AFTER 10 years away from the spotlight, Sarimah Ahmad, the legendary leading lady of the 1960s Malay silver screen, returned to Malaysia from Brunei last November and found herself an unwilling media target.And the media has not been kind. She is baffled and hurt.
''I'll be 60 in April. I'm not interested in being in the public eye. All I'm interested in is spending time with my husband, children and grandchildren,'' said a calm and composed Sarimah. an English-language daily reported that she came home ''alone'' without her husband. Sarimah was at her wit's end explaining the actual situation to curious fans, friends and family members.
''I don't know whether I was misquoted or the reporter had unintentionally misinterpreted me. Whatever it was, I was unnecessarily swamped by calls and questions asking me to explain my marital status. It's so ridiculous. I am very much married to my husband,'' said a perplexed Sarimah who is from Pekan, Pahang.
But this was just the start Sarimah is back in the public eye, whether she likes it or not.Before that, a local English-language magazine in its July issue last year had attributed her still vibrant beauty to susuk (a charmed gold or diamond piece inserted in certain parts of the body to enhance beauty). She denied this vehemently.
''Just because someone looks good despite her age, does it mean she has resorted to susuk or plastic surgery? I can't allow this to go on. It's a baseless accusation and very disparaging. I have not done anything to hurt anyone. Anyway, why bring up all this now - during my twilight years. I have my husband and children. At least have some respect for them,'' said the former prima donna in an exclusive interview recently at her residence in Subang Jaya. the magazine had also made some cutting comments about her previous marriages and financial status. ''I am deeply disturbed. This is a matter of maruah (dignity). I can't go around explaining to people I meet that all the accusations are not true,'' said Sarimah who returned to Malaysia with husband Datuk Paduka Pengiran Hj Hidup Hj Hashim, a Bruneian businessman who is now retired.To put a stop to all this, Sarimah has decided to sue the magazine. ''After discussing it with my family and friends, I have consulted my lawyer to take the matter up. If I allow this to go on, I will never have peace of mind.''
Sarimah devoted half her life to showbiz, gracing the celluloid with classics like Ali Baba Bujang Lapok, Si Tanggang, Tiga Abdul, Madu Tiga, Ibu Mertuaku, Bidasari, Dayang Senandong and Raja Bersiong. And now that she is back home for good, the veteran said she is not planning to go into acting - at least not just yet.
''I can't say that I have turned my back on acting for good. I devoted half my life to acting and that's the only job that I have done. There have been offers but I am not too keen right now. I have my religious classes to attend to and other obligations. I am not sure if I want to act anymore,'' explained the actress who has been paired with top leading actors such as P. Ramlee, Aziz Jaafar, Jins Shamsuddin and Ahmad Mahmud.
During the 1982 Malaysian Film Festival, Sarimah was adjudged Best Actress for Dia Ibuku. According to her fans, the award was overdue, but Sarimah feels it was a really pleasant surprise. She is one actress who has never felt satisfied with her performances.
''I never felt that I have done justice to my roles. I wanted to perfect the roles all the time even until now,'' she said.
Sarimah turned melancholic when asked to recall her experiences. ''Those days, we went into acting because we wanted a job. Apart from the keen interest and talent, we were disciplined. This is very important, as only with discipline, we are able to give our best. You don't hear a director waiting on the actors back then. Now it's the other way around.'' Sarimah herself had produced four movies, namely, Dia Ibuku, Jejak Bertapak, Detik 12 Malam and Kabus Tengahari. She said she has also acted in 40 to 50 movies but this number cannot be confirmed because records are incomplete.
For Sarimah, maintaining one's popularity wasn't one of the priorities then. ''None of us were bothered about whether we would be in the news. It was more of keeping a job to keep us going,'' said Sarimah, best known for her role as Sabariah in a P. Ramlee classic Ibu Mertuaku.
At 60, this grandmother of 24 from her six children still retained her immaculate style of dressing. ''Dressing up comes naturally to me. It reflects one's personality and confidence,'' said the versatile actress who is now pursuing her jamu (traditional health and beauty supplements) business with the brand name Mayang Suri.
Ever since she came home Sarimah has been getting a lot of offers to act, appear on TV shows and give motivational talks on beauty care. However, she is more interested in continuing work on her book on beauty entitled Kecantikan Luar dan Dalam (Beauty Inside Out).
''I started on the book a few years ago. When I followed my husband to Brunei, it was put on hold. It has been many years since. Now that I have the time, I hope to complete it.'' on her marriage to Pengiran Hj Hidup, Sarimah said she is a contented woman now.
''It is a good partnership. I regard him as my true companion, my best friend and advisor. I am glad that he has been very understanding and loving. I can't ask for more. And I thank God for that,'' said a beaming Sarimah, adding that she is so touched that she still have hordes of fans despite her absence and age.
''God has given me everything - fame, wealth, beautiful children and a loving husband. I don't want anything else. I should devote my time to Him now.''
Friday, June 4, 2010
NOTHING'S CHANGED
AZIZ M.Osman's habit of directing movie upon movie, one after another has its drawback. After the less-than-inspiring Seri Dewi Malam, it looks like Aziz is burned out and tired and has lost his Midas touch.You get this feeling watching his latest movie Lagi-Lagi Senario. It left many with mixed feelings. While there is no doubt that the versatile Senario gang are again in top form, displaying their natural charm by just being themselves, the story is run-of-the-mill TV drama material.
It's about Azli (the actors use their real names) who runs a roti canai stall with his two workers Yassin and Saiful Apek. Azli's roti canai, made by Saiful, is popular and attracts many customers, and he soon hires Wahid to help out when the latter loses his job at a posh restaurant.
Seeing how well Azli is doing, a rival, Mazlan, decides to give him a run for his money. He tries to spoil Azli's business by setting up stall just next to Azli's. Mazlan ropes in his niece (played by Wardina Syafiah) and two other helpers, one of whom is played by singer Ani Mayuni.
The competition is relatively healthy at first, but soon Mazlan is resorting to coaxing Saiful the famous roti canai man to work for him.
To make matters worse, Azli's other worker Yassin also decides to work for Mazlan.
The only employee left, Wahid sympathises with Azli and vows to fix things. He starts practicing making roti canai and surprises Azli with his stylish way of making the roti canai. To lure the customers back, he launches his one of a kind Roti Canai Terbang Rock 'n'Roll. The gimmick works and soon Azli's stall becomes popular again.
But Mazlan doesn't give up. He cooks up an evil scheme to destroy Azli's business... The story, though simple, is quite interestingly weaved. Aziz has always been good at character development and this is evident in the way he handles each character, especially Wardina's. The five Senario members each have a distinct personality and it is a joy to watch them play their tailor-made roles with such ease.
However, the movie starts off rather slowly and Aziz really should have scrapped off a few scenes that add nothing to the story save some exaggerated comic moments. There are some grossed-out scenes as well. The one that has Saiful spitting phlegm into the roti canai was just sickening. In another stomach-turning scene, a Mamak sweats his way into the roti canai.
All the scenes revolve around the two stalls and Azli's house. This reminds one of the simple movies made in the 70s. It also gives the impression that this is a cheap production. You wonder how they came to spend RM1.6mil to make the movie.
Newcomer Ani Mayuni is a real turn off as the archetypal seducer who overplays her role to the maximum. Whatever happened to subtlety?
