The study investigates the gothic double of Sitora Harimau Jadian (1965) by P. Ramlee through the

observation of the characteristics of Dr Effendi and the weretiger, Sitora. Double or doubling is a Gothic motif

that is prevalent in Gothic literature, both classic and contemporary, which explores the nuances of the dark

psyche one inhibits. It also problematises or brings forth thematic issues of alienation, transgression and the

like. Based on the analysis, the researchers gathered that the transformation of Dr Effendi as Weretiger Cub /

Son of Sitora depicts the anxiety of his character in mediating the setting of rural and urbanisation, while being

principally challenged in combating Malay superstition and taboo that still takes root in a modern society.

lays its footnote under Gothic fictions. A recurring Gothic motif that bespeaks uncanniness, doubling has been

laced within disciplines such as anthropology and psychology since its first inception; the belief of a duality of

man and the existence of subconscious thoughts that are most often dark and wicked, both innate in nature

virtues and vices, civilised and uncivilised, to name a few. Hughes (2018) notes that Gothic doubles depict

which these stories take place. To add, a situational occurrence that can be imposed as doubling includes cross-

dressing, mistaken identity, or being disguised (Hughes, 2018).

Where does Sitora Harimau Jadian (1965) fit under the Gothic literature purview, especially on the trope of

doubling? Initially made into a motion picture, Sitora Harimau Jadian (1965) illustrates the haunting of a

dark magic), shifting power dynamics, and doublings, casting the uncanny from both names and animalistic

appearances.

Despite sharing names and physical traits with the weretiger Sitora, it is debatable to say that these creatures

share the same hivemind, as the story depicts a strong hold Sitora had on Dr Effendi when he shapeshifted

without his will. The latter displays reluctance and guilt but is unable to exercise resistance, which propagates

the gap regarding Gothic doubles of existing on the two sides of the same coin. Therefore, this study aims to

probe Dr Effendi’s psyche and his anxiety mediating between two different settings of the rural and urban that

reflect his challenged modern principles on supernatural and taboo beliefs of the Malays in Kampung

Kiambang, Johor, Malaysia, through the manifestation of his sired form. In retrospect, this may help to

discover the parallelism inhibited by Sitora itself as the shadow of Dr Effendi. To fulfil this aim, the study will

“turpitude and illegitimacy, both political and familial, mirror-images of their opposite: romantic love in place

of incestuous embrace, ideal fathers in place of paternal tyranny” (Townshend, 2016). The author (2016) notes

the conventions from this novel, similarly depicted in the Gothic romance novels written by Ann Radcliffe,

which illustrate the values of bourgeois property and place, and morality and marriage. Meanwhile, Edgar

Oscar Wilde also incorporated a similar convention with a minor tweak in his most popular work, The Picture

of Dorian Gray (1890) (Hughes, 2018). According to Sage (1988), the British Gothic inhibits the motif of the

subject a secret, internal self”. After an array of interpretations of doubling, Townshend (2016) lists more

a motion picture directed by a renowned and multi-talented Malaysian director, P.Ramlee. The film, however,

has remained lost, according to multiple trusted accounts, as it was first and last aired on national television in

the 70s. In 2012, Fixi Retro, a sub-publishing house under Buku Fixi, re-entered the story in a prose form,

enabling readers and Malaysians to enjoy and appreciate Sitora Harimau Jadian (1965) as part of the

collective national literature.

Both analysis and discussion will be carried out by observing the characters of Dr Effendi and Sitora and how

they portray the motif of doubling under the Gothic lens. The data will be based on excerpts from the written

text in the form of dialogues and narrative descriptions. Since the primary data is in the Malay language, the

excerpts will be accompanied by English translations in the analysis.

psychology field, pioneered by Sigmund Freud, which deals with the conscious and unconscious psyche of an

individual. The notion of the double, according to Freud, reveals shades of one’s personality; a derivative of an

alter ego. Doubling either inhibits an individual with conflicting views and fragmented thoughts (internal) or

modernisation, and cultural transformation” (Bhandari, 2022).

The Gothic double in Sitora Harimau Jadian (1965) sheds light on Dr Effendi’s tumultuous psyche; oscillating

between embracing modernity and repelling old taboos that were prevalent in the Malay society at Kampung

Kiambang, Johor, Malaysia. Firstly, he stands as a symbolic figure that opposes Tok Dukun and overall old

For a character that is hell-bent on rejecting any progress or any kind of modern way of doing things, Tok

Dukun has no issue benefiting from capitalism, as revealed in the text that he was the Sitora who haunted

Kampung Kiambang to no end (Ramlee, 1965, p. 201). The fraudulent figure imposed protection fees for those

who required his assistance in extinguishing the supernatural threat, and not doing so would guarantee

constant, disturbing rampages of the weretiger (Ramlee, 1965, p. 16). This indicates the similarity he shares

with Dr Effendi in adapting to modern society, albeit his intention is never related to seeing the betterment of

the villagers’ well-being, but to fuel both his ego and bank account.

When conscripted to the village that was deemed rural, Dr Effendi pondered his fate and the unfamiliarity of

being sequestered in a foreign setting, as if he was uprooted from his usual element and belonging. This can be

seen on page 38 of the text:

(Ramlee, 1965, p. 38)

transgression experienced by Dr Effendi. Although he remained firm in his modern principles and beliefs at

this particular juncture of this story, he recognised the suffocation of the unknown he could not place as of yet.

From the initial accounts of a few villagers regarding their terrifying encounters with Sitora, he treated the

affected villagers through a modern approach of science and medicine, and its effectiveness was enough to

convince the villagers that the service provided by Tok Dukun was beginning to falter.

However, when Dr Effendi finally crossed paths with Sitora, his principles began to dwindle (Ramlee, 1965, p.

84-85), and his credibility was questioned by the Village Chief, indicating that his presence was to combat

notion, instead of scratching the wound open with his animalistic claws, Sitora used a knife, which is a

symbolic man-made hunting weapon that precipitated human civilisation. Nonetheless, it does not reflect his

over-reliance on the supernatural to achieve his wicked means, despite subconsciously tending to grasp on the

Now affected, Dr Effendi was regarded as Anak Harimau Jadian / Anak Sitora, or in rough translation, the

Weretiger Cub / Son of Sitora, who had a splitting image of his sire, or supposed father (Ramlee, 1965, p. 146-

147). When in his weretiger form, Dr Effendi had no recollection of the villagers he had traumatised in his

path (Ramlee, 1965, p. 149), but he was seen to be remorseful of his action. He is reduced to a permanent

master-slave relationship with Sitora, as the latter has control of his behaviour, especially when he transforms

other means of escaping by himself, except for the help of his acquaintances. Based on this evidence, it harks

back to the trope of Gothic doubling, where, despite the apparent parallelism, both Dr Effendi and Sitora