Union Films
| Company type | Private |
|---|---|
| Industry | Film production |
| Founded | 1940 |
| Founder | Ang Hock Liem, Tjoa Ma Tjoen |
| Defunct | 1942 |
| Headquarters | Batavia , Dutch East Indies |
Area served | Dutch East Indies |
Key people | Ang Hock Liem, Tjoa Ma Tjoen, Saeroen, R Hu, Rd Ariffien, Boen Kin Nam |
| Products | Motion pictures |
Union Films was a motion picture production enterprise situated in Batavia, Dutch East Indies (present-day Jakarta, Indonesia). Established in 1940 by Chinese-Indonesian entrepreneurs Ang Hock Liem and Tjoa Ma Tjoen, the studio produced a total of seven monochrome films before ceasing operations in 1942; none of these works have survived. The leadership predominantly consisted of ethnic Chinese individuals, and the company played a pivotal role in launching the careers of performers including Rendra Karno and Djoewariah.
The company emerged amidst the resurgence of the Indies cinema industry, releasing its inaugural film, Kedok Ketawa, in July 1940. Later productions featured screenplays by Saeroen that catered to the expanding intelligentsia within the Indies, deliberately shifting away from the theatrical styles common during that era. After Saeroen departed for Star Film in 1941, Union’s last two films adopted a more realistic approach. The studio was disbanded following the Japanese occupation in March 1942, although its films continued to be shown into the mid-1940s.
History
The revival of the Dutch East Indies film industry followed the commercial triumphs of Terang Boelan (1937), Fatima (1938), and Alang-Alang (1939), which helped restore an industry weakened by the Great Depression. In 1940, four new production companies were established, among them Union Films. Financed primarily by Ang Hock Liem, an ethnic Chinese businessman who produced most titles, daily management was overseen by Tjoa Ma Tjoen. The company’s offices were located on Prinsenlaan in Batavia (currently Mangga Besar, Jakarta), with a mission to "enhance the quality of Indonesian art."
Union’s debut feature, Kedok Ketawa (July 1940), directed by Jo An Djan and starring Oedjang, Fatimah, and Basoeki Resobowo, told the story of a young couple combating criminals aided by a masked vigilante. Critics praised it highly, likening its production values to Hollywood standards. This success led to hiring Saeroen as their screenwriter. His first project for Union was Harta Berdarah (October 1940), directed by R Hu and Rd Ariffien after Jo An Djan’s departure. The cast included singer Soelastri and martial artist Zonder.
In February 1941, Union released Bajar dengan Djiwa, a drama centered on a woman sold to settle her father’s debts; this film marked actress Djoewariah’s debut and her rise within Union. Director Ariffien guided Asmara Moerni (April 1941), written by Saeroen to appeal to educated audiences through casting young physician Adnan Kapau Gani opposite Djoewariah. The romantic narrative received mixed responses: some critics found it "captivating," while others faulted its reliance on theatrical traditions.
The July 1941 release Wanita dan Satria featured Djoewariah portraying a woman victimized by an aristocratic womanizer; it underscored Indonesian women’s vulnerable societal status and advocated for stronger rights within Muslim communities. This film was the final collaboration between Ariffien and Saeroen at Union before both transitioned to competitor Star Film.
Late in 1941, R Hu directed Soeara Berbisa with assistance from sound engineer Boen Kin Nam. Written by Djojopranoto, it depicted two men competing for a woman only to discover they were siblings. With Djoewariah no longer part of Union, Raden Soekarno (later known as Rendra Karno) was cast as lead actor. The studio’s last production, Mega Mendoeng (early 1942), directed by Boen Kin Nam and starring Soekarno alongside newcomer Sofiati, was a romance focusing on realism designed for an educated audience.
Concerns over an imminent Japanese invasion in late 1941 caused studios to either relocate or suspend filmmaking activities. Although Union began producing Damar Woelan, set during the Majapahit period, work ceased following Japan’s occupation in March 1942. Subsequently, Union Films permanently closed.
Post-occupation, only Ariffien continued directing into the 1960s; other directors and producers did not resume their careers after this period. Several actors maintained their presence in cinema: Djoewariah returned with Sehidup Semati in 1949 and acted until the mid-1950s; Soekarno remained active into the 1970s under his later stage name Rendra Karno. Meanwhile, Basoeki Resobowo shifted to art direction for films such as Darah dan Doa (1950).
Filmography
Within a span of two years, Union produced seven feature-length black-and-white movies that saw extensive distribution throughout the Dutch East Indies. A number of these films, such as Bajar dengan Djiwa and Asmara Moerni, were also shown in Singapore. Despite screenings extending into the 1940s, it is probable that the company's film collection has been lost, likely due to the deterioration of nitrate film and incidents of warehouse fires.
- Kedok Ketawa (Laughing Mask; 1940)
- Harta Berdarah (Bloody Treasure; 1940)
- Bajar dengan Djiwa (Pay with [One's] Soul; 1941)
- Asmara Moerni (True Love; 1941)
- Wanita dan Satria (The Woman and the Hero; 1941)
- Soeara Berbisa (Venomous Voice; 1941)
- Mega Mendoeng (1942)