Despite the flaws, Lagi Lagi Senario has a feel-good ending and should go down well as a wholesome family entertainment - a few disgusting scenes notwithstanding.
No matter what the critics say, fans will be drawn to watch Lagi Lagi Senario. After all, they only want to watch the popular comedy group in action. The story is really secondary.
BY ZIEMAN - PUBLISHED 15/12/2001
It's about Azli (the actors use their real names) who runs a roti canai stall with his two workers Yassin and Saiful Apek. Azli's roti canai, made by Saiful, is popular and attracts many customers, and he soon hires Wahid to help out when the latter loses his job at a posh restaurant.
Seeing how well Azli is doing, a rival, Mazlan, decides to give him a run for his money. He tries to spoil Azli's business by setting up stall just next to Azli's. Mazlan ropes in his niece (played by Wardina Syafiah) and two other helpers, one of whom is played by singer Ani Mayuni.
The competition is relatively healthy at first, but soon Mazlan is resorting to coaxing Saiful the famous roti canai man to work for him.
To make matters worse, Azli's other worker Yassin also decides to work for Mazlan.
The only employee left, Wahid sympathises with Azli and vows to fix things. He starts practicing making roti canai and surprises Azli with his stylish way of making the roti canai. To lure the customers back, he launches his one of a kind Roti Canai Terbang Rock 'n'Roll. The gimmick works and soon Azli's stall becomes popular again.
But Mazlan doesn't give up. He cooks up an evil scheme to destroy Azli's business... The story, though simple, is quite interestingly weaved. Aziz has always been good at character development and this is evident in the way he handles each character, especially Wardina's. The five Senario members each have a distinct personality and it is a joy to watch them play their tailor-made roles with such ease.
However, the movie starts off rather slowly and Aziz really should have scrapped off a few scenes that add nothing to the story save some exaggerated comic moments. There are some grossed-out scenes as well. The one that has Saiful spitting phlegm into the roti canai was just sickening. In another stomach-turning scene, a Mamak sweats his way into the roti canai.
All the scenes revolve around the two stalls and Azli's house. This reminds one of the simple movies made in the 70s. It also gives the impression that this is a cheap production. You wonder how they came to spend RM1.6mil to make the movie.
Newcomer Ani Mayuni is a real turn off as the archetypal seducer who overplays her role to the maximum. Whatever happened to subtlety?
Despite the flaws, Lagi Lagi Senario has a feel-good ending and should go down well as a wholesome family entertainment - a few disgusting scenes notwithstanding.
No matter what the critics say, fans will be drawn to watch Lagi Lagi Senario. After all, they only want to watch the popular comedy group in action. The story is really secondary.
BY ZIEMAN - PUBLISHED 15/12/2001
PLAY AILS IN TRANSITION
THE adaptation in Bahasa Malaysia of Arthur Miller's Death of a Salesman, staged recently at the Matic Auditorium in Kuala Lumpur, was a test of how good the translation work was.It was no doubt an ambitious project staged by students of the National Arts Academy (Akademi Seni Kebangsaan). After hardly two weeks of intensive training, there they were, all geared up to give a rather melancholic and, as it turned out, not so in-depth interpretation of this Pulitzer prize-winning play.
Sometimes memorable and outstanding works of great writers such as Shakespeare, Oscar Wilde, Tennessee Williams, Eugene O'Neill and Arthur Miller should just be left alone in their original text.
Messing with them can result in works that are inferior. And more often, translation is a dicey affair because the essence and true meaning of the play might be lost, or the translation could be too direct and unnatural sounding.
The Malay version of Death of a Salesman was no doubt a good exercise in translation and production for the arts students. But condensing a lengthy four-hour play into two-and-half hours would need a lot of creativity, hard work and practice. And a good grasp of the language is definitely a must before one embarks on this ambitious task.
Getting veteran Ahmad Yatim to play Willy Loman was a good idea.
Sadly though, the momentum set by the slow-paced directing coupled with wasted and insignificant lines didn't make Willy Loman a character the audience would empathise with. The weak script, which needed a thorough rewriting, bogged down the whole play.
The rather monotonous and pensive evening mood was set right from the start. The not-so-encouraging turnout of 30 people in a splendid hall like the newly renovated Matic which could easily seat at least 300 people would make one feel as if the whole preview was an exclusive one.
But there is nothing outstanding about Death of a Salesman here. The team of scriptwriters and director have left out aspects that might have made the play more profound and meaningful. The essence and significance of the play were only tentatively put across.
Willy Loman's character was not well established. Other than the fact that his glory days as the Number One salesman are over, his traits as a salesman, something that he is proud of, were not made apparent to the audience.
Moreover, his rather careless, insulting and patronising remarks to his friend, Charley (Mazlan Tahir), children Biff (Khir Rahman) and Happy (Zaini Abu Hassan) came across as an everyday thing.
Even when he was arguing profusely with his patient wife, Linda (Rohani Yousoff), the argument was quite trivial and only hinted that Willy Loman is an impatient, easily agitated man.
The play took off at a snail's pace with the ageing and whining Willy Loman coming home from a hard day's work and his tireless wife, Linda, waiting on him with encouraging and loving words. This was to be the prelude to the central theme of the play.
From then on, the pacing of the play became rather inconsistent - at times bearable, at other times excruciatingly slow.
Death of a Salesman is a sad story about how a tired, ageing businessman named Willy Loman is slowly being sidelined in his work. His frustrations and depression worsen when neither of his two children, Biff and Happy, shows any inclination to become successful.
And when the story gradually picked up momentum and was about to reach the climax (the scene in which Willy Loman is sacked from his job) it didn't quite affect the audience.
Director Roselina Johari Mohd Khir tried to conjure up the troubled past of Willy Loman - his brief fling with a woman, his hopes and confidence in his brother Ben (Ahmad Ramzani Ismail) who left for better prospects in Africa and his first encounter with Linda were presented in a jumbled way.
It's fine to show these incidents in flashback but not while there's already another scene on stage. It makes it so confusing and distracting when you are trying to concentrate on the play. The tragic ending in which Willy orchestrates his death by crashing his car was only portrayed with a loud screech. This was supposed to be the pinnacle of the climax that never was.
The funeral scene was a solemn and quiet affair. The play concluded here and at this point, the ending looked very subtle and failed to evoke any melancholic emotions. How sad!
Ahmad Yatim as Willy Loman did fairly well. Consummate actor that he is, there was something about the Willy Loman character he created that became very endearing towards the end of the play.
But with a feeble script, no amount of good acting can help an actor shine on stage. Yatim tried hard, faltering minimally as he went on with the uninspiring lines, padding his character with certain stylised traits and mannerisms. At the end of the play, he almost succeeded in impressing the audience with his version of Willy Loman but not quite.
However, it was one of Yatim's best performances, despite the poor direction and forgettable dialogue making it difficult for Yatim to excel. Also, the disappointing acting of his co-actors Rohani Yousoff, Khir Rahman and the rest (excepting Mazlan Tahir who played Charley well) restricted him from doing better.
Veteran actor Rohani passively portrayed Linda. Sometimes it was rather obvious that her lines were a direct translation, which was so jarring to the ears.
Mazlan gave a fresh treatment to his Charley character whereas Khir Rahman overplayed Biff and failed to make an impact.
