The character of Si Doel has become a beloved figure
in Indonesian television and cultural history, thanks to the immense success of
the soap opera Si Doel Anak Sekolahan. With its captivating portrayal of
Betawi culture, the show not only entertained millions but also offered a rare
glimpse into the lives of Jakarta’s native inhabitants. At the heart of this
phenomenon was Rano Karno, who not only starred in the series but also
produced, wrote, and directed it, cementing Si Doel as a household name.
The story of Si Doel began long before its television
debut in 1994. It can be traced back to Si Doel Anak Betawi, a novel
published in 1932, written by Aman Datuk Madjoindo. Aman, a Minangkabau author,
broke new ground by using the Betawi dialect in the novel, which was uncommon
at the time. He aimed to familiarize readers, both in and outside of Jakarta,
with the distinct language and customs of Betawi people.
Si Doel Anak Betawi depicted the life of a young
Betawi boy navigating the challenges of growing up in a traditional community.
The novel’s authenticity resonated with readers, eventually leading to its
adaptation into film and later television. This cultural foundation laid by
Aman played a significant role in shaping the Betawi representation in the Si
Doel series.
In 1972, legendary director Sjuman Djaja adapted Si Doel
Anak Betawi into a film, with a young Rano Karno playing the lead role of
Doel. The movie explored the life of a Betawi family, with Doel’s character
symbolizing the hopes and challenges faced by traditional communities in a
rapidly modernizing society.
Rano’s portrayal of Doel garnered praise, and the film’s
success inspired a sequel in 1976, Si Doel Anak Modern. This sequel
reflected Jakarta’s growing pains as it transitioned from a traditional society
to a bustling metropolis, touching on themes of identity and adaptation. The
films laid the groundwork for Rano Karno’s later success, as he continued to
explore the life of Doel in the iconic soap opera.
When Si Doel Anak Sekolahan premiered on RCTI in
1994, it quickly became a national sensation. The show focused on the life of
Doel (Kasdullah), a humble Betawi boy striving to balance his traditional
values with the challenges of modern education and society. Supported by a
stellar cast, including Benyamin Sueb (Babe Sabeni), Aminah Cendrakasih (Nyak),
Cornelia Agatha (Sarah), and Maudy Koesnaedi (Zainab), Si Doel became a
reflection of Indonesia’s cultural mosaic.
The show’s unique blend of humor, drama, and cultural
commentary resonated with viewers from all walks of life. Survey Research
Indonesia (SRI) recorded that by the end of 1994, Si Doel Anak Sekolahan
had an impressive rating of 53 points, drawing approximately 8.5 million
viewers. Its advertising revenue reached billions of rupiah, showcasing the
show’s economic as well as cultural impact.
One of the reasons for the show’s success was its authentic
representation of Betawi culture. From the character names—such as Babe Sabeni,
Nyak, and Engkong Ali—to the frequent use of the Betawi dialect, Si Doel
Anak Sekolahan preserved cultural elements in a way that felt organic and
relatable.
At its core, Si Doel Anak Sekolahan was more than
just a popular soap opera; it became a symbol of cultural resilience in the
face of modernity. The character of Doel, torn between tradition and progress,
reflected the experience of many Indonesians as they navigated a rapidly
changing society. Through Doel, viewers were reminded of the importance of
preserving cultural roots while embracing necessary societal shifts.
Rano Karno revealed that much of the dialogue in the show,
particularly from Mandra (Mandra), Tile (Engkong Ali), and Bendot (Pak Bendot),
was improvised in the Betawi dialect, further adding to the authenticity of the
series. This improvisation, combined with the actors’ dedication, made the
characters feel alive and relatable to audiences.
Although Si Doel Anak Sekolahan concluded in 2005,
the Si Doel franchise continued with sequels, films, and spin-offs,
including Si Doel Anak Gedongan (2005), Si Doel Anak Pinggiran
(2011), and the Si Doel movie trilogy. While these later installments
didn’t surpass the popularity of the original series, they kept the spirit of
Doel alive for a new generation.
The character of Si Doel is now enshrined in Indonesia’s
cultural history. Rano Karno’s portrayal of Doel is forever linked with the
complexities of Betawi identity and the broader conversation about Indonesian
culture in an era of globalization. In September 2024, Rano Karno was even
granted permission by the General Election Commission (KPU) of Jakarta to use
the name Si Doel in the regional elections, a testament to the enduring
significance of the character.
The story of Si Doel, from the novel Si Doel Anak Betawi
to the television phenomenon Si Doel Anak Sekolahan, reflects the
evolution of Betawi culture and the struggles of maintaining identity in a
modern world. Through the dedication of actors like Rano Karno and the timeless
charm of its characters, Si Doel has left an indelible mark on
Indonesian culture, bridging the gap between tradition and modernity for
millions of viewers across generations.
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