Sunday, January 16, 2005

BKKIFF 2005 review: Her Name is Boonrawd


  • Directed by Vichet Kounavudhi
  • Starring Linda Bancharoen
  • Originally released in Thailand in 1985; reviewed at the 2005 Bangkok International Film Festival as part of the Vichet Kounavudhi Tribute
  • Rating: 3/5

Set in Thailand during the Vietnam War era, Boonrawd (Linda Bancharoen) is a young woman living on the fringes of the prostitution scene outside an air base used by US Air Force troops stationed in Thailand.

The film opens with her enduring long hours and hard work washing dishes. Then one night her boss appears beside her bed. He takes off his Buddha amulet, prays to it and lifts the mosquito net. Boonrawd awakens but can't stop him. The two roll around under the netting and Boonrawd is left dishevelled, nauseated and emotionally scarred. The mere mention of her boss' name makes her vomit.

She runs off. A local teacher takes Boonrawd back to her home, where Boonrawd works as a maid. She gets a few baht in her pocket and goes home to the rural northeast to visit her mother. There, her lottery-addicted mother wonders why more money can't be sent. The right numbers just aren't coming up in the spots on the gecko's back. The water buffalo has run off. The farm is in debt to its landlord. There has been a drought for two years. Sister has shown up with a half-African-American (negro is the term used in this film), half-Thai baby. And she's planning on going back to the airbase and leaving the baby behind for mom to take care of.

Despite the hardships, Boonrawd refuses to go the way of her sister. She returns to her maid's job at the teacher's home. She has fallen in love with the maid's son. She gets her hair permed in the popular style of the time and wears bright-colored clothes to call attention to herself. But nothing develops. Then the teacher informs Boonrawd that she and her family have to move to Bangkok. She offers Boonrawd a job making dresses, but it will be hard work and she recognizes Boonrawd is more ambitious. Boonrawd wants her family to stand on its own. She has brought her brother to live with her and has found him work.

So she ends up having to move near the airbase at U-Tapao and starts work in a restaurant. There she is confronted by soldiers who think she's a prostitute. Aren't all Thai girls prostitutes? Even other Thais who work around the base think she's a prostitute, from the way she looks, dresses and acts. But she's not and she doesn't.

However, she strikes up a friendship with an Air Force officer, a guy who speaks fluent Thai. He likes her style, but they only remain friends. The officer goes to other girls for his pressure release. Gradually, though, Boonrawd develops feelings for the guy, which sets her up in a shrill confrontation with the alpha of the prostitute dog pack.

While delving into the Vietnam War's effect on Thailand, Her Name is Boonrawd, is overly long, too melodramatic and somewhat stale. It displays decent production values, but still had a low budget. There was little attention to anachronisms, such as the presence of vehicles newer than the 1970s and newer clothing and hairstyles on some of the extras (a Carabao T-shirt was spotted). Also, some of the "American" soldiers spoke with Aussie or Brit accents. And I don't know about some of the military materiel, whether the jets and bombs shown were the types used in the Vietnam War. I suspect not.

The scenes involving the top-dog prostitute were really annoying, as the actress overplayed her part and screamed her lines. Hmph!

But the actress portraying Boonrawd was solid all the way through. As the movie went on (and on and on and on - it was definitely more than the 104 minutes listed in the film catalog, more like 2 hours, 15 minutes), I began to appreciate her more and more.

( Cross-published at Rotten Tomatoes)

Saturday, January 15, 2005

BKKIFF 2005 review: Born to Fight


  • Directed by Panna Rittikrai
  • Starring Dan Chupong, Santisuk Promsiri, Kessarin Ektawatkul, Nappon Gomarachun
  • Released in 2004 in Thailand cinemas; reviewed at 2005 Bangkok International Film Festival
  • Rating: 4/5

With a fine low-budget sheen to it, this ultra-violent action flick is akin to the movies made by the likes of Jean Claude van Damme or Steven Seagal.

But this is better, because neither of those guys are in it.

