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He becomes close to Duane and organizes an escape plan; however, the unstable Gene opposes to Dieter's plan. When they discover that there is no more food due to the constant American bombings in the area and their guards intend to kill them, Dieter sets his plan in motion. However, an unexpected betrayal splits the group and Dieter and Duane find that the jungle is their actual prison.

A true story of survival Rated PG for some sequences of intense war violence and torture. Did you know Edit. Trivia In a show of solidarity, as many of his actors lost weight for their roles, the director lost almost 30 pounds. Goofs During his captivity, Dieter is shown wearing his gold wedding band - it is generally regard as something no American pilot would do. When the guards are transporting Dengler to prison they stop at a village.

When they leave the village Dieter tells the guards his ring was stolen and they return to the village. The guards cut off the villager's ring finger and return Dieter's ring to him. This is a factual event that haunted Dengler the rest of his life. Quotes Dieter : Empty what is full.

User reviews Review. Top review. Straightforward and impressive. A no-nonsense no bragging about 'Uncle Sam' and sombre depiction of a spasming survival. While the film has a few disturbing historical inaccuracies, the whole experience is gripping. I guess after 'Platoon', I was impressed by this movie's jungle 'fear-factor', the cinematography deserves applause. The background score gives justice to the setting of the movie.

Christian Bale has put his heart into the role and well supported by the rest of the cast. There are these rare 'straight stories' that make a mark in a gentleman's way, this movie is one FAQ 2. Did Bale really eat those bugs? Guru memainkan peranan penting di dalam menyampaikan sesuatu ilmu bagi menjamin kesahihan dan kesempurnaan ilmu tersebut. Di dalam ilmu persilatan, guru adalah lambang kesempurnaan. Origins of Silat 3. Demi menjaga kesucian akidah Islam, beberapa perkara perlu diambil perhatian iaitu setiap individu atau kumpulan tidak boleh mendakwa bahawa: a Silat mereka bersumber dari Nabi Muhammad s.

Conditions of Silat 3. Bagi mempastikan syarat-syarat di dalam ilmu persilatan tidak bercanggah dengan ajaran Islam maka: a Semua perkara yang wajib dilakukan atau ditinggalkan oleh seorang Islam, yang mukallaf tidak boleh dijadikan syarat di dalam silat seperti sembahyang, puasa, jangan durhaka kepada ibubapa, sehingga mendatangkan anggapan bahawa perkara wajib tersebut menjadi wajib hanya apabila dijadikan syarat.

Silat Masters 3. Guru silat yang beragama Islam hendaklah bukan terdiri daripada: a mereka yang melakukan perkara-perkara syirik, sama ada melalui perkataan, perbuatan atau iktikad.

Jika seseorang guru silat hendak melibatkan diri dalam hal agama hendaklah mengetahui asas-asas agama Islam sama ada fardhu ain atau fardhu kifayah seperti rukun Islam, rukun Iman, cara mengerjakan sembahyang dan sebagainya. Guru silat dilarang memasukkan atau menggunakan unsur-unsur yang bercanggah dengan Islam seperti sihir dan ilmu kebal di dalam ilmu persilatan.

Oaths and Promises of Loyalty 3. Sumpah tidak dibolehkan sebaliknya hanya ikrar. Murid-murid tidak boleh taat secara membuat tuli kepada guru. Mereka hendaklah mengikut perintah guru selama tidak bercanggah dengan perintah Allah. Sumpah tidak boleh digunakan kepada perkara-perkara yang telahpun diwajibkan di dalam Islam seperti bersumpah akan taat kepada ibubapa, bersumpah akan taat kepada Allah dan Rasul dan sebagainya.

Bacaan-bacaan, amalan dan ikrar yang terdapat di dalam sumpah hendaklah mengandungi perkara-perkara yang tidak bercanggah dengan akidah dan syariat Islam seperti memuja dewa, atau nama berhala. Suatu pantang larang hendaklah bukan daripada perkara-perkara yang jelas diwajibkan di dalam Islam seperti tidak meninggalkan sembahyang, jangan berkelahi sesama ahli dan sebagainya. Suatu pantang larang tidak boleh dikaitkan dengan unsur-unsur pemujaan, meminta izin, perlindungan atau bantuan daripada makhluk-makhluk ghaib seperti larangan berludah kerana ditakuti tidak menjadi.

Tidak boleh memenuhi kehendak pantang larang sehingga melakukan perkara-perkara yang ditegah di dalam Islam seperti meninggalkan tanggungjawab sebagai suami atau isteri dan sebagainya. Perkara-perkara yang harus dan halal tidak boleh dihukumkan haram. Etiquette 3. Etiquette between Student and Master: a Guru tidak boleh menganggap dirinya yang paling mulia dan tidak pernah bersalah.

