Serangan Fajar

Serangan Fajar
Promotional flyer
Directed by	Arifin C. Noer
Produced by	G. Dwipayana
Written by	Syafnizal Durab Arto Hady
Starring	Antonius Yacobus Dani Marsuni Dicky Zukarnaen Suparmi
Production company	PPFN
Release date	1982 (1982) (Indonesia)
Running time	120 minutes
Country	Indonesia
Language	Indonesian

Serangan Fajar (released internationally as Attack at Dawn) is a 1982 Indonesian war film directed by Arifin C. Noer and produced by G. Dwipayana. Telling the lives of several persons during the Indonesian National Revolution, the film used wayang imagery to show heroism. The critically acclaimed film has been read as emphasising then-President Suharto's role in the revolution, especially the General Offensive of 1 March.

After the Japanese occupation, the Indonesian people begun fighting for independence, culminating with the 1 March 1949 general attack on the Dutch-held capital at Yogyakarta, led by Suharto. Amidst this backdrop two families face their own, personal issues. Temon has lost his father and lives with his grandmother. Meanwhile, the nobleman Romo is fighting for the nascent republic, while his wife is concerned about their daughter's relationship with a commoner.

Serangan Fajar was directed by Arifin C. Noer and produced by Brigadier General G. Dwipayana of the state-run, Jakarta-based production house PPFN. Arifin wrote the script on his own and during production M Soleh Ruslani handled cinematography. The completed film was edited by Supandi, while Noer's brother Embie provided music. Antonius Yacobus starred as Suharto, Dani Marsuni as Temon, and Amoroso Katamsi as Romo. Other cast members included Noer's wife Jajang, Charlie Sahetapy, and Suparmi.

Serangan Fajar used traditional wayang imagery. Scholar of Indonesia Donald K. Emmerson suggests that this was to legitimise then-president Suharto and emphasise the story's heroism.

Serangan Fajar was released in 1982. Before release its length was trimmed to 120 minutes. Reviewing in 1991, the American visual anthropologist Karl G. Heider wrote that the film was a "mild hagiography" which redefined Suharto's role in the revolution, especially the General Attack of 1 March 1949. He compared it to the way the 1963 Hollywood film PT 109 portrayed then-President John F. Kennedy and redefined his role in the sinking.