Pareh
Pareh( Sundanese for" rice"), released internationally as Pareh, Song of the Rice, is a 1936 film from the Dutch East Indies( modern day Indonesia).
Directed by the Dutchmen Albert Balink and Mannus Franken, it featured an amateur native cast and starred Raden Mochtar and Soekarsih.
The story follows the forbidden love between a fisherman and a farmer's daughter.
Balink began work on the film in 1934, working with the Wong brothers, who served as cinematographers.
They gathered a budget of 75,000 gulden – several times the budget of other local productions – and brought Franken from the Netherlands to assist in production.
The film was edited in the Netherlands after being shot in the Indies.
The film was a commercial and critical success with European audiences, but disliked by native ones; despite this success," Pareh" bankrupted its producers.
" Pareh" resulted in a change in the cinema of Dutch East Indies, which had been Chinese- oriented for several years; films began to make more effort at targeting local audiences.
Balink later found commercial success with" Terang Boelan"( 1937).
The American visual anthropologist Karl G. Heider considers" Pareh" and" Terang Boelan" the two most important cinematic works from the Dutch East Indies during the 1930s.
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Terang Boelan
Terang Boelan( Indonesian for" Full MoonTerang Bulan" in the Perfected Spelling System) is a 1937 film from the Dutch East Indies( now Indonesia).
Written by Saeroen, directed by Albert Balink, and starring Rd Mochtar, Roekiah and Eddie T. Effendi," Terang Boelan" follows two lovers who elope after one is almost forced to marry an opium smuggler.
The film was shot in the Indies and Singapore, and was partially inspired by the 1936 Hollywood film" The Jungle Princess".
It was aimed at native audiences and included" keroncong" music, which was popular at the time, and several actors from Balink's previous work" Pareh"( 1936).
" Terang Boelan" was a commercial success in both the Indies and abroad, earning 200,000 Straits dollars in British Malaya.
This success revived the faltering domestic film industry and inspired films aimed at Malay audiences in Malaya, creating a formula of songs, beautiful scenery and romance that was followed for decades afterwards.
The Indonesian film historian Misbach Yusa Biran described it as a turning point in the history of Indonesian cinema for its catalytic effect on the industry's growth.
Like many Indonesian films of the era," Terang Boelan" has been lost since at least the 1970s.
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It was directed by Tom Moore and written by Marsha Norman based on her Pulitzer Prize- winning play of the same name.
The film was entered into the 37th Berlin International Film Festival.
Tom Moore had also directed the play on Broadway.

Question: Are both movies, Terang Boelan and 'Night, Mother (Film), from the same country?
Answer: no