Others

Sumpitan Rachun (1961)

by Cinema Reclaimed
26 May • 02:00pm

An off-beat mystery story from Cathay-Keris directed by veteran L. Krishnan which features Inspector Latiff (S. Roomai Noor) investigating a complicated crime in the Cathay Building and Tanjong Pagar Railway Station.

Sumpitan-Rachun-1961

Sumpitan Rachun (1961), 97 mins, PG, In Malay with English Subtitles

Timing: Sunday, 26 May | 2pm
Venue: Oldham Theatre, 1 Canning Rise, Singapore
Fee: $10
Registration Link: http://shf24sumpitanrachun.peatix.com/

A year after Singapore’s master-detective Inspector Latiff (S. Roomai Noor) was introduced solving three mysteries in Hantu Rimau, he’s back for Sumpitan Rachun, trying to unravel one long and deliriously convoluted criminal conspiracy which involves a murdered policeman, a glamorous night-club singer (Latiffah Omar), an orientalist magician, and an attempted diamond robbery at Tanjong Pagar Station. As per the first film the charming and flirtatious Latiff is accompanied by his forensic doctor sidekick (Mary Lim). The Cathay Building is a key location - named after the company who produced the film during the latter days of the Malay film boom in Singapore. It’s the perfect setting for uncovering dastardly deeds among Singapore’s wealthy elite. Sadly, this was the final film outing for Pelham Groom’s creation, but it’s highly entertaining, with lots of wonderful locations, contemporary details and stylish noir-influenced cinematography.

Part of the programme Cinema Reclaimed: DREAM PALACES. Organised in partnership with Asian Film Archive.

Cinema Reclaimed
Cinema Reclaimed is the film strand of Heritage Festival which began in 2020. Each edition reflects the festival’s themes, with previous programmes on Medicine & Modernity, The Temptations of Travel, and last year’s focus on sports and transport - Driving, Kicking & Punching. This year’s theme is DREAM PALACES, on the architecture of cinemas in Singapore and they way films capture the built environment. Curated by Ben Slater with research and curatorial support from Toh Hun Ping.




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