Oriental's first production, Kris Mataram (Kris of Mataram), was directed by Njoo and starred Young and Omar Rodriga.
It followed a young noblewoman (played by Young) who marries a nobleman despite her parents' disapproval.
For this film, Njoo drew Joshua Wong from Tan's as cinematographer, then used the Wong name as part of his advertising: "[Kris Mataram has] the J. Wong guarantee".
Released in July 1940, the film was targeted at low-income audiences – particularly theatre-goers who would recognise Young.
A review in the Soerabaijasch Handelsblad praised it, calling Kris Mataram "captivating to the last metre".

Before its studio's second production, Oriental began renting the studios of Algemeen Nederlandsch Indisch Filmsyndicaat (ANIF) in Molenvliet, Batavia, for 1,500 gulden a month.
This rent also included access to the studio's equipment and cameraman J.J.W. Steffans, as well as facilities such as air conditioning and telephones in each office, and lighting equipment for night-time shots.
A large adjacent plot of land was also included.
By renting the ANIF complex, Oriental became the largest and most modern studio in the Indies.

Njoo soon showed a proclivity for sensation, which was manifested in the December 1940 release Zoebaida.
For the film, a love story set in Timor starring Young as the title character, Oriental used bright, extravagant costumes; Njoo gave the characters whimsical names which would not be found in the setting.
Rather than shoot on location – which would have been prohibitively expensive – Oriental constructed sets behind the ANIF Studio.
 Reviewers of the film noted with disdain that Zoebaida was exaggerated and clearly reflected its stage influences.

Oriental released its third production, Pantjawarna (Five Colours), in March 1941.
Again starring Young, the film – in which a young woman must raise two daughters despite her husband's imprisonment – featured two new hires, Dhalia and Soerip.
Both women, teenagers at the time, had established stage careers and were known for their singing voices, which were put to use in several of Pantjawarna's twelve kroncong songs.
This film was well received by critics, and Young's acting was praised in both the Bataviaasch Nieuwsblad and Soerabaijasch Handelsblad; the latter characterised Pantjawarna as "a success for O.F.C. [Oriental Film Company] and proof of the progress made in the cinema of the Indies".

After Pantjawarna, Fred Young drew Njoo and his wife to the newly established Majestic Film.
Deprived of their director and main star, Oriental hired the journalist Sutan Usman Karim to direct their fourth production, Panggilan Darah (Call of Blood).
This film, written by Karim and starring Dhalia and Soerip, told of two young orphans as they tried to eke a living in Batavia.
This film, which debuted in June 1941, prominently featured the cigarette factory Nitisemito, leading the Indonesian film historian Misbach Yusa Biran to suggest that it may have paid for the advertisement.
He records it as a modest success, although he notes that reviews were mixed.
Oriental's first production, Kris Mataram (Kris of Mataram), was directed by Njoo and starred Young and Omar Rodriga. It followed a young noblewoman (played by Young) who marries a nobleman despite her parents' disapproval. For this film, Njoo drew Joshua Wong from Tan's as cinematographer, then used the Wong name as part of his advertising: "[Kris Mataram has] the J. Wong guarantee". Released in July 1940, the film was targeted at low-income audiences – particularly theatre-goers who would recognise Young. A review in the Soerabaijasch Handelsblad praised it, calling Kris Mataram "captivating to the last metre".
Before its studio's second production, Oriental began renting the studios of Algemeen Nederlandsch Indisch Filmsyndicaat (ANIF) in Molenvliet, Batavia, for 1,500 gulden a month. This rent also included access to the studio's equipment and cameraman J.J.W. Steffans, as well as facilities such as air conditioning and telephones in each office, and lighting equipment for night-time shots. A large adjacent plot of land was also included. By renting the ANIF complex, Oriental became the largest and most modern studio in the Indies.
Njoo soon showed a proclivity for sensation, which was manifested in the December 1940 release Zoebaida. For the film, a love story set in Timor starring Young as the title character, Oriental used bright, extravagant costumes; Njoo gave the characters whimsical names which would not be found in the setting. Rather than shoot on location – which would have been prohibitively expensive – Oriental constructed sets behind the ANIF Studio.  Reviewers of the film noted with disdain that Zoebaida was exaggerated and clearly reflected its stage influences.
Oriental released its third production, Pantjawarna (Five Colours), in March 1941. Again starring Young, the film – in which a young woman must raise two daughters despite her husband's imprisonment – featured two new hires, Dhalia and Soerip. Both women, teenagers at the time, had established stage careers and were known for their singing voices, which were put to use in several of Pantjawarna's twelve kroncong songs. This film was well received by critics, and Young's acting was praised in both the Bataviaasch Nieuwsblad and Soerabaijasch Handelsblad; the latter characterised Pantjawarna as "a success for O.F.C. [Oriental Film Company] and proof of the progress made in the cinema of the Indies".
After Pantjawarna, Fred Young drew Njoo and his wife to the newly established Majestic Film. Deprived of their director and main star, Oriental hired the journalist Sutan Usman Karim to direct their fourth production, Panggilan Darah (Call of Blood). This film, written by Karim and starring Dhalia and Soerip, told of two young orphans as they tried to eke a living in Batavia. This film, which debuted in June 1941, prominently featured the cigarette factory Nitisemito, leading the Indonesian film historian Misbach Yusa Biran to suggest that it may have paid for the advertisement. He records it as a modest success, although he notes that reviews were mixed.
Oriental Film