Review text

Movie Review:Gie

By Ayesa Vawandia

 

Gie is a film adapted from a book entitled Catatan Seorang Demonstran (Notes of a Demonstrator), a collection of journal entries by Soe Hok Gie. The film tells the life story of the famous young, Indonesian-Chinese activist named Gie.

 

The movie starts from Gie’s teenage life during high school. Some scenes show the critical nature of Gie and the fact that he always expresses his opinion since he was young. Also, several scenes show his interest in languages and books. He spends his free time by reading, or writing articles and he always writes in his journal every day. His critical behavior reaches a peak when he enters University of Indonesia, Faculty of Letters, majoring in History. There is revolution at that time. Gie then decides to establish a new organization with his friends named “MAPALA”.Gie also writes articles about Indonesia’s government for several newspapers, such as Kompas and Sinar Harapan.

 

The film not only tells Gie’s life as an activist. There are also several scenes focused on Gie’s private life, with the role of fictional characters intended to dramatize the story. All of them can be played by Nicholas Saputra as the main character.

 

The film’s duration prevented director Riri Riza from being able to deliver a complete picture of Gie. Some parts seem unclear, such as Gie’s father’s silent and reclusive characteristics. Gie himself doesn’t seem as outspoken as we would expect from a young activist.

 

Overall, this movie is about Soe Hok Gie’s path of life. This is a good movie for anyone who wants to know more, or recall the figure of Soe Hok Gie—a young famous activist in the 60’s

What does Gie tell us about?

• A. The life story of an activist.

• B. The life story of a journalist.

• C. The life story of a student

• D. A student’s criticism against the government.

• E. The establishment of “MAPALA” organization.

Movie Review:Gie

By Ayesa Vawandia

 

Gie is a film adapted from a book entitled Catatan Seorang Demonstran (Notes of a Demonstrator), a collection of journal entries by Soe Hok Gie. The film tells the life story of the famous young, Indonesian-Chinese activist named Gie.

 

The movie starts from Gie’s teenage life during high school. Some scenes show the critical nature of Gie and the fact that he always expresses his opinion since he was young. Also, several scenes show his interest in languages and books. He spends his free time by reading, or writing articles and he always writes in his journal every day. His critical behavior reaches a peak when he enters University of Indonesia, Faculty of Letters, majoring in History. There is revolution at that time. Gie then decides to establish a new organization with his friends named “MAPALA”.Gie also writes articles about Indonesia’s government for several newspapers, such as Kompas and Sinar Harapan.

 

The film not only tells Gie’s life as an activist. There are also several scenes focused on Gie’s private life, with the role of fictional characters intended to dramatize the story. All of them can be played by Nicholas Saputra as the main character.

 

The film’s duration prevented director Riri Riza from being able to deliver a complete picture of Gie. Some parts seem unclear, such as Gie’s father’s silent and reclusive characteristics. Gie himself doesn’t seem as outspoken as we would expect from a young activist.

 

Overall, this movie is about Soe Hok Gie’s path of life. This is a good movie for anyone who wants to know more, or recall the figure of Soe Hok Gie—a young famous activist in the 60’s

 

According to the text, what does Gie usually do in his sparetime?

• A. Goes on a strike.

• B. Hanging out with his friends.

• C. Reading and writing articles.

• D. Reading and writing literary arts.

• E. Having discussions with his friends.

Movie Review:Gie

By Ayesa Vawandia

 

Gie is a film adapted from a book entitled Catatan Seorang Demonstran (Notes of a Demonstrator), a collection of journal entries by Soe Hok Gie. The film tells the life story of the famous young, Indonesian-Chinese activist named Gie.

 

The movie starts from Gie’s teenage life during high school. Some scenes show the critical nature of Gie and the fact that he always expresses his opinion since he was young. Also, several scenes show his interest in languages and books. He spends his free time by reading, or writing articles and he always writes in his journal every day. His critical behavior reaches a peak when he enters University of Indonesia, Faculty of Letters, majoring in History. There is revolution at that time. Gie then decides to establish a new organization with his friends named “MAPALA”.Gie also writes articles about Indonesia’s government for several newspapers, such as Kompas and Sinar Harapan.