Instead, there's a charismatic kickboxer-stuntman as the star, backed up by Thai national athletes of varying sports.

Directed by Panna Rittikrai, the action choreographer for Ong-Bak and a B-movie director in Thailand for decades, Born to Fight, is his bigger-budget debut. But the action is all seat-of-the pants stuff - hard hits, long falls, bone-jarring crashes, big explosions - and it's all real.

The story involves a young police officer who helps capture a Burmese drug lord but loses his superior officer and mentor in the raid.

Grieving, he accompanies his sister, a star Tae Kwon Do team member (Kessarin Ektawatkul), on a trip out to a rural village, where the national athletes are donating goods to a local school.

At the village, the older brother gets into a fight with a local troublemaker (Somluck Kamsing). Then, all hell breaks loose, as villagers are cut down by gunfire. It's pretty shocking and bloody action.

It's the drug lord's army, and they are going to kidnap the village and hold them for ransom until their leader is released. They wire the village up with webcams and broadcast their demands to the Cabinet and the media.

And, they have a nuclear missile, aimed at Bangkok (there is a CGI sequence, depicting a nuclear strike on the City of Angels).

The young cop, the athletes and the villagers aren't going to take it. Soon they are using all their abilities. A number of actual national athletes take part in the action. Among them is a male gymnast, who conveniently finds parallel bars where he needs them to place kicks against bad guys. There's a takraw player (it's like volleyball, only with the feet) who kicks a grenade. The Tae Kwon Do girl gets some. There's a female kickboxer who plays a villain and so there's a girlfight. There's a little girl Muay Thai boxer who kicks some head as well. A rugby guy knocks down a wall. And an aging soccer star shows he can still score. And an even older Muay Thai man has some action left in his limbs as well. There's even an amputee, who must be a paralympic athlete, showing he can use his one leg and crutch to kick takraw balls.

When there's action going on, it's great. Born to Fight's weakness is a display of overwrought melodrama (fathers being shot while kids are watching, old monk lying dead with villagers weaping profusely, hero rushing in to defuse bomb and redeem himself for his superior's death, etc).

Also, it was hard to suspend disbelief. Why would the drug lord's army indiscriminantly shoot the elderly, women and children, but only disable the fine young strapping lads of the village with a rifle butt to the head?

Still, for fans of Van Damme or Seagal, or even better for fans of Ong-Bak, this is a fun film, just for the stunt work and action sequences.

It opened in August 2004 in Bangkok, but I missed it then. But I caught it at the Bangkok International Film Festival. It will likely be out on DVD, but am unsure about the subtitles, which are helpful when the villagers are caught up with flag-waving, nationalistic fervor singing the Royal Anthem and then rushing forward to fight for their freedom. Yaaaaaaaah!




( Cross-published at Rotten Tomatoes)

Tuesday, January 11, 2005

Bearish on Thai film

The Bangkok Post today ran a financial analysis of the past year in Thai film. The article by Christopher E Knight of PricewaterhouseCoopers Thailand noted that the Asia-Pacific region will be the spot that will see the fastest growth in the entertainment and media industries over the next five years.

However, he questioned whether Thailand's local film industry would reflect similar growth.

An indicator used for measuring growth in the filmed entertainment industry is box office revenues. In most countries, US films are consistently predominant in generating box office revenue. The exception to this is primarily in countries, such as China, that impose quotas to restrict the number of foreign movies that may be exhibited.

Local films are a variable component and the key to box office revenue growth. Improving local product should therefore increase audience interest and generate box office revenue growth. Note that the emphasis is placed on improvement of the quality of local product rather than increased quantity. In 2004, the number of Thai feature films released increase to 47, but only two Thai films managed to place in the top 10 (see chart).

In contrast, only 13 Thai films were released in 2001, but two of these films, Suriyothai and Bang Rajan, were in the top five and generated more than 240 million baht in box office revenue. Only eight Thai films, a low for modern Thai cinema, were released in 2000, but the number one film for that year was Satree Lek (Iron Ladies).

