Born on a remote island with economic limitations and physical limitations (due to his hearing being damaged by a fish bomb) made Ellyas lose hope for his future. However, his fighting skills paved the way for Ellyas Pical to become a boxer. Starting from winning championships in amateur to professional matches. Until then, Ellyas Pical wanted to realize his ambition to become world champion.
Rhoma Irama, a traveler, are visiting mosques in Lombok to enhance ties and strengthen the Islamic brotherhood among mosques administrators that are joined in the Fahmi Tamami forum. By chance Rhoma meets a widow, Sohiba, and her daughter Saimah. Their mosque is the target of Towi, a businessman scheming to build the biggest gambling area of Lombok in place of Sohiba’s mosque and house. Towi tricks Ridho, Rhoma’s son, turning him against his father so that Rhoma has to face Towi and his own son during the land feud. Ridho revolts against his father partly due to his love toward Towi’s sole daughter. Rhoma accepts Towi’s duel challenge in order to determine the one who will be entitled of Sohiba’s house and mosque. Meanwhile Towi’s men intimidate Sohiba and her daughter, seizing a prayer mat with Kabah image on it, woven by her.
Ridho, who is studying overseas, is called home by his father, Rhoma Irama, to continue his struggle of giving "a new style" to Dangdut music. But Ridho is undecided about going back to Thufa, his love from junior high school or to stay with his new love, Haura, an Australian college student who is researching dangdut music. Meanwhile, Thufa is asked by Delon, a talented young singer, to get engaged. Their lives are complicated by Bruto, an obsessive fan of Rhoma Irama, the king of dangdut of Indonesia.
Rhoma (Rhoma Irama), succeeds in rescuing a young woman, Maya (Ria Irawan), who was forced into making pornographic movies by a gang led by Santos (Leroy Osmani). This causes tension between Rhoma and his wife, Aida (Ida Iasha), who misunderstands the situation. In the meantime, Rhoma is abducted by the Santos gang to exploit as a partner for Maya in a pornographic film. Everything turns out all right for Rhoma, Aida and Maya.
The people of Pandanwangi village are upset at news that their land will be appropriated by a large conglomerate. Conflict over the land emerges and escalates between the villagers and representatives of the conglomerate. The villagers have come to view the situation as more of a matter of morality than of land ownership after finding out that a bar and billiards center will be built there. The head of the village’s Islamic boarding school, H. Murad, who is assisted by H. Rhoma, attempts to influence the villagers to refuse to sell their land. Eventually, the charismatic religious leader KH Zainuddin MZ succeeds in mediating the conflict, and even influences the conglomerate owner, Bustomi (WD. Mochtar), to rethink his plans. The land conflict theme of this film is interesting in that it reflects the social issues arising out of the rapid pace of development of the time. This may be Rhoma Irama’s best film, even though it was not very popular.
Jaka Swara witnesses the slaughter of his parents by John Da Costa’s gang, a Portuguese who still controls a remote area. Jaka Swara painstakingly learns martial arts to seek revenge. When Fatma, is held captive by Da Costa, it spurs Jaka into action. Rhoma Irama’s rôle as Jaka is somewhat different from his norm due to the nature of the action film. He sings five songs for the romantic scenes.
Rhoma tries to pull Ratna out of her dark life. Ratna’s pimp opposes the attempt. In a fight, Ratna is stabbed with a knife. Rhoma is shaken and advised to go to the village to rest. There, he falls in love with Sumi, the village beauty. Misfortune also falls on her when she is attacked with sulphuric acid that ruins her face. Returning to the village, he is surprised to find a woman who is similar to both Ratna and Sumi.
After failing to beat Rhoma in both music and women, Ramlan uses other cunning tricks. He does a duet with Camelia Malik aka Mia that is a huge success even though she is dating Rhoma. Ramlan proposes to his producer, Niko, to draw Mia out of their rival record company. Niko agrees with him. Hence, Ramlan gets his girlfriend Maya, who is addicted to drugs, to seduce Rhoma, and to drug Rhoma’s drink. When Rhoma is unconscious, Maya and Rhoma are photographed together in bed. The images are distributed to the newspapers, where it becomes a huge gossip. Then Mia is drawn to Niko’s company. Maya, who truly loves Ramlan, catches him in the act when Ramlan is about to rape Mia. Maya reveals the secret to Mia. Meanwhile, Rhoma, who is devastated, withdraws to his teacher’s place. There he is advised to change his name and start again from zero. Rhoma’s new persona is Zulfikar and he successfully receives a recording contract from Niko for his vocal similarities with Rhoma.
In this sequel, the preceding romance between Rhoma and Kartika, is explored. Although Rhoma is imprisoned, Benny Compo is not satisfied with the situation, while the Rhoma’s band is in shambles. Benny’s group controls the stage with uproarious music. After his release, the conflict extends to a confrontation between two musical genres. Both bands decide to have a duel on one stage. Rhoma takes six songs, while Ikang Fawzi sings two songs.
Rhoma Irama and his girlfriend, Kartika (Yatie Octavia), are affected by a disaster. Rhoma accidentally kills a woman with his car. Apparently, the woman is the sister of Ikang Fawzi, a rock star. The tension between Rhoma and Ikang intensifies.
Raden Haji Oma Irama (born December 11, 1946, in Tasikmalaya, West Java), known as Rhoma Irama, is an Indonesian dangdut musician, singer, songwriter, and actor. Starting from the late 1960's, he began his musical career as Oma Irama as a part of the pop band Orkes Melayu Purnama, pioneering several dangdut music elements. He then formed his band Soneta Group, achieving multitudes of musical successes with groundbreaking dangdut style which incorporates Western, Malay, and Bollywood influences. From the late 1970s, he began transforming into more Islamic-oriented style, commanding the religiously pious popular music culture. During the height of his stardom in the 1970s, he was dubbed "Raja Dangdut" ("the King of Dangdut") with his Soneta Group.
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