For some reason - be it a lack of confidence in a student production, difficulty in relating to such a theme or the origin of the play being Western - the four-day performance of Death of a Salesman staged at the newly, spruced-up Malaysian Tourist Information Centre in Jalan Ampang failed to attract theatre-goers.
Students of ASK should not feel discouraged by this poor turnout as it might have worked in their favour. With more time, practice and a simpler play, perhaps they will put up a more successful production the next time.
BY ZIEMAN - PUBLISHED 29/10/2001
Sometimes memorable and outstanding works of great writers such as Shakespeare, Oscar Wilde, Tennessee Williams, Eugene O'Neill and Arthur Miller should just be left alone in their original text.
Messing with them can result in works that are inferior. And more often, translation is a dicey affair because the essence and true meaning of the play might be lost, or the translation could be too direct and unnatural sounding.
The Malay version of Death of a Salesman was no doubt a good exercise in translation and production for the arts students. But condensing a lengthy four-hour play into two-and-half hours would need a lot of creativity, hard work and practice. And a good grasp of the language is definitely a must before one embarks on this ambitious task.
Getting veteran Ahmad Yatim to play Willy Loman was a good idea.
Sadly though, the momentum set by the slow-paced directing coupled with wasted and insignificant lines didn't make Willy Loman a character the audience would empathise with. The weak script, which needed a thorough rewriting, bogged down the whole play.
The rather monotonous and pensive evening mood was set right from the start. The not-so-encouraging turnout of 30 people in a splendid hall like the newly renovated Matic which could easily seat at least 300 people would make one feel as if the whole preview was an exclusive one.
But there is nothing outstanding about Death of a Salesman here. The team of scriptwriters and director have left out aspects that might have made the play more profound and meaningful. The essence and significance of the play were only tentatively put across.
Willy Loman's character was not well established. Other than the fact that his glory days as the Number One salesman are over, his traits as a salesman, something that he is proud of, were not made apparent to the audience.
Moreover, his rather careless, insulting and patronising remarks to his friend, Charley (Mazlan Tahir), children Biff (Khir Rahman) and Happy (Zaini Abu Hassan) came across as an everyday thing.
Even when he was arguing profusely with his patient wife, Linda (Rohani Yousoff), the argument was quite trivial and only hinted that Willy Loman is an impatient, easily agitated man.
The play took off at a snail's pace with the ageing and whining Willy Loman coming home from a hard day's work and his tireless wife, Linda, waiting on him with encouraging and loving words. This was to be the prelude to the central theme of the play.
From then on, the pacing of the play became rather inconsistent - at times bearable, at other times excruciatingly slow.
Death of a Salesman is a sad story about how a tired, ageing businessman named Willy Loman is slowly being sidelined in his work. His frustrations and depression worsen when neither of his two children, Biff and Happy, shows any inclination to become successful.
And when the story gradually picked up momentum and was about to reach the climax (the scene in which Willy Loman is sacked from his job) it didn't quite affect the audience.
Director Roselina Johari Mohd Khir tried to conjure up the troubled past of Willy Loman - his brief fling with a woman, his hopes and confidence in his brother Ben (Ahmad Ramzani Ismail) who left for better prospects in Africa and his first encounter with Linda were presented in a jumbled way.
It's fine to show these incidents in flashback but not while there's already another scene on stage. It makes it so confusing and distracting when you are trying to concentrate on the play. The tragic ending in which Willy orchestrates his death by crashing his car was only portrayed with a loud screech. This was supposed to be the pinnacle of the climax that never was.
The funeral scene was a solemn and quiet affair. The play concluded here and at this point, the ending looked very subtle and failed to evoke any melancholic emotions. How sad!
Ahmad Yatim as Willy Loman did fairly well. Consummate actor that he is, there was something about the Willy Loman character he created that became very endearing towards the end of the play.
But with a feeble script, no amount of good acting can help an actor shine on stage. Yatim tried hard, faltering minimally as he went on with the uninspiring lines, padding his character with certain stylised traits and mannerisms. At the end of the play, he almost succeeded in impressing the audience with his version of Willy Loman but not quite.
However, it was one of Yatim's best performances, despite the poor direction and forgettable dialogue making it difficult for Yatim to excel. Also, the disappointing acting of his co-actors Rohani Yousoff, Khir Rahman and the rest (excepting Mazlan Tahir who played Charley well) restricted him from doing better.
Veteran actor Rohani passively portrayed Linda. Sometimes it was rather obvious that her lines were a direct translation, which was so jarring to the ears.
Mazlan gave a fresh treatment to his Charley character whereas Khir Rahman overplayed Biff and failed to make an impact.
For some reason - be it a lack of confidence in a student production, difficulty in relating to such a theme or the origin of the play being Western - the four-day performance of Death of a Salesman staged at the newly, spruced-up Malaysian Tourist Information Centre in Jalan Ampang failed to attract theatre-goers.
Students of ASK should not feel discouraged by this poor turnout as it might have worked in their favour. With more time, practice and a simpler play, perhaps they will put up a more successful production the next time.
BY ZIEMAN - PUBLISHED 29/10/2001
THE RETURN OF ELLA
NEVER associate old age with a female rocker. Thirty-something is still considered pretty cool especially if you are still able to retain the requisite vigour and figure ... like Ella.When the singer recently took to the stage to launch her singles record ? Tanda Tanya as a prelude to her new album that's scheduled for release at the end of this month, Ella attracted quite a number of curious onlookers and and even some wolf whistles!
The excitement of seeing Ella perform ''once again'' after lying low for almost two years made many queue up early to fill up the seats at the Hard Rock Café in Kuala Lumpur.
The slightly fleshy Ella was beaming with pride as she took to the mike and sang her way to our hearts with a new song (that went untitled for a while) and was simply referred to as ? Tanda Tanya.
The real title of the song was left to Ella's fans to decide. This was part of a gimmick thought up by EMI Malaysia Sdn Bhd to promote Ella's new album. The guessing game was open to all ERA listeners and members of the public for a month.
''We had a competition where the winner won RM1,001 in cash, got to spend three hours with Ella and got to keep one of her personal belongings,'' said Normaheran, EMI Malaysia Sdn Bhd public relations manager.
The singles record also consists of two other songs - Sembilu and Dua Insan Bercinta and is sold at RM9.90 each. According to Normaheran, these songs are included on the album to allow her fans to get a feel of what's in store in her coming album.
Just last week, a lucky ERA listener was picked the winner for naming the song Tinggal Tanda Tanya (TTT). Incidentally, this will also be the title of Ella's new album.
TTT comprises 14 songs and each song was produced by individual composers like Djengo, Amin Abdullah, Aji, Azmeer, Zul Mahad, Bong and Ajai.
The songs include Nan Berbeza (which also features Ella's sister-cum-manager Jojie), Retak, Ilham Berbicara, Nekad, Kelipan, Jauh Di Mata (an old traditional song given a touch of rock), Cendawan & Serengga, Dia Lelaki (duet with Ramli Sarip), Tak Kisah (Bong) and Kau Yang Tak Tahu (Ajai).
The other three songs are the ethnic version of Retak and minus-one versions of Tinggal Tiada Tanya and Ilham Berbicara.
The rock diva has been keeping a low profile since her last album, El, which was released in 1999.
