Now, let’s play a game of “what-if”.
If Krisdayanti is not a spokesperson for a household product like a washing cream-soap and instead, she goes for, let’s say, a shampoo, will we see a scene filled with nothing but her hair most of the time to state that she is the face of the product and the product is happily inserted on the film?
If the presence of a coffee shop here is replaced by, let’s say, a warung pecel or a hawker centre, will we get to see the women preparing pecel or an uncle bringing us our drinks for a good scene or two, the way we get to see some baristas preparing coffee here in some unrelated scenes?
If Gary Iskak starts acting normally, and understands that being goofy is not the same as being over-the-top annoying, will we ever see the subtlety of playing a male-lead in a romantic comedy the way Hugh Grant or John Cusack easily slip in?
These are merely a few questions flashing through my mind upon watching Jatuh Cinta Lagi, a romantic comedy debut from Rizal Mantovani who revives the horror genre with Jelangkung, but unable to deliver the same revival process to the film here.
The magic does not happen twice in a lifetime, but to think that blatant product placement gets continually annoying our film-watching experience is the least we expect for a prominent director with extensive video-music making background as of him.
Thus, when we start to look for something else to satisfy our thirst of the genre, again the mission is aborted by the unconvincing turns of the leads. As a female lead, Krisdayanti does not have enough potent to be kooky and smart at the same time as required by her character as a lawyer her, and she has to settle for the former quality which does not work all the time. Iskak has an aforementioned problem which suspiciously rooted from his own misconception of acting in a comedy film, instead of a romantic comedy one. Endhita as the female lead’s best friend, a possible side-kick that could have stolen the film, instead got stolen by the lines she had to utter. Her delivery of dialogues lacks the wit much needed in her presence, thus leaving her smart lines as prepared by the scriptwriter, Ve Handojo, gone off in the dust.
The only revelation is seeing Cornelia Agatha, fresh from her depressive performance in Detik Terakhir. Her kooky turn as an attention-seeker dangdut singer is exhilarating, thanks to her ability in maintaining her comic timing in place, and despite having to act against the leads, Agatha could hijack the film at any given time.
Thankfully, Mantovani keeps her in tact, leaving Agatha’s scenes short but memorable enough to leave us thinking about the film with a smile.
Just don’t get start on that little thing called BuKrim here …