Despite the importance placed on box office revenue, it should not be equated with profitability. Of the 47 Thai releases in 2004, it is estimated that the average box office return per film was approximately 16 million baht. The average cost to produce and release a movie is Thailand is approximately 25 million baht. It doesn't take a chartered accountant to determine the sustainability of the industry given these numbers. The growing trend of shorter theatrical-to-video release windows, as well as film piracy, further impair theatrical box office returns.

Given the creative and artistic elements involved in film, it can often be overlooked that film making is a business, and like other businesses it must to profitable to grow and survive. What strategies should producers be looking at to get a fistful of dollars? There are many and as each picture is different, so too are the models and strategies used.

Product placement does not necessarily create an additional revenue stream, but it can generate funds allowing a producer to reduce production costs. Outside of Hollywood, product placement appears to be underutilised.

Merchandising rights, which include the manufacturing, distribution and sale of items such as posters, T-shirts and toys bearing the names of film characters, movie stars, film company logos and still photos from a movie, are licensed by production companies creating additional revenue from a movie. With Thai movies getting broader releases, there is a greater potential to exploit these rights successfully as musical rights and compact disc sales have been successfully exploited.

DVD and home video sales are changing the way studios view their returns. Hollywood studios have realised that theatrical flops as well as blockbusters stand to make greater returns in DVD and home video sales. Studios are therefore offering home video and DVDs sooner to increase revenues and piggyback on the marketing investment made for the film's theatrical release. With consistent enforcement of intellectual property rights in Thailand, the home video window could turn out to be more lucrative than the theatrical window.


I have to agree wholeheartedly on the merchandising aspect. For example, Citizen Dog boasted an eye-catching series of ads. But that was about it. Some cartoon characters were designed along with the campaign, but underutilized. They could have been given away at the theaters or offered as free gifts at petrol stations or fast-food restaurants. Also, where was the soundtrack album for Citizen Dog? Music was integral to the film. I would have been interested in a soundtrack CD, but it wasn't released. Seems there isn't enough interest in the old songs used in the film. But I feel more merchandising would have helped sell this film to the Thai public.

Oh, and I'm still looking for a figurine of Boonlueng, the water buffalo from Bang Rajan. That would have been cool.

Here's a look at the overall top 10 at Thailand's box offices last year. It gives a better reflection of the state of the Thai movie industry (figures in millions of Thai baht):
  1. Spider-Man 2 157.4
  2. Harry Potter and the Prisoner of Azkaban 148.8
  3. Shutter 115.8
  4. The Day After Tomorrow 109.4
  5. Anaconda 2 94.9
  6. The Bodyguard 78.5
  7. Troy 77.9
  8. Resident Evil 2 67.5
  9. Van Helsing 67.3
  10. I, Robot 65.2

( Cross-published at Rotten Tomatoes)

Tony Jaa injured

Tony Jaa has been injured during the filming of Tom Yum Goong in Australia, according to some press reports I can't put my hands on right now. I'm unaware of the extent of his injuries, though I am led to believe they are minor. However, completion of the followup to Ong Bak has been put off until April.

In the meantime, Tom Yum Goong is expected to be the closing film of the 2005 Bangkok International Film Festival, something I didn't think was going to happen anyway, since the film was due to be released until March. Festival officials are going to be doing some fast talking for this gala closing event, which will really amount to no more than a screening of a preview reel or maybe some daily rushes from the set.

(Cross-published at Rotten Tomatoes)

2005 Bangkok International Film Festival preview

Glitzy and overdone as it is, this year's Bangkok International Film Festival from January 13 to 24 still has some good stuff in store. What's most exciting is a great line-up of Thai films.

In addition to bunch of Thai films from last year, including Ai Fak and Citizen Dog, there's a retrospective category for the late Vichit Kounavudhi, who will have four of his films shown. There's also a 1976 film by Piak Poster.

Shutter is in the main competition, which is somewhat embarrassing. Yes, Shutter was the top Thai film at the box office last year, but I think a stronger film could have been chosen to go up against these heavy hitters - like maybe Tropical Malady?