''I have been quite busy with shows and small concerts. I was concentrating more on my personal life, doing things that I love doing but never had the time to do, like travelling and reading. The record company told me it was a bad time to release an album and they advised me to do it when the market improved,'' said this 33-year-old singer who popularised the song Baldu Biru with singer Awie.
For Ella, time just stood still and she confessed she does not feel a day older from when she started though she has been in the scene for a good 15 years.
According to the singer who hails from Klang, competition has never been a problem. Without a trace of arrogance, Ella said she doesn't feel threatened by any singer, new or old.
''I have been around for quite a while now. My loyal fans are still out there for me. All this is like a comeback for me. The launching is for my new album and not to introduce Ella - the singer,'' said this popular rocker.
Asked to comment on her new album, Ella feels she has given her best and that her fans will really appreciate her latest effort because of the 14 songs (including four bonus tracks).
''It's very thoughtful of the record company to give this special treat to my fans. Well, you may call it a marketing strategy but at the end of the day, my fans benefit from this,'' said Ella.
Apart from the new songs on the album, Ella is often bombarded with questions of a personal nature, that is, her love life and when she is tying the knot.
She recently appeared on the front page of an entertainment magazine with a 17-year-old hunk confessing to readers that she will settle down soon.
''Everywhere I go, people stopped me and asked if it's true. It's so difficult to explain the circumstances I was in when I was posed that question. It was taken out of context. I know, I have a lot of teenage male fans around that age but to settle down with one of them is absurd,'' she said.
The attractive singer who has been romantically linked with several personalities declined to say whether there is anyone special in her life at the moment.
''I am married to my profession right now. Men bore me. They just don't know how to get around me, I am so fed-up.'' Perhaps the closest answer is given by the title of her new album Tinggal Tanda Tanya, which loosely translated means All That's Left Is a Question Mark.
BY ZIEMAN - PUBLISHED 18/10/2001
The excitement of seeing Ella perform ''once again'' after lying low for almost two years made many queue up early to fill up the seats at the Hard Rock Café in Kuala Lumpur.
The slightly fleshy Ella was beaming with pride as she took to the mike and sang her way to our hearts with a new song (that went untitled for a while) and was simply referred to as ? Tanda Tanya.
The real title of the song was left to Ella's fans to decide. This was part of a gimmick thought up by EMI Malaysia Sdn Bhd to promote Ella's new album. The guessing game was open to all ERA listeners and members of the public for a month.
''We had a competition where the winner won RM1,001 in cash, got to spend three hours with Ella and got to keep one of her personal belongings,'' said Normaheran, EMI Malaysia Sdn Bhd public relations manager.
The singles record also consists of two other songs - Sembilu and Dua Insan Bercinta and is sold at RM9.90 each. According to Normaheran, these songs are included on the album to allow her fans to get a feel of what's in store in her coming album.
Just last week, a lucky ERA listener was picked the winner for naming the song Tinggal Tanda Tanya (TTT). Incidentally, this will also be the title of Ella's new album.
TTT comprises 14 songs and each song was produced by individual composers like Djengo, Amin Abdullah, Aji, Azmeer, Zul Mahad, Bong and Ajai.
The songs include Nan Berbeza (which also features Ella's sister-cum-manager Jojie), Retak, Ilham Berbicara, Nekad, Kelipan, Jauh Di Mata (an old traditional song given a touch of rock), Cendawan & Serengga, Dia Lelaki (duet with Ramli Sarip), Tak Kisah (Bong) and Kau Yang Tak Tahu (Ajai).
The other three songs are the ethnic version of Retak and minus-one versions of Tinggal Tiada Tanya and Ilham Berbicara.
The rock diva has been keeping a low profile since her last album, El, which was released in 1999.
''I have been quite busy with shows and small concerts. I was concentrating more on my personal life, doing things that I love doing but never had the time to do, like travelling and reading. The record company told me it was a bad time to release an album and they advised me to do it when the market improved,'' said this 33-year-old singer who popularised the song Baldu Biru with singer Awie.
For Ella, time just stood still and she confessed she does not feel a day older from when she started though she has been in the scene for a good 15 years.
According to the singer who hails from Klang, competition has never been a problem. Without a trace of arrogance, Ella said she doesn't feel threatened by any singer, new or old.
''I have been around for quite a while now. My loyal fans are still out there for me. All this is like a comeback for me. The launching is for my new album and not to introduce Ella - the singer,'' said this popular rocker.
Asked to comment on her new album, Ella feels she has given her best and that her fans will really appreciate her latest effort because of the 14 songs (including four bonus tracks).
''It's very thoughtful of the record company to give this special treat to my fans. Well, you may call it a marketing strategy but at the end of the day, my fans benefit from this,'' said Ella.
Apart from the new songs on the album, Ella is often bombarded with questions of a personal nature, that is, her love life and when she is tying the knot.
She recently appeared on the front page of an entertainment magazine with a 17-year-old hunk confessing to readers that she will settle down soon.
''Everywhere I go, people stopped me and asked if it's true. It's so difficult to explain the circumstances I was in when I was posed that question. It was taken out of context. I know, I have a lot of teenage male fans around that age but to settle down with one of them is absurd,'' she said.
The attractive singer who has been romantically linked with several personalities declined to say whether there is anyone special in her life at the moment.
''I am married to my profession right now. Men bore me. They just don't know how to get around me, I am so fed-up.'' Perhaps the closest answer is given by the title of her new album Tinggal Tanda Tanya, which loosely translated means All That's Left Is a Question Mark.
BY ZIEMAN - PUBLISHED 18/10/2001
CIRCLING A DIFFICULT ROLE
HE is reputed to be a difficult actor and has generally shunned the media for fear of being misquoted. Getting good quotes from veteran thespian Ahmad Yatim is not a problem but keeping him in his seat could be. This restless soul proved that he could also be a difficult interview subject.
For almost two hours, the 57-year-old Yatim was on edge, going round in circles standing behind every chair in a small discussion room trying to drive home his point about his Willy Loman character in the much-acclaimed Arthur Miller play, Death of a Salesman, which will be staged in Bahasa Malaysia from today till Saturday at the Tourism Information Centre (Matic) auditorium in Jalan Ampang, Kuala Lumpur.
''No, I am not difficult. I just ask too many questions and the directors don't like this. At the end of the day, it's my face that everyone is going to see, not the directors', so I don't want to do something stupid,'' he said rather matter-of-factly during a recent interview.
A stylish and intense actor who acquired a certain method of acting, Yatim is known for his roles in more than 20 plays such as The Barefoot Neighbour, Oedipus and Antigone, Hamlet, Midsummer Night's Dream, Uda dan Dara, Ribut and Jebat.
''I don't (usually) give interviews because you journalists often write what you want to hear, not what I say; it's just pointless sometimes. Anyway I don't like publicity, it robs me of my privacy,'' said the actor who was trained in a language teachers' college in Kuala Lumpur in 1964.
Yatim does not like being in the limelight, he said. He prefers a quiet life, doing the things he likes at his own pace. However, when he was much younger, he did not envision his life this way. In fact, Yatim said he burst onto the acting scene rather arrogantly.
He was a teacher when he read about Usman Awang's play Matinya Seorang Pahlawan in the papers. It was to be directed by actor Datuk Rahim Razali with Syed Alwi playing Hang Jebat and playwright Krishen Jit as Hang Tuah. The young Yatim wasn't happy with a non-Malay playing Hang Tuah - ''it's simply not right, so I felt I had to do something,'' he said.
