Maman Firmansyah | Action | 1977 | 111 min | Indonesia | 18+ So Dana manly handed over Ani who was still a virgin to Oma. The marriage could not be postponed, but Ani passed out in the aisle. The root of the problem is then revealed: Ani’s letter is blocked by her father, while Oma’s letter is held back by Shanty, who secretly loves Rhoma. Oma was shocked when he received the invitation letter. Suspicious and jealous, Ani immediately went home and decided to marry Dana. There she found Oma in the middle of persuading his singing partner, Shanty, who was cranky during the recording. Then Ani went to Oma’s recording location in Jakarta. This situation begins to change when Oma doesn’t come to Ani’s birthday. Dana herself also happened to fall in love with Ani. The father who is crazy in rank and position wants Dana to be Ani’s husband, who also works on the plantation as a secretary. Oma and Ani’s marriage plans, who have been dating for a long time, have failed since Dana arrived at the plantation where Ani’s father worked. Maman Firmansyah | Drama | 1977 | 123 min | Indonesia | 13+ rock feud), romance, (pseudo) class struggle and propaganda. Rhoma most memorable films, containing elements of the subgenre “Film Rhoma” the most complete: music (dangdut vs.

Berkelana I & II (1978) – Directors: Yung Indradjaja & Sapto Boesono.

Emphasizing Rhoma’s credo to da’waa through music, by touching an important issue for Rhoma: the accusation that he commercialized religion.

Perjuangan dan Do’a (1980) – Director: Rhoma Irama & Maman Firmansyah.

A fantasy musical with a very imaginative background, as well as a strong da’waa.

Satria Bergitar (1984) – Director: Nurhadie Irawan.

Script by Sjumandjaja, although formulaic, shows a dangdut vs. Darah Muda (1977) – Director: Maman Firmansyah.One of Rhoma’s films, which is with Oma Irama Penasaran, is the blueprint for the subsequent Rhoma Irama films. Gitar Tua Oma Irama (1976) – Director: Maman Firmansyah.The main elements of the “Film Rhoma” subgenre are guitar and da’waa, a hybridization of its own. As his music shows the hybridization of Malay, Arabic, Indian and Western cultures, Rhoma’s films are also a hybridization of Hollywood-Indian musicals with cultural materials that are very close to most Indonesians at that time. In fact, it seems as if it has become its own subgenre. Rhoma Irama’s films were very important in animating our film industry in the 1970s and 1980s.

Flem roma irama