Ai Fak is in the Asean competition, along with a good one I missed called Pisaj, or Evil. More embarrassment comes in the form of the exploitive sports comedy Sagai United and the melodramatic tear-jerker The Letter are also in the Asean slot from Thailand. Why isn't Citizen Dog being put up for competition?

International Competition:
  • Being Julia, directed by István Szabó, Canada/USA/Hungary/UK
  • Clean, directed by Olivier Assayas, France/UK
  • Don’t Move (Non ti muovere), directed by Sergio Castellitto, Italy
  • Les Choristes, directed by Christophe Barratier, France/Switzerland
  • Innocent Voices (Voces innocents), directed by Luis Mandoki, Mexico
  • The Motorcycle Diaries (Diarios de motocicleta), directed by Walter Salles, Argentina/UK/USA/Germany/Peru
  • Old Boy, directed by Park Chan-Wook, South Korea
  • Red Dust, directed by Tom Hooper, South Africa/UK (Opening Night film)
  • The Sea Inside (Mar adentro), directed by Alejandro Amenábar, Spain
  • Shutter, directed by Pakpoom Wongpoom and Banjong Pisanthanakun, Thailand
  • The Syrian Bride, directed by Eran Riklis, France/Germany/Israel
  • Vera Drake, directed by Mike Leigh, UK
  • Zelary, directed by Ondrej Trojan, Czech Republic
ASEAN competition
  • The Beautiful Washing Machine, directed by James Lee, Malaysia
  • Buffalo Boy (Muoa Len Trau), directed by Minh Nguyen-Vo, Vietnam
  • Crying Ladies, directed by Mark Meily, The Philippines
  • Homecoming, directed by Gil Portes, The Philippines
  • The Judgement (Ai-Fak), directed by Patham Thonsang, Thailand
  • Keka, directed by Quark Henares, The Philippines
  • The Letter, directed by Phaoon Chandrasiri, Thailand
  • Perth, directed by Djinn, Singapore
  • Pisaj (Evil), directed by Chookiat Sakvirakul, Thailand
  • Princess of Mount Ledang (Puteri Gunung Ledang), directed by Saw Teong Hin, Malaysia
  • Rainmaker, directed by Ravi Bharwani, Indonesia
  • Sagai United, directed by Somching Srisuphab, Thailand
  • Spirits, directed by Victor Vu, Vietnam
  • True Love, directed by Kyi Soe Tun, Myanmar
  • Women of Breakwater, directed by Mario O'Hara, The Philippines
Out of that, I'm interested in seeing the Vietnamese film, Buffalo Boy. I am curious to see what Burma, otherwise known as Myanmar, has to offer in the way of cinema. I also have heard good things about the Philippine movies, Keka, The Crying Ladies and Women of the Breakwater. And for sheer epic scale, Princess of Mount Ledang, will be hard to beat. Malaysia's answer to Suriyothai, it's the most expensive film mounted by that country. I also hope to catch up with Pisaj, or Evil, which I 've heard good things about.