The following day, Yatim, who knew the text of the play by heart, gate-crashed one of the rehearsals and shocked everyone on the set when he blatantly said: ''I want to play Tuah.'' His acting must have impressed Rahim because he was made Hang Tuah instantly. As a result, Yatim earned the ''the arrogant actor'' tag. It might make Yatim sound like a braggart each time he tells people that he went into acting because ''I think I can do better.''
But the truth is simply that he makes a difference, with an acting style that he has perfected over the years. He was named Best Actor in the Malaysian Film Festival for his role in Pemburu in the late 1980s. Someone commented that he emulates Rahim's style of acting. ''Great actors have their own styles. Any similarity is incidental. I don't think I imitate anyone. I do my characters intuitively, at the spur of the moment,'' explained the actor who was later picked to act in the musical Uda dan Dara.
Shortly after that, Yatim joined the Malaysian Amateur Theatre Group with Syed Alwi, Krishen Jit and Rahim Razali. During this time he also worked with other theatre activists like Donald Davis, Frank Sullivan, Krishen Jit, Vijaya Samavikrama, Othman Hafsham, Abdullah Zainol and Faridah Merican.
He was later offered a scholarship under the Colombo Plan and completed his degree in theatre from the National Institute of Dramatic Art, University of New South Wales, Australia. Yatim's involvement in the theatre circles continued when he came home in 1978. Although he has graced the cinema screen with roles in movies such as Abang, Sumpah Di Bumi Merekah, Pemburu, Anak Sarawak and Perempuan Melayu Terakhir, Yatim seemed to be better known for his theatre performances. And each time he agrees to act in a play Yatim takes a long time to prepare himself, he said. He doesn't normally compromise on this principle unless it's for something that he feels compelled to do such as in the case of Death of a Salesman, which is being staged by students of the National Arts Academy (Akademi Seni Kebangsaan) where he is a lecturer. He also lectures in Universiti Teknologi Mara (UiTM).
Yatim felt duty-bound to take part in this play, which has been described by many as difficult, touching and challenging.
He has had hardly any time to prepare for the role - he was given less than two weeks to remember the lines, work on the tone and think of the best possible way to interact with other actors - something which Yatim would never dream of doing given the short time-frame. ''I am still struggling with my lines,'' he said last week. ''It is more difficult when it is a translated play. You have to keep (the interpretation) as close as possible or else the intended meaning is lost. To condense a four-hour play to half the time is a real test. The trickiest part lies in getting the message across. ''This sort of play would need at least two months of rehearsals. Since we are short of time, we have to do it the best we can.''
Negri Sembilan-born Yatim views his Wily Loman character as the typical Melayu who is always in a dilemma, trapped in his illusion, hopes and dreams.
''It's a typical Malay syndrome - big dreams but no vision. Loman is a likeable character though he is loud-mouthed and complains a lot. An average salesman who is trying to make ends meet to raise his two sons - Biff and Happy. He urges his two sons to do better than him and emulate his neighbour Charlie's son, Bernard, who is now a lawyer,'' explained Yatim.
Yatim said he could easily get into character because it reminds him a lot of some people he knew.''It's sad especially towards the end of the play when Loman feels rejected and gives up on his life. It would be difficult not to empathise with him,'' said Yatim. Death of a Salesman will be directed by Roselina Khir Johari whose resume includes The Zen Substitute, Atap Genting Atap Rembia, The Lion and The Jewel, Woyzeck and Medea (with Rosminah Tahir).
This Pulitzer Prize-winning play has been translated into Mandarin and Cantonese. This time around, a team of ASK students had the job of interpreting it in Bahasa Malaysia.
It will also feature Rohani Yousoff, Mazlan Tahir, Khatijah Tan, Khir Rahman, Zaini Abu Hassan, Mardiana Ismail and Amy Haryani.
BY ZIEMAN - PUBLISHED 17/10/2001
For almost two hours, the 57-year-old Yatim was on edge, going round in circles standing behind every chair in a small discussion room trying to drive home his point about his Willy Loman character in the much-acclaimed Arthur Miller play, Death of a Salesman, which will be staged in Bahasa Malaysia from today till Saturday at the Tourism Information Centre (Matic) auditorium in Jalan Ampang, Kuala Lumpur.
''No, I am not difficult. I just ask too many questions and the directors don't like this. At the end of the day, it's my face that everyone is going to see, not the directors', so I don't want to do something stupid,'' he said rather matter-of-factly during a recent interview.
A stylish and intense actor who acquired a certain method of acting, Yatim is known for his roles in more than 20 plays such as The Barefoot Neighbour, Oedipus and Antigone, Hamlet, Midsummer Night's Dream, Uda dan Dara, Ribut and Jebat.
''I don't (usually) give interviews because you journalists often write what you want to hear, not what I say; it's just pointless sometimes. Anyway I don't like publicity, it robs me of my privacy,'' said the actor who was trained in a language teachers' college in Kuala Lumpur in 1964.
Yatim does not like being in the limelight, he said. He prefers a quiet life, doing the things he likes at his own pace. However, when he was much younger, he did not envision his life this way. In fact, Yatim said he burst onto the acting scene rather arrogantly.
He was a teacher when he read about Usman Awang's play Matinya Seorang Pahlawan in the papers. It was to be directed by actor Datuk Rahim Razali with Syed Alwi playing Hang Jebat and playwright Krishen Jit as Hang Tuah. The young Yatim wasn't happy with a non-Malay playing Hang Tuah - ''it's simply not right, so I felt I had to do something,'' he said.
The following day, Yatim, who knew the text of the play by heart, gate-crashed one of the rehearsals and shocked everyone on the set when he blatantly said: ''I want to play Tuah.'' His acting must have impressed Rahim because he was made Hang Tuah instantly. As a result, Yatim earned the ''the arrogant actor'' tag. It might make Yatim sound like a braggart each time he tells people that he went into acting because ''I think I can do better.''
But the truth is simply that he makes a difference, with an acting style that he has perfected over the years. He was named Best Actor in the Malaysian Film Festival for his role in Pemburu in the late 1980s. Someone commented that he emulates Rahim's style of acting. ''Great actors have their own styles. Any similarity is incidental. I don't think I imitate anyone. I do my characters intuitively, at the spur of the moment,'' explained the actor who was later picked to act in the musical Uda dan Dara.
Shortly after that, Yatim joined the Malaysian Amateur Theatre Group with Syed Alwi, Krishen Jit and Rahim Razali. During this time he also worked with other theatre activists like Donald Davis, Frank Sullivan, Krishen Jit, Vijaya Samavikrama, Othman Hafsham, Abdullah Zainol and Faridah Merican.
He was later offered a scholarship under the Colombo Plan and completed his degree in theatre from the National Institute of Dramatic Art, University of New South Wales, Australia. Yatim's involvement in the theatre circles continued when he came home in 1978. Although he has graced the cinema screen with roles in movies such as Abang, Sumpah Di Bumi Merekah, Pemburu, Anak Sarawak and Perempuan Melayu Terakhir, Yatim seemed to be better known for his theatre performances. And each time he agrees to act in a play Yatim takes a long time to prepare himself, he said. He doesn't normally compromise on this principle unless it's for something that he feels compelled to do such as in the case of Death of a Salesman, which is being staged by students of the National Arts Academy (Akademi Seni Kebangsaan) where he is a lecturer. He also lectures in Universiti Teknologi Mara (UiTM).