 

The film not only tells Gie’s life as an activist. There are also several scenes focused on Gie’s private life, with the role of fictional characters intended to dramatize the story. All of them can be played by Nicholas Saputra as the main character.

 

The film’s duration prevented director Riri Riza from being able to deliver a complete picture of Gie. Some parts seem unclear, such as Gie’s father’s silent and reclusive characteristics. Gie himself doesn’t seem as outspoken as we would expect from a young activist.

 

Overall, this movie is about Soe Hok Gie’s path of life. This is a good movie for anyone who wants to know more, or recall the figure of Soe Hok Gie—a young famous activist in the 60’s

 

 

 Which statement is NOT TRUE about Gie?

• A. He always expresses his opinions since he was young.

• B. He and his friends establish “MAPALA”.

• C. He is interested in languages and books.

• D. He studies in the Faculty of Letters.

• E. He only writes articles for a certain newspaper

Movie Review:Gie

By Ayesa Vawandia

 

Gie is a film adapted from a book entitled Catatan Seorang Demonstran (Notes of a Demonstrator), a collection of journal entries by Soe Hok Gie. The film tells the life story of the famous young, Indonesian-Chinese activist named Gie.

 

The movie starts from Gie’s teenage life during high school. Some scenes show the critical nature of Gie and the fact that he always expresses his opinion since he was young. Also, several scenes show his interest in languages and books. He spends his free time by reading, or writing articles and he always writes in his journal every day. His critical behavior reaches a peak when he enters University of Indonesia, Faculty of Letters, majoring in History. There is revolution at that time. Gie then decides to establish a new organization with his friends named “MAPALA”.Gie also writes articles about Indonesia’s government for several newspapers, such as Kompas and Sinar Harapan.

 

The film not only tells Gie’s life as an activist. There are also several scenes focused on Gie’s private life, with the role of fictional characters intended to dramatize the story. All of them can be played by Nicholas Saputra as the main character.

 

The film’s duration prevented director Riri Riza from being able to deliver a complete picture of Gie. Some parts seem unclear, such as Gie’s father’s silent and reclusive characteristics. Gie himself doesn’t seem as outspoken as we would expect from a young activist.

 

Overall, this movie is about Soe Hok Gie’s path of life. This is a good movie for anyone who wants to know more, or recall the figure of Soe Hok Gie—a young famous activist in the 60’s

 

What is the main idea of paragraph two?

• A. What the movie is based on

• B. The story plot of Gie

• C. The weakness of Gie

• D. Gie’s father’s characteristics.

• E. The reviewer’s conclusion about the movie

Movie Review:Gie

By Ayesa Vawandia

 

Gie is a film adapted from a book entitled Catatan Seorang Demonstran (Notes of a Demonstrator), a collection of journal entries by Soe Hok Gie. The film tells the life story of the famous young, Indonesian-Chinese activist named Gie.

 

The movie starts from Gie’s teenage life during high school. Some scenes show the critical nature of Gie and the fact that he always expresses his opinion since he was young. Also, several scenes show his interest in languages and books. He spends his free time by reading, or writing articles and he always writes in his journal every day. His critical behavior reaches a peak when he enters University of Indonesia, Faculty of Letters, majoring in History. There is revolution at that time. Gie then decides to establish a new organization with his friends named “MAPALA”.Gie also writes articles about Indonesia’s government for several newspapers, such as Kompas and Sinar Harapan.

 

The film not only tells Gie’s life as an activist. There are also several scenes focused on Gie’s private life, with the role of fictional characters intended to dramatize the story. All of them can be played by Nicholas Saputra as the main character.

 

The film’s duration prevented director Riri Riza from being able to deliver a complete picture of Gie. Some parts seem unclear, such as Gie’s father’s silent and reclusive characteristics. Gie himself doesn’t seem as outspoken as we would expect from a young activist.

