Gie (2005) Review: An Indonesian Biographical Drama About Justice and Idealism

 

Gie | 2005 | 2h 27m
Genre: Docudrama / Period Drama / Biography / Drama / History | Country: Indonesia
Director: Riri Riza | Writer: Riri Riza
Cast: Nicholas Saputra, Jonathan Mulia, Thomas Nawilis
IMDb: 7.6
My Rate: 9/10

Based on Soe Hok Gie's journal, Gie follows Gie and his friends as they struggle to stand up for justice amid Indonesia's turbulent political climate, often putting themselves in difficult and dangerous situations.

 

Warning

Contains scenes of violence, strong language, smoking, sensual scenes, and sensitive themes.

It is easy to criticize the world when we are young and believe we understand how everything should work. But what happens when we grow older and realize that the very things we oppose have become so deeply embedded in the society around us? Gie (2005) tells the story of a young man who refuses to stay silent when his principles are challenged, even when standing by them means putting himself at risk.

Gie (Jonathan Mulia) is a critical and outspoken teenager whose father, a writer, has a significant influence on the way he thinks. An avid reader, Gie often believes he already understands everything and is not afraid to argue with his teachers when he disagrees with them.

He shares a close friendship with Han (Christian Audi), and the two are almost inseparable. Their friendship is not always innocent, however. At one point, they even consider doing something harmful to a teacher after Gie receives a grade he believes he does not deserve. They eventually abandon the plan when they see the teacher's family, but the incident reveals how rebellious and impulsive Gie can be at that age.

Then Han suddenly has to leave with his aunt, leaving Gie to deal with the loss of a friendship that has been an important part of his life.

As an adult, Gie (Nicholas Saputra) begins to find different ways to communicate his ideas to society, particularly to university students. He refuses to align himself with political interests and tries to maintain an independent position rather than simply following one side. Through film discussions and conversations with students, he encourages others to think critically. He also frequently goes mountain climbing with his friends, finding another kind of space away from the pressures surrounding him.

But politics gradually begins to intrude into campus life, and Gie cannot simply ignore what is happening. Together with his colleagues, he tries to prevent the university from becoming a tool for politicians. He also expresses his views through newspaper articles, continuing to speak out even as the political situation grows increasingly tense and dangerous for him.

The question is whether Gie can remain faithful to his principles when doing so puts his own safety at risk.

Gie is based on Catatan Seorang Demonstran, the diary of Soe Hok Gie published in 1983. Turning someone's personal journal into a screenplay and then into a feature film is not an easy task. A diary records thoughts and experiences as they unfold, but a film needs to arrange those experiences into a coherent narrative. The challenge lies in preserving the person's character and ideas while making the story work on screen.

For me, the film succeeds in many aspects, particularly through its performances. Nicholas Saputra delivers a compelling portrayal of Gie, and the supporting cast also performs well. The storyline is generally well organized, allowing the audience to follow Gie's development from a rebellious teenager into someone who tries to express his convictions through more deliberate actions.

However, I find the romantic subplot less convincing. From the beginning, Gie is established as someone strong-willed, rebellious, and critical of the world around him. His teenage behavior already demonstrates how unwilling he is to accept things simply because an authority figure says so. Yet when he becomes an adult, some aspects of his character feel less clearly developed. His convictions remain important to the story, but the transition in his character sometimes feels less powerful than it should.

The formal language used throughout the film is another detail I appreciate. Rather than making the dialogue feel stiff, it gives the film a certain elegance that suits its subject. The color composition, camera movement, and attention to detail are also handled well. The costumes and makeup fit the different periods portrayed in the story, helping maintain the atmosphere without drawing unnecessary attention to themselves.

Music is equally important. The soundtrack and original songs complement the scenes and add emotional depth to the story. Together, these elements create an experience that moves between warmth, sadness, and tension.

Still, there are moments I think could have been handled more effectively. Some scenes seem less important to the central story, such as the conversation in which Sinta talks to Ira about Gie. There are also moments that could have been developed further to make the film's main message clearer. Considering how much the story wants to communicate about Gie's character and convictions, I sometimes feel that certain scenes do not contribute enough to that purpose.

Nevertheless, these weaknesses do not take away from the overall appeal of the film. Gie remains an interesting movie to revisit, not least because of Nicholas Saputra's performance and the questions raised by its central character.

One of the most memorable scenes for me involves Han and the beach he has wanted to visit for so long. After repeatedly wishing to see it, Han finally gets the opportunity. Yet what should have been a happy moment becomes heartbreaking because it turns out to be his first and last chance to experience the place he dreamed of seeing.

There is something deeply painful about that scene. Han finally reaches a place he has long imagined, only for the moment to become inseparable from his death. It reminds us that sometimes we do not realize how precious an opportunity is until we understand that we may never have another chance.

The line, “Lebih baik saya diasingkan daripada menyerah pada kemunafikan,” captures the spirit of Gie's character. It expresses his refusal to compromise his convictions simply to fit in or make life easier for himself.

For me, this is where Gie becomes more than a biographical drama. It invites us to think about the price of holding on to our principles. It is relatively easy to criticize injustice when doing so carries little personal risk. It becomes much harder when speaking up threatens our comfort, relationships, or safety.

Gie's character also reminds me that being critical is not simply about disagreeing with others. It requires the willingness to examine the world, question what seems normal, and make decisions based on our own judgment rather than blindly accepting what we are told. At the same time, his journey shows that standing by our principles is not always a comfortable path.

Overall, Gie is a must-watch for me. Although some parts of the story could have been developed more deeply, the film offers a compelling portrayal of a young man trying to live according to his beliefs in a world where doing so is not always easy. Its performances, visual presentation, dialogue, and music come together to create a film that leaves a lasting impression.

What stays with me most is the idea that integrity often requires us to stand apart from the people around us. We may not always be right, but we should be willing to question ourselves and the systems we live in rather than surrendering our judgment for the sake of acceptance.

And perhaps the real challenge is not simply having the courage to criticize hypocrisy, but having the courage to recognize it when it benefits us—and deciding whether we are willing to stand against it even when doing so comes at a personal cost.

(Aluna Uwie)

Previously published on Alunauwie.com

"This article was originally written in Indonesian and has been adapted into English for international readers."