“Lights, camera, Singapore!”
Welcome to what was once known as the Hollywood of Southeast Asia. It may seem like a typical street but it holds a rich cinematic history. Singapore’s film industry shone brightly from the late 1940s to the early 1970s.
This era is called the Golden Age of Singaporean Cinema. During this time Singapore was a filmmaking powerhouse. Cathay Organisation and Shaw Brothers were the major players. Today they are known as popular cinema chains.
The Shaw Brothers were founded by Run Run and Runme Shaw. They invested heavily in film production. They built a chain of 19 theatres. Shaw also created a stable of directors, producers, actors, and crewmembers.
After the Japanese Occupation Shaw set up shop in Jalan Ampas in 1947. Their Malay Film Productions released 162 acclaimed films over two decades. These films ranged from tragedies to comedies to period epics.
These films were hyperlocal. They were hyperspecific to Singaporean sensibilities. They offered a romanticised view into Singapore’s Malay heritage. Talents like Jamil Sulong and P. Ramlee rose to stardom.
Loke Wan Tho and Ho Ah Loke founded Cathay-Keris in the 1950s. They poached talent from Shaw. They offered lucrative contracts. Zubir Said even jumped ship to Cathay. He would go on to soundtrack Cathay’s films.
Cathay broke away from traditional Malay opera. They produced the first local movies shot in colour. They also paved the way for Southeast Asian horror cinema. Their Pontianak trilogy was a hit. It found audiences in Hong Kong and the US.
The rivalry between Shaw and Cathay spurred Singaporean cinema to new heights. They produced hundreds of local classics. These films still have a profound cultural impact today. Films like Hang Jebat and the Pontianak series immortalised local folklore.
Unfortunately Singapore’s independence marked a decline for its film industry. Social unrest caused a talent drain. Many creatives moved to Malaysia. There was a dwindling interest in Singaporean productions. More people owned televisions. Hollywood became the new focus.
By 1967 Shaw had shuttered. Cathay followed suit in 1972. Only eight local films were produced after that. This included Singapore’s first martial arts flick, Ring of Fury.
The Golden Age dimmed. The industry flatlined. Singaporean filmmaking was not left in the dirt completely. In 1987 the Singapore International Film Festival was founded.
The festival was started to inspire interest in World and Asian cinema. It was also set up to nurture local filmmaking talent. This inspired auteurs like Eric Khoo.
Singapore’s first English-language film, Medium Rare, was released. It ended a 14-year dry spell for local productions. It was the start of a renaissance.
In 1995 Khoo’s Mee Pok Man ushered in a new kind of Singaporean cinema. It was the first local feature to compete for the SGIFF’s Silver Screen Awards. It was invited to over 30 international film festivals.
In 1996 Army Daze took a relatable look at National Service. In 1998 Money No Enough became a commercial success. Forever Fever was acquired for global release by Miramax. The Teenage Textbook Movie became a cult classic.
Today Singapore’s film industry is healthy. The momentum from the mid-90s renaissance continues. There’s the emergence of extraordinary auteurs like Royston Tan and Anthony Chen.
Singapore’s cinematic history is accessible. The Asian Film Archive has restored classics. Netflix has a library of local films. Singapore’s film industry may be on its way to a second Golden Age.
So, as you walk through this area remember its cinematic past. Think about the stories that were told. Consider the talent that emerged. This was once the Hollywood of Southeast Asia.