 

Overall, this movie is about Soe Hok Gie’s path of life. This is a good movie for anyone who wants to know more, or recall the figure of Soe Hok Gie—a young famous activist in the 60’s

 

“Gie himself doesn’t seem as outspoken as we would expect from a young activist.     ”The underlined word is similar to ________.

• A. private

• B. close

• C. blunt

• D. secret

• E. mysterious

Review: Hugo

By Manohla Dargis

 

Hugo, an enchantment from Martin Scorsese, is the 3-Dchildren’s movie that you might expect from the director of Raging Bull and Good fellas. It’s serious, beautiful, wise to the absurdity of life and in the embrace of a piercing longing. The movie is based on the book The Invention of Hugo Cabret , but is also very much an expression of the filmmaker’s love for the movies.

Gracefully adapted by John Logan, the movie involves a lonely, melancholic orphan, Hugo (Asa Butterfield), who in the early 1930s tends to all the clocks in a Parisian train station. Seemingly abandoned by his uncle, the station’s official timekeeper (Ray Winstone), Hugo lives alone, deep in the station’s interior, in a dark, dusty, secret apartment that was built for employees. There he sleeps and naturally dreams, mostly of fixing a delicate automaton that his dead father, a clockmaker (Jude Law), found once upon a time. The automaton is all that remains of a happy past.

Hugo is the tale of a boy, one of fiction’s sentimental orphans. While you can guess what happens, it’s the getting there—how the clock is wound—that surprises and often delights. Waves of melancholy wash over the story. There is something poignant and paradoxical about Mr. Scorsese’s honoring a film pioneer in digital (and in 3-D, noless), yet these moving pictures left for a time and entered once again through the love of the audience.

 

What did Hugo’s father do?

• A. A timekeeper.

• B. A clockmaker.

• C. A filmmaker.

• D. A comedian.

• E. An actor.

Review: Hugo

By Manohla Dargis

 

Hugo, an enchantment from Martin Scorsese, is the 3-Dchildren’s movie that you might expect from the director of Raging Bull and Good fellas. It’s serious, beautiful, wise to the absurdity of life and in the embrace of a piercing longing. The movie is based on the book The Invention of Hugo Cabret , but is also very much an expression of the filmmaker’s love for the movies.

Gracefully adapted by John Logan, the movie involves a lonely, melancholic orphan, Hugo (Asa Butterfield), who in the early 1930s tends to all the clocks in a Parisian train station. Seemingly abandoned by his uncle, the station’s official timekeeper (Ray Winstone), Hugo lives alone, deep in the station’s interior, in a dark, dusty, secret apartment that was built for employees. There he sleeps and naturally dreams, mostly of fixing a delicate automaton that his dead father, a clockmaker (Jude Law), found once upon a time. The automaton is all that remains of a happy past.

Hugo is the tale of a boy, one of fiction’s sentimental orphans. While you can guess what happens, it’s the getting there—how the clock is wound—that surprises and often delights. Waves of melancholy wash over the story. There is something poignant and paradoxical about Mr. Scorsese’s honoring a film pioneer in digital (and in 3-D, noless), yet these moving pictures left for a time and entered once again through the love of the audience.

 

 

Where does Hugo live?

• A. On the street.

• B. In an apartment.

• C. In an orphanage.

• D. In his uncle’s house.

• E. In the station’s inferior

Review: Hugo

By Manohla Dargis

 

Hugo, an enchantment from Martin Scorsese, is the 3-Dchildren’s movie that you might expect from the director of Raging Bull and Good fellas. It’s serious, beautiful, wise to the absurdity of life and in the embrace of a piercing longing. The movie is based on the book The Invention of Hugo Cabret , but is also very much an expression of the filmmaker’s love for the movies.