Yatim felt duty-bound to take part in this play, which has been described by many as difficult, touching and challenging.
He has had hardly any time to prepare for the role - he was given less than two weeks to remember the lines, work on the tone and think of the best possible way to interact with other actors - something which Yatim would never dream of doing given the short time-frame. ''I am still struggling with my lines,'' he said last week. ''It is more difficult when it is a translated play. You have to keep (the interpretation) as close as possible or else the intended meaning is lost. To condense a four-hour play to half the time is a real test. The trickiest part lies in getting the message across. ''This sort of play would need at least two months of rehearsals. Since we are short of time, we have to do it the best we can.''
Negri Sembilan-born Yatim views his Wily Loman character as the typical Melayu who is always in a dilemma, trapped in his illusion, hopes and dreams.
''It's a typical Malay syndrome - big dreams but no vision. Loman is a likeable character though he is loud-mouthed and complains a lot. An average salesman who is trying to make ends meet to raise his two sons - Biff and Happy. He urges his two sons to do better than him and emulate his neighbour Charlie's son, Bernard, who is now a lawyer,'' explained Yatim.
Yatim said he could easily get into character because it reminds him a lot of some people he knew.''It's sad especially towards the end of the play when Loman feels rejected and gives up on his life. It would be difficult not to empathise with him,'' said Yatim. Death of a Salesman will be directed by Roselina Khir Johari whose resume includes The Zen Substitute, Atap Genting Atap Rembia, The Lion and The Jewel, Woyzeck and Medea (with Rosminah Tahir).
This Pulitzer Prize-winning play has been translated into Mandarin and Cantonese. This time around, a team of ASK students had the job of interpreting it in Bahasa Malaysia.
It will also feature Rohani Yousoff, Mazlan Tahir, Khatijah Tan, Khir Rahman, Zaini Abu Hassan, Mardiana Ismail and Amy Haryani.
BY ZIEMAN - PUBLISHED 17/10/2001
ON HIS FINAL JOURNEY
Azahari 'Zairey' Ahmad
(1968-2001)
WHEN Zairey, the group leader of Raihan, spoke of the deaths of some of the group's fans during an interview last Friday, it seemed as if he had a premonition of his own demise the following day, which was his birthday. ''Puji-pujian (a song in praise of God) is the most significant,'' Zairey said. ''It has brought smiles to many dying fans. There's something very tranquil and serene about the music and lyrics.
''Once, a girl dying of leukaemia requested her mother to play the song and her last wish was to see us. We made a surprise visit. She was elated and star-struck when she saw us. Her whole face lighted up and tears streamed down her cheeks when we sang for her. It was one of the most heart-rending moments. Her family became our friends but our little fan died three years later.''
Zairey then related three other incidents about how that song had touched the lives of dying fans. All the while, one could detect that Zairey was feeling very melancholic. The rest of the Raihan members - Che Amran, Nazrey (lead vocalist) and Abu Bakar - just listened and allowed Zairey to talk about those dark, emotional moments.
He seemed distant and wore a far away look on his face that afternoon, even when he was talking about Raihan's upcoming projects and its latest album release, titled Demi Masa. Asked if he was feeling okay, Zairey said: ''Maybe I am a bit tired.''
However, God had willed that it was to be the last interview for the soft-spoken 33-year-old Zairey. He died from a massive heart attack the following day while attending the radio station ERA Awards night at Genting Highlands.
He was born Azahari Ahmad in Gopeng, Perak, on Sept 29, 1968. Friends and relatives called him Zairey. He is the fifth of nine siblings and a student of the graphic design school at Univeristi Sains Malaysia in Penang. Zairey married Hazura Hamdan in 1994; he is survived by her and their three children, Jijie, 6; Imad, 5, and Anna, 3. Zairey had a history of asthma and suffered asthma attacks the past three years. According to his close friend and fellow group member Che Amran, Zairey complained that he wasn't well last week. A doctor advised him not to attend the ERA Awards because of his weak condition and the cool weather up in the highlands but a dedicated Zairey refused to listen.
He complained of chest pain and dizziness halfway through the event and collapsed shortly after that. He was rushed to a Genting Highlands clinic where he was pronounced dead. Zairey was laid to rest at his wife's kampung in Pekan, Pahang, on Sunday. The group will later make an announcement as to whether Raihan will go on as a threesome or recruit another member to take Zairey's place. A spokesman for Warner Music said the company will soon be throwing a kenduri in memory of Zairey.Demi Masa, Raihan's fourth album was supposed to be launched today but due to his unexpected death, plans have been postponed indefinitely.
Unlike other times, Zairey seemed a bit low-key last Friday. Throughout the one-and-half-hour interview, he requested the other members to sing almost all the 10 songs instead of explaining each song at length like he always did.
''We are recording Puji-pujian again. It's now called Puji-pujian II. Rudy Ramaway (managing director of Warner Music Malaysia) had a dream that we should do this song again. This time we have given it more universal lyrics,'' explained Zairey, insisting that his friends sing a few bars of the song.
The Bonds of Love, composed by Abu Bakar, has lyrics written by Zairey. According to Zairey, the song is about how each one of us can be bound together by love, regardless of religion, culture or age.
''This song is especially for Raihan's fans. It's not easy to come up with an English song that can be accepted by all. I wrote the lyrics after doing some homework about the things that happened around us lately,'' he said.
Songs on Demi Masa include the title track, Tihamah (the old name for Mecca), The Bonds of Love, Mari Berhibur, Carilah Cinta (which says the greatest love of all is one's love for the Creator), Yang Disembah (for young children mastering the basic tenets of Islam), Asbahulkahfi (a song about old history which is told in story form) and Puji-pujian II.
Then there's Kita Sama, which takes on a simple folk tune composed and written by Nazrey.
''But you should listen to Kasih Sayang. I dedicate this song to you and your family. This ballad is about how love builds a happy family. It's composed by Farihin Abdul Fatah while the lyrics are by his wife, Kak Ain. I am sure you will like it. Please sing it for her,'' Zairey asked his friends.
''Anyone who listens to this song will want to reach out and make peace with people whom they were at odds with before. It's very soothing. I recommend it.''
Before adjourning the interview session for the Friday prayers, Zairey asked his friends to autograph Raihan's postcards and publicity tag. Each of them had a different maxim written on their individual postcards. Zairey had chosen the words ''Pray Hard Work Smart'' which is incidentally going to be the promotional tagline for their Demi Masa album.
''It's important that we not only work smart but pray hard as well for the two go hand in hand,'' explained Zairey.
For Zairey, working smart did not mean that you should play truant or cut corners. It's how you divide your time for yourself and God, and as his friends testified, Zairey had strictly adhered to this maxim throughout his relatively short life.
(1968-2001)
WHEN Zairey, the group leader of Raihan, spoke of the deaths of some of the group's fans during an interview last Friday, it seemed as if he had a premonition of his own demise the following day, which was his birthday. ''Puji-pujian (a song in praise of God) is the most significant,'' Zairey said. ''It has brought smiles to many dying fans. There's something very tranquil and serene about the music and lyrics.
