Jay Rohr
Suzzanna: The Queen of Black Magic is a fresh taste of a tale as old as cinema. It possesses all the hallmarks of Hollywood legends. Yet, it’s a story that could only come out of Indonesia. This documentary, courtesy of Severin Films, brings to light an enigmatic icon, whom even genre fans may have overlooked.
The film focuses on Suzzanna Martha Frederika van Osch. An Indo native of mixed heritage (Javanese-Minahasan-Sudanese-German-Dutch), her family history is almost a microcosm of Indonesian colonialism. Her acting aspirations take off when, as a teenager, she wins a competition inspired by Usmar Ismail’s Tiga Dara (1957). Her first starring role in the movie Asrama Dara (1958) was a standout performance leading to other opportunities. After decades in films of various quality, Suzzanna eventually settled into a career as a horror movie icon. All the while, an air of mystery prevailed about this incredibly private performer. Suzzanna’s responses in interviews led to speculation about her life which ultimately fueled her legend. The documentary does a solid job exploring the myth as well as what truth there is to nail down.
Suzzanna: The Queen of Black Magic also does a marvelous job synopsizing the history of Indonesia. The cultural impact of Dutch imperialism lends itself to counter cultural movements as well as anti-colonial campaigns which in turn fired creative endeavors. Into this milieux of social change plunge filmmakers anxious to create movies featuring Indonesian culture — cinema specifically for the people of the archipelagic state. This community composed of several ethnic identities spanning 17,000 islands shared cultural similarities which colonialism never allowed to flourish in the creative arts.
The result is a booming industry of Indonesian exploitation films. Similar in stylization to blaxploitation movies produced in the United States, these are motion pictures often featuring metaphorical statements critical of the prevailing culture, while celebrating suppressed aspects of the Indonesian populace. Occasionally though, they’re also just an excuse for nudity and graphic violence.
Falling into the more artistically driven bracket of such films, those at least with some meaningful message, are many of the first pictures starring Suzzanna. She would eventually gravitate from these exploitation flicks to headlining horror movies. Her penetrating stare quickly becoming an iconic image in Indonesian cinema. Certain critics might snidely consider it a lateral move rather than a step up, but Suzzanna: The Queen of Black Magic makes a valid case for these genre films as culturally significant. That’s because the movies its titular focus is featured in, while fright flicks, are purely the product of Indonesian folklore. From the comedic aspects they showcase to the sources of the supernatural, Suzzanna’s films are steeped in local traditions. The documentary really highlights how even campfire stories can be a display of culture. In so doing, it emphasizes how foreign films can be a window into another world.
For instance, Sundelbolong (1981) is a cult classic about a sexual assault survivor who returns from the dead as a vengeful spirit. She slaughters the guilty before being stopped but remains a relatable antagonist. Unable to get justice in life, her supernatural form is a poignant metaphor about various feminist issues. Even her understandable desire for revenge marks her as a villain when she’s really a retaliating victim in an unfair world.
This depth to Suzzanna’s movies combines with distinctly Indonesian folk elements to make unique pictures. Although she primarily leaned into the horror genre, dismissing her films as simply bloody exploitation pictures would be insulting to all involved. They may not be the height of cinema, yet they are no less metaphorically relevant than some top tier flicks, especially in the eyes of fans.
Suzzanna: The Queen of Black Magic shows how this icon, through her characters, gelled with dissatisfied people. Those on the bottom rung of society got a vicarious catharsis watching her supernatural acts of vengeance as she punished the corrupt elites of Indonesia. Wealth did not spare them from the witch’s wrath, nor did social status put them beyond the graveyard’s grasp.
As such, Suzzanna: The Queen of Black Magic, is as much a glimpse into Indonesia as it is a documentary exploring a legendary life. That’s partly because her movies are the product of their filmmakers shared cultural background. Elements of Indonesian society are lovingly included not just exotic window dressing.
The doc does take a jarring turn towards the end. Suzzanna’s life is peppered with movie star clichés, for lack of a better term. However, the end of her life is a bizarre series of tragic twists without a satisfying conclusion. It’s a sudden profusion of hired killers, family tensions, court room drama, and a suspicious end to the leading lady’s life. Yet, the closing details seem tainted since events are largely related by those with an interest in painting themselves in the best light. True crime fans might delight in watching such segments, but the documentary’s attempt to remain objective results in few if any answers. It almost seems credulous to a fault.
That’s a shame since most of Suzzanna: The Queen of Black Magic is a wonderful assortment of interviews and interstitial animatics. From filmmakers to fans to cultural historians, there’s a rich portrait being put together. Not only is it a revealing look at Suzzanna but Indonesia as well. The first portion of the documentary is a fascinating exploration of how historical moments shape creative endeavors. This leads to the rest of the film showing how a horror star of B-movies might be regarded as a feminist symbol. Overall, it shows the power of cinema to reveal, elevate, and enlighten.
Horror fans will certainly want to check this out. It not only may open them up to new fright flicks but refresh why genre matters. Cinephiles in general would do well to give it one watch just to see how moviemaking is clearly a byproduct of the society making those films. Suzzanna: The Queen of Black Magic is an interesting way to broaden one’s cinematic horizons.
