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The same year Shaw’s Malay Film Productions released P. Ramlee’s Penarek Becha, they also produced this melodrama centred around another humble trishaw driver. Like Ramlee’s film it was co-written by young literary upstart Jamil Sulong (who later became a director). Similar issues around class, wealth and modernity are explored through the tale of a kindly older trishaw driver (Omar Rojik) who adopts Jamilah, an orphan and marries her guardian, offering her a simple but better life (including a very, very long visit the circus). As the years pass Jamilah pulls away from her impoverished kampong life towards a world of motor cars and monied families, while kind Omar’s health is failing. A classic slice of social-realist melodrama.
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Danny Foster doesn't have much: an apartment as small as his paychecks, no family, and a struggling music career. Yet for him, "every day is a great day to be alive," an attitude he gained from his mother's unwavering optimism during her losing battle with cancer. It's love at first sight when Danny meets Ariana, a wealthy girl from Greenwich, CT who tragically cannot hear the music she inspires him to write. Ariana, hearing impaired since childhood, is torn between hanging onto the shelter her controlling mother provides and fighting for a love that, if given the chance, might just change her life