''Once, a girl dying of leukaemia requested her mother to play the song and her last wish was to see us. We made a surprise visit. She was elated and star-struck when she saw us. Her whole face lighted up and tears streamed down her cheeks when we sang for her. It was one of the most heart-rending moments. Her family became our friends but our little fan died three years later.''
Zairey then related three other incidents about how that song had touched the lives of dying fans. All the while, one could detect that Zairey was feeling very melancholic. The rest of the Raihan members - Che Amran, Nazrey (lead vocalist) and Abu Bakar - just listened and allowed Zairey to talk about those dark, emotional moments.
He seemed distant and wore a far away look on his face that afternoon, even when he was talking about Raihan's upcoming projects and its latest album release, titled Demi Masa. Asked if he was feeling okay, Zairey said: ''Maybe I am a bit tired.''
However, God had willed that it was to be the last interview for the soft-spoken 33-year-old Zairey. He died from a massive heart attack the following day while attending the radio station ERA Awards night at Genting Highlands.
He was born Azahari Ahmad in Gopeng, Perak, on Sept 29, 1968. Friends and relatives called him Zairey. He is the fifth of nine siblings and a student of the graphic design school at Univeristi Sains Malaysia in Penang. Zairey married Hazura Hamdan in 1994; he is survived by her and their three children, Jijie, 6; Imad, 5, and Anna, 3. Zairey had a history of asthma and suffered asthma attacks the past three years. According to his close friend and fellow group member Che Amran, Zairey complained that he wasn't well last week. A doctor advised him not to attend the ERA Awards because of his weak condition and the cool weather up in the highlands but a dedicated Zairey refused to listen.
He complained of chest pain and dizziness halfway through the event and collapsed shortly after that. He was rushed to a Genting Highlands clinic where he was pronounced dead. Zairey was laid to rest at his wife's kampung in Pekan, Pahang, on Sunday. The group will later make an announcement as to whether Raihan will go on as a threesome or recruit another member to take Zairey's place. A spokesman for Warner Music said the company will soon be throwing a kenduri in memory of Zairey.Demi Masa, Raihan's fourth album was supposed to be launched today but due to his unexpected death, plans have been postponed indefinitely.
Unlike other times, Zairey seemed a bit low-key last Friday. Throughout the one-and-half-hour interview, he requested the other members to sing almost all the 10 songs instead of explaining each song at length like he always did.
''We are recording Puji-pujian again. It's now called Puji-pujian II. Rudy Ramaway (managing director of Warner Music Malaysia) had a dream that we should do this song again. This time we have given it more universal lyrics,'' explained Zairey, insisting that his friends sing a few bars of the song.
The Bonds of Love, composed by Abu Bakar, has lyrics written by Zairey. According to Zairey, the song is about how each one of us can be bound together by love, regardless of religion, culture or age.
''This song is especially for Raihan's fans. It's not easy to come up with an English song that can be accepted by all. I wrote the lyrics after doing some homework about the things that happened around us lately,'' he said.
Songs on Demi Masa include the title track, Tihamah (the old name for Mecca), The Bonds of Love, Mari Berhibur, Carilah Cinta (which says the greatest love of all is one's love for the Creator), Yang Disembah (for young children mastering the basic tenets of Islam), Asbahulkahfi (a song about old history which is told in story form) and Puji-pujian II.
Then there's Kita Sama, which takes on a simple folk tune composed and written by Nazrey.
''But you should listen to Kasih Sayang. I dedicate this song to you and your family. This ballad is about how love builds a happy family. It's composed by Farihin Abdul Fatah while the lyrics are by his wife, Kak Ain. I am sure you will like it. Please sing it for her,'' Zairey asked his friends.
''Anyone who listens to this song will want to reach out and make peace with people whom they were at odds with before. It's very soothing. I recommend it.''
Before adjourning the interview session for the Friday prayers, Zairey asked his friends to autograph Raihan's postcards and publicity tag. Each of them had a different maxim written on their individual postcards. Zairey had chosen the words ''Pray Hard Work Smart'' which is incidentally going to be the promotional tagline for their Demi Masa album.
''It's important that we not only work smart but pray hard as well for the two go hand in hand,'' explained Zairey.
For Zairey, working smart did not mean that you should play truant or cut corners. It's how you divide your time for yourself and God, and as his friends testified, Zairey had strictly adhered to this maxim throughout his relatively short life.
THE SERIOUS COMEDY ACTOR
THE mention of Zainal Ariffin Abdul Hamid does not ring a bell. But if you mention the name Zaibo, many people would recognise it instantly.More often, this reference is by no means derogatory. He doesn't feel offended or upset with this name unless, of course, when it is called out in an insulting manner.
He recalled some young boys once shouted ''Cayalah Botak,'' ''Steady-lah Botak,'' which sounded more like an insult than a compliment.
Then, once while shopping at the Pudu market in Kuala Lumpur, one man shouted his name and told him to buy a type of vegetable that could enhance hair growth.
''I am quite sensitive but there are certain things which I don't take to heart, especially when it is a fact of life, like being called Botak. When it is said in a casual, friendly way, it's fine,'' said Zaibo, who plays Pak Selamat in ntv7's popular sitcom Spanar Jaya.
''But if someone called me that and I become the brunt of his jokes, that is something I cannot accept. It's humiliating and disrespectful.''
According to Zaibo, he noticed that some of his fans do not know where his acting stops and reality begins.
''They assume that I am Zaibo, the comedy actor on and off screen all the time. But how do I tell them that I don't clown around in my everyday life, or that I am tired of my screen persona.''
Zaibo feels that most people are confused between a comedy actor and a comedian. Comedians are those who go on stage, crack jokes or do slapstick or stand-up comedy, while a comedy actor is one who portrays funny characters.
''I am NOT a comedian but a comedy actor. I have a lot of respect for comedians who do stand-up comic or slapstick comedy because it is not easy to do that. But it's not fair to compare comedians and comedy actors because both are good in their own areas,'' explained Zaibo, who was a temporary teacher in a Tamil school in Bukit Mertajam.
''If you don't like watching slapstick comedy, then don't watch but don't condemn. There are people who like this kind of comedy.''
Perhaps this statement was made to clear the air about the ''clown'' tag that has dogged him since the start of his career.
Acting was not his first career. After he finished Form Six, he moved to Kuala Lumpur and worked at Universiti Pertanian Malaysia's (now Universiti Putra Malaysia) cultural unit as a dancer.
Tired of the stability provided by a steady job, Zaibo decided to be a freelance actor. At 28, he got his first break in acting from RTM.
He completed a one-year acting course in 1984 and decided to do a four-year degree course in performing arts in Universiti Sains Malaysia.
While doing his practical training at RTM, helping out in drama productions, he was offered small roles.
His other exposure came when Rohani Yousoff, who was then heading TV3's entertainment unit, offered him a small role in a Hari Raya programme called Haripu with Imuda, Sabri Yunus and Ida Nerina. Then came a role in Othman Hafsham's sitcom, 2+1. From then on, his popularity soared.
Zaibo has also appeared in several commercials including pesticide and cough sweets advertisements. The offers were made to capitalise on his balding head and not his acting skills.
''I am aware of that but there are times when I just don't think about it. As long as my talent is taken seriously and I feel happy portraying a certain role, I'll just do it,'' explained Zaibo, who has also appeared in movies Queen Control and Soal Hati.