Etiquette between Student and Fellow Students: a Seseorang murid tidak boleh memberikan hak secara khusus kepada murid seperguruannya sahaja, seperti memberi ucapan salam, tidak boleh bergaduh sesama ahli dan sebagainya. Etiquette between Student and Other People a Seseorang murid tidak boleh mengutamakan guru silat dan murid-murid seperguruannya sehingga mengabaikan hak dan kewajipannya kepada ibubapa, suami, isteri, anak dan ahli keluarga.

Physical Movements a Gerak langkah silat tidak boleh dikaitkan dengan zat Allah dan sifat-sifat-Nya atau merupakan maksud di sebalik kalimah atau nama-nama Allah atau sifat-sifatNya.

Spiritual Practices In Silat a Tidak boleh memuja dan memperhambkan diri kepada sesuatu kuasa atau peribadi yang boleh mendatangkan nasib baik atau buruk kepada seseorang seperti hantu, dewa, keramat, kubur, keris, busut dan sebagainya.

Objectives of Silat a Matlamat silat hendaklah matlamat yang baik seperti untuk kesihatan tubuh badan, mendisiplinkan diri, hidup bermasyarakat, untuk mempertahankan diri dari bahaya dan sebagainya. Labels: Article , Controversy. Labels: Announcement , Controversy. Labels: Announcement , Book Store. Be there or be square! Labels: Announcement , Controversy , Keris , Weapon. For many Melayu writers, for many writers concerned with the question of Melayu itself, Hang Tuah and the four musketeers are figures that still demand to be confronted, either negatively or positively.

A few months ago, I was with a friend at Central Market in Kuala Lumpur, looking for a souvenir to buy for a shared acquaintance. Bored, cheeky and, obviously, a reader of psychology, my friend snickered and said that the finely crafted keris daggers that we were pretending to admire were none other than phalluses.

Two thumbs up, my friend said. Or two phalluses. Reflecting on this scene, another idea: in the same way Tamingsari is for Hang Tuah, the image of Tuah is for me. For it must be confessed — it would be useless to deny it now — that my fixation with the epic was none other than a fetishisation that came out of the complex that I have from being Melayu, a complex, I am also sure, shared by a majority of Melayu today.

I use the concept of the fetish-object so that I could invoke a matrix of meanings: The anthropological fetish : Hang Tuah as the locus point among the rakyat to which all Melayu "culture", power and allure must return, as the alpha-male capable of the greatest mental and physical feats, the knight-cum-scholar-cum-monk who personifies the Melayu paradigm in all its esoteric ceremonies, beliefs, loyalties and secrets. The Marxist fetish : Hang Tuah as a commodity, as cultural and symbolic capital.

And, finally, the Zizekian fetish : Hang Tuah as the "security blanket" that is held in order to be able to succeed in contemporary reality, the reality of urbanisation, globalisation, liberalisation whatever it means , and multiculturalism. Neither the ability to believe nor disbelieve — this is what I mean by the Melayu complex.

For when we study the hagiography of Hang Tuah today, we cannot help but hasten towards the point that transforms his image into something so utterly extreme that is almost terrifying.

His obedience seems ridiculous to some of us, but it is this very absurdity that draws us to him. He is the impossible in all its allure and nostalgia.

We hold on to his image just so that we know that the possibility of faith still exists. Or rather, our belief or jealousy towards his belief believes it for us. Sourced from The Sun 20 Feb, Labels: Article , Controversy , Keris. Labels: Announcement , Podcast. Another Tekpi baby joins the ranks! May baby Hakim live long and strong, hale and healthy.

There are many myths and legends concerning the origin of silat yet one story frequently features, albeit in slightly different forms and this is the one that the authors favour because of the lessons it embodies. The story starts with a defeated warrior stumbling away from the battlefield. He is wounded and disheartened; his only desire to escape from the horrors that he has seen.

In his confusion he wanders into a forest and stumbles blindly on until he reaches a fast flowing stream. Following the water upstream he comes to a waterfall which drops into a pool and here he pauses to rest. As he watches the water dropping into the pool he sees a lotus flower come rushing down the torrent to end up floating in the water. Something about this beautiful flower floating on the water intrigues him and he watches as the current carries it this way and that, sometimes away from the waterfall and then sometimes under the raging water.

Each time it is hit by the power of the rushing water it disappears under the surface only to bob up somewhere else. Seeing this he picks up a rock and throws it at the fragile lotus.