Gracefully adapted by John Logan, the movie involves a lonely, melancholic orphan, Hugo (Asa Butterfield), who in the early 1930s tends to all the clocks in a Parisian train station. Seemingly abandoned by his uncle, the station’s official timekeeper (Ray Winstone), Hugo lives alone, deep in the station’s interior, in a dark, dusty, secret apartment that was built for employees. There he sleeps and naturally dreams, mostly of fixing a delicate automaton that his dead father, a clockmaker (Jude Law), found once upon a time. The automaton is all that remains of a happy past.

Hugo is the tale of a boy, one of fiction’s sentimental orphans. While you can guess what happens, it’s the getting there—how the clock is wound—that surprises and often delights. Waves of melancholy wash over the story. There is something poignant and paradoxical about Mr. Scorsese’s honoring a film pioneer in digital (and in 3-D, noless), yet these moving pictures left for a time and entered once again through the love of the audience.

 

 

What is Hugo’s dream?

• A. To be an adventurer.

• B. To make some clocks.

• C. To fix a delicate automaton.

• D. To be a machine repairman.

• E. To be an employee in a train station.

 

Review: Hugo

By Manohla Dargis

 

Hugo, an enchantment from Martin Scorsese, is the 3-Dchildren’s movie that you might expect from the director of Raging Bull and Good fellas. It’s serious, beautiful, wise to the absurdity of life and in the embrace of a piercing longing. The movie is based on the book The Invention of Hugo Cabret , but is also very much an expression of the filmmaker’s love for the movies.

Gracefully adapted by John Logan, the movie involves a lonely, melancholic orphan, Hugo (Asa Butterfield), who in the early 1930s tends to all the clocks in a Parisian train station. Seemingly abandoned by his uncle, the station’s official timekeeper (Ray Winstone), Hugo lives alone, deep in the station’s interior, in a dark, dusty, secret apartment that was built for employees. There he sleeps and naturally dreams, mostly of fixing a delicate automaton that his dead father, a clockmaker (Jude Law), found once upon a time. The automaton is all that remains of a happy past.

Hugo is the tale of a boy, one of fiction’s sentimental orphans. While you can guess what happens, it’s the getting there—how the clock is wound—that surprises and often delights. Waves of melancholy wash over the story. There is something poignant and paradoxical about Mr. Scorsese’s honoring a film pioneer in digital (and in 3-D, noless), yet these moving pictures left for a time and entered once again through the love of the audience.

 

 

Which of the following statements is NOT TRUE?

• A. Hugo’s uncle is a timekeeper in a station.

  .

• B. Hugo, the main character, is an orphan

• C. Hugo is based on a book.

• D. Hugo lives with his family.

• E. Hugo is a 3-D movie.

Review: Hugo

By Manohla Dargis

 

Hugo, an enchantment from Martin Scorsese, is the 3-Dchildren’s movie that you might expect from the director of Raging Bull and Good fellas. It’s serious, beautiful, wise to the absurdity of life and in the embrace of a piercing longing. The movie is based on the book The Invention of Hugo Cabret , but is also very much an expression of the filmmaker’s love for the movies.

Gracefully adapted by John Logan, the movie involves a lonely, melancholic orphan, Hugo (Asa Butterfield), who in the early 1930s tends to all the clocks in a Parisian train station. Seemingly abandoned by his uncle, the station’s official timekeeper (Ray Winstone), Hugo lives alone, deep in the station’s interior, in a dark, dusty, secret apartment that was built for employees. There he sleeps and naturally dreams, mostly of fixing a delicate automaton that his dead father, a clockmaker (Jude Law), found once upon a time. The automaton is all that remains of a happy past.

Hugo is the tale of a boy, one of fiction’s sentimental orphans. While you can guess what happens, it’s the getting there—how the clock is wound—that surprises and often delights. Waves of melancholy wash over the story. There is something poignant and paradoxical about Mr. Scorsese’s honoring a film pioneer in digital (and in 3-D, noless), yet these moving pictures left for a time and entered once again through the love of the audience.

 

“. . . secret apartment that was built for employees.”(Paragraph 2)

What is similar to ‘secret’?

• A. Confidential.

• B. Special.

• C. Dirty.

• D. Clean

• E. small