended Union's operations in 1942.

  Source

1. 1Union Filmsen.wikipedia.org