Even though the rock hits it, the flower just sinks below the surface of the water and then bobs up again. Interested enough now to forget his own wounds and his despair he picks up a stick and throws it at the lotus but to no avail, it just twists and spins, flowing with the current. With a snarl the warrior draws his sword and splashing into the stream slashes and thrusts at the offending flower.

Is the lotus affected? Not one bit. Every slash just causes it to swirl and twirl and softly twist away. Every thrust just pushes it under the water only to surface again somewhere else.

At last exhausted the warrior stumbles and falls into the water. Spluttering and gasping he arises and stumbles up the bank and slumps down, back against a tree to contemplate what has just happened.

How could it be that something so small and so fragile as a lotus flower could avoid destruction at his hands. And as he sits there deep in thought he comes to a realization that will change his life, turn victory into defeat and create an art that will be passed on from generation to generation down the centuries.

What is it then that this warrior stumbled on that day in the forest? The answer is simple and profound. The apparent weakness of the lotus flower and the softness and yielding nature of the water combine to create something that no force can destroy. To the warrior this means that a new avenue is opened up to him in his study of the fighting arts.

By using this principle of the soft and the weak to deflect and overcome the hard the warrior creates a new way of fighting both at the personal tactical level but also in the broader strategic sense. As the warrior continues his research he notices how all of nature is teaching him.

He observes animals at play and in combat and notes how the two are the same. The tiger plays with its cubs and so teaches them to fight. The bird swoops and soars when attacking its prey but also does the same across an empty sky, seemingly moving just for the joy of it. The warrior now starts to treat his practice like play, he moves for the pure joy of movement and in doing so he learns more about his body.

Instead of forcing it into fixed and rigid patterns he allows the body to move as it wants. Now the warrior uses his new found knowledge and expertise to examine all that he has previously learnt. He recalls the stories of mythical warriors of the past and sees that they too followed these principles; they were true to their own nature.

The mighty princes and princesses of the past used their grace and power and commanding presence to subdue foes weaker than themselves. The mythical dragon twisted and turned using its coiling body and mystical powers to conquer enemies. All of these stories now taught the warrior truths that he could use in his new art.

But now he was realizing that it was more than an art; it was a way of life and that everything he did now conformed to the principles he had discovered.

What is Silat? First and foremost it must be stated that Silat is not a martial art! It is much more than that. Silat is the art of fulfilling human potential; this is often practically manifested as the art of survival. In Silat the exponent explores all that makes him or her truly human. In Silat Tua the lineage is traced back to the Founders who were hermits who isolated themselves high on mountains or deep in jungles to perfect their art and themselves.

Silat Tua is training to develop human beings not clones. Thus training in the art reflects all that is natural. Consider the life cycle where the baby at first is weak and totally dependent then he grows strong and independent as it reaches maturity and then finally with the onset of old age weakness sets in again.

Thus the Silat trainee starts weak and gains physical strength but this then declines; along the way, however, experience and the use of strategy and tactics compensate for any decline in mere physical strength.

The silat exponent learns to take equal advantage of everything and nothing. The Pendita Guru, the mythical hermit founder of the art wandered the earth with nothing yet was able to make use of everything in his day to day survival. The Silat exponent knows that we enter the world with nothing and we leave it with nothing and anything that we appear to possess along the way, in terms of material goods cannot be taken with us.

Every step must be taken with humility and without ego. The true Silat exponent should express love and compassion to all and behave in such a manner that no one has any reason to harbour ill-will against him let alone want to attack him. Seen in this light Silat is the art of living life to the full, avoiding the dangers and pitfalls that face man and being prepared for any eventuality.

Thus it is truly the art of life. This is the reason that there are very few set sequences of movement or forms. Instead the exponent becomes proficient at basic principles which are then practiced freestyle. The Silat exponent should not be concerned with winning, only surviving. When you seek to win you give yourself a goal which creates pressure if there is the slightest sign that it cannot be reached. But if you are happy just to still be in the fight there is no mental pressure and the body can perform to its highest potential.

The Silat exponent always strives to move from a position of seeming weakness. His tactics and strategy are dictated by the fact that he is weak while the opponent is strong. In Silat the exponent is trained to make full use of the attributes they already have and to develop others based on their own unique physical and mental characteristics. Silat is a lifelong study in the development of character. In Silat Tua the teaching is that at the end of our lives the only things we can truly take with us are our skill, knowledge and deeds, whether good or bad.

Thus the Silat student never stops learning or training. This article is c Zainal Abidin and Nigel Sutton Labels: Article. The artwork above was co-produced by a Malaysian artist, Mohd Faisal Nordin, a. I was came across his work and found that he had produced a page silat-themed comic book entitled "Unbeatable" for the Malaysian hour Comics Challenge.

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