But his most famous role to date is Pak Selamat in Spanar Jaya, which has now entered its fifth season. Together with Ahmad Idham, Opie Mat Rock and Wardina, who plays Zaibo's screen daughter, the cast is like one big happy family.
''We have never acted together in any show before, so being together in Spanar Jaya is a different experience. We get along well, just like a real family,'' said Zaibo, who has acted in Television Corporation of Singapore's Can I Help You? and Under One Roof.
''It's a nice feeling to be acknowledged when you are in a crowd. Whether it is Zaibo or Pak Selamat, I know my fans like me and that's very assuring,'' said the actor, who hails from Alor Star.
''The day I started acting, I was aware that I was going to join this so-called glamour world. I never paid much attention to it. All the time, I try to improve on acting, remain humble and not get carried away.
''There was a time, very early in my acting career, when I thought people were watching me and I was so conscious of my actions and dressing.
''Luckily, I finally realised that I was not behaving in a natural way and I decided to be myself.''
Zaibo is happy that he has never been over-exposed.
''I suppose that is why I am able to be what I am today. I believe actors should keep their feet firmly on the ground and not be clouded by glamour or popularity because all that do not last,'' said Zaibo, who had acted in the theatre play Tiang Seri Tegak Seribu.
Whether he is in a theatre play, TV drama, movie or sitcom, Zaibo takes his job seriously. Like a chameleon, he is able to switch from being serious, clumsy, intellectual to funny, effeminate or dumb.
Zaibo has given comedy acting a breath of fresh air with his quick and witty repartees, something that not many local comedy actors are able to do.
Perhaps this was what made him stand out when he was handpicked to appear in Anna and the King with Jodie Foster and Chow Yun-Fatt two years ago.
The veteran actor of six movies and over 100 dramas feels that his acting skills have not been really tested. ''I have yet to be given a challenging role, maybe a deranged character or a lonely man suffering from Alzheimer's.''
At 45, Zaibo still remains a bachelor. ''I missed the boat many times. Now I let things happen naturally. Maybe I am destined to remain single.''
Well, we do not know what destiny has in store for him. But fans would love Zaibo to remain as he is - a comedy actor who is able to take your perspective of life and turn it into humour.
BY ZIEMAN - PUBLISHED 23/9/2001
He recalled some young boys once shouted ''Cayalah Botak,'' ''Steady-lah Botak,'' which sounded more like an insult than a compliment.
Then, once while shopping at the Pudu market in Kuala Lumpur, one man shouted his name and told him to buy a type of vegetable that could enhance hair growth.
''I am quite sensitive but there are certain things which I don't take to heart, especially when it is a fact of life, like being called Botak. When it is said in a casual, friendly way, it's fine,'' said Zaibo, who plays Pak Selamat in ntv7's popular sitcom Spanar Jaya.
''But if someone called me that and I become the brunt of his jokes, that is something I cannot accept. It's humiliating and disrespectful.''
According to Zaibo, he noticed that some of his fans do not know where his acting stops and reality begins.
''They assume that I am Zaibo, the comedy actor on and off screen all the time. But how do I tell them that I don't clown around in my everyday life, or that I am tired of my screen persona.''
Zaibo feels that most people are confused between a comedy actor and a comedian. Comedians are those who go on stage, crack jokes or do slapstick or stand-up comedy, while a comedy actor is one who portrays funny characters.
''I am NOT a comedian but a comedy actor. I have a lot of respect for comedians who do stand-up comic or slapstick comedy because it is not easy to do that. But it's not fair to compare comedians and comedy actors because both are good in their own areas,'' explained Zaibo, who was a temporary teacher in a Tamil school in Bukit Mertajam.
''If you don't like watching slapstick comedy, then don't watch but don't condemn. There are people who like this kind of comedy.''
Perhaps this statement was made to clear the air about the ''clown'' tag that has dogged him since the start of his career.
Acting was not his first career. After he finished Form Six, he moved to Kuala Lumpur and worked at Universiti Pertanian Malaysia's (now Universiti Putra Malaysia) cultural unit as a dancer.
Tired of the stability provided by a steady job, Zaibo decided to be a freelance actor. At 28, he got his first break in acting from RTM.
He completed a one-year acting course in 1984 and decided to do a four-year degree course in performing arts in Universiti Sains Malaysia.
While doing his practical training at RTM, helping out in drama productions, he was offered small roles.
His other exposure came when Rohani Yousoff, who was then heading TV3's entertainment unit, offered him a small role in a Hari Raya programme called Haripu with Imuda, Sabri Yunus and Ida Nerina. Then came a role in Othman Hafsham's sitcom, 2+1. From then on, his popularity soared.
Zaibo has also appeared in several commercials including pesticide and cough sweets advertisements. The offers were made to capitalise on his balding head and not his acting skills.
''I am aware of that but there are times when I just don't think about it. As long as my talent is taken seriously and I feel happy portraying a certain role, I'll just do it,'' explained Zaibo, who has also appeared in movies Queen Control and Soal Hati.
But his most famous role to date is Pak Selamat in Spanar Jaya, which has now entered its fifth season. Together with Ahmad Idham, Opie Mat Rock and Wardina, who plays Zaibo's screen daughter, the cast is like one big happy family.
''We have never acted together in any show before, so being together in Spanar Jaya is a different experience. We get along well, just like a real family,'' said Zaibo, who has acted in Television Corporation of Singapore's Can I Help You? and Under One Roof.
''It's a nice feeling to be acknowledged when you are in a crowd. Whether it is Zaibo or Pak Selamat, I know my fans like me and that's very assuring,'' said the actor, who hails from Alor Star.
''The day I started acting, I was aware that I was going to join this so-called glamour world. I never paid much attention to it. All the time, I try to improve on acting, remain humble and not get carried away.
''There was a time, very early in my acting career, when I thought people were watching me and I was so conscious of my actions and dressing.
''Luckily, I finally realised that I was not behaving in a natural way and I decided to be myself.''
Zaibo is happy that he has never been over-exposed.
''I suppose that is why I am able to be what I am today. I believe actors should keep their feet firmly on the ground and not be clouded by glamour or popularity because all that do not last,'' said Zaibo, who had acted in the theatre play Tiang Seri Tegak Seribu.
Whether he is in a theatre play, TV drama, movie or sitcom, Zaibo takes his job seriously. Like a chameleon, he is able to switch from being serious, clumsy, intellectual to funny, effeminate or dumb.
Zaibo has given comedy acting a breath of fresh air with his quick and witty repartees, something that not many local comedy actors are able to do.
Perhaps this was what made him stand out when he was handpicked to appear in Anna and the King with Jodie Foster and Chow Yun-Fatt two years ago.
The veteran actor of six movies and over 100 dramas feels that his acting skills have not been really tested. ''I have yet to be given a challenging role, maybe a deranged character or a lonely man suffering from Alzheimer's.''
At 45, Zaibo still remains a bachelor. ''I missed the boat many times. Now I let things happen naturally. Maybe I am destined to remain single.''
Well, we do not know what destiny has in store for him. But fans would love Zaibo to remain as he is - a comedy actor who is able to take your perspective of life and turn it into humour.
BY ZIEMAN - PUBLISHED 23/9/2001
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