And more Thai films in the schedule. Many of these I have not seen and know nothing about_:
  • ART OF THE DEVIL - Supernatural thriller directed by Thanit Jitnukul.
  • BE VERY QUIET - Directed by Mona Nahm, it's the story of a young man who witnessed the rape and murder of his prostitute mom when he was a child.
  • BICYCLES & RADIOS - Directed by O Nathapon, it's about two wounded souls meet on a radio talk show.
  • BIRTH OF THE SEANEMA - Directed by SASITHORN ARIYAVICHA, I have no idea what this is about.
  • BORN TO FIGHT - Directed by Panna Rittikrai, the action choroegrapher for Ong Bak, it's about a team of national athletes (portrayed by real athletes) who use their various skills to save a small village from bad guys. I want to see this!
  • CITIZEN DOG - Wisit Sasanatieng's urban love story is told with the colorful, comic style he introduced in Tears of the Black Tiger.
  • DOWN THE RIVER - Directed ANUCHA BOONYAWATANA, a young gay guy searches for the truth of his love life.
  • ENLIGHTENMENT - Directed by TANON SATTARUJAWONG, a monk attempts to retrieve his meagre possessions when his bag is stolen.
  • IS AM ARE - Directed by CHANATIP KUNASAYEAMPORN, two strangers cross paths while discovering the other dimension of life through the mysterious palm reader.
  • MAID - By the director of the slapstick gay volleyball movie Iron Ladies, Maid or Jeaw is a comedy about secret-agent maids.
  • MY FIRST BOYFRIEND - Directed by ISSARA MANEEWAT, it's about a gay guy with aspirations of making a movie and being in love.
  • MY SPACE - By WITIT KUMSAKAEW and RITHICHAI SIRIPRASITPONG, students at Thammasat University, it's about a guy and a girl living in the same apartment building who break out of their isolated routines and actually talk to one another.
  • OUR FILM - Directed by ATTHASIT SOMCHOB, a wife brings her husband for rest in Pattaya. Well, I know that doesn't make any sense, but that's what the synpopsis says.
  • PATTAYA MANIAC - The latest crime comedy from Killer Tattoo director Yuthlert Sippapak.
  • PIK-BAAN-HAO - Directed by SUPAWUT BOONMAHATHANAKORN, it's about Odd, who wishes there would be something better for his family and beloved, Yao.
  • ROOM NUMBER 3 - A mother comes to visit her daughter in Bangkok and finds that her daughter has a new roommate.
  • SARS WAR - Fluent Thai-speaking Australian TV presenter Anthony Biggs is a zombie!
  • SOOTH - Directed by PATANA CHIRAWONG. I have no idea.
  • THE ATTEMPTS - Directed by DEJA PIYARHTKUL, a mother with her newborn son desperately waits for her husband.
  • TOM-YUM-GOONG: MUAY THAI FIGHTER - I'll believe it when I see it, mostly likely not at the festival. It will be in the multiplexes soon.
  • WAI ONLAWON - From 1976, as far as I can tell, this is the debut film by Piak Poster, who made a string of (mostly youth-based?) movies throughout the 1980s. Certainly, this was the first film that really got Thai audiences and the movie industry interested in making movies about teens.
And the retrospective to Vichit Kounavudhi (PDF).
  • FIRST WIFE - From 1978. Stars Jatupol Phuapirom, Wongdeaun Indharavud and Wiyada Aumarin. Husband-and-wife, both doctors,
    Dr Vikanda has to face her husband’s unfaithfulness.
  • HER NAME IS BOONROD - From 1985. Set during the Vietnam War era, it depicts the burgeoning sex trade that developed in Thailand to service the US military. Boonrod is labeled as one of them just because of her rough appearance. However, she proves herself to be a virtuous woman.
  • SON OF THE NORTH-EAST - From 1982. Stars Tongparn Phontong, Chanpen Siritep, Krailad Kriang-krai and Pailin Somnapa. This iconic film is a semi-documentary film derived from the work of award-winning author Kampoon Boontawee, who wrote from first-hand experience of life in rural Isaan - northeast Thailand.
  • MOUNTAIN PEOPLE - From 1980. Stars Montree Jenaksorn, Walaikorn Paovarat, Supavadee Thiensuwan and Petcharat Indharakamhaeng. In another semi-documentary, Vichet focuses on hilltribe life along the Burmese border. Ayo, a young man of the Egor tribe, and his wife as they are driven away after she gives birth to twins who, according to Egor folklore, will bring bad luck to the village. Adventures lead to Ayo's involvement with a Chinese opium trafficking gang.

(Cross-published at Rotten Tomatoes)

Blissfully Spongebob in Hartford

Oh, that crazy Colin McEnroe of the Hartford Courant. Like a good movie critic, went to his local cineplex to see Apichatpong Weerasethakul's 2002 film, Blissfully Yours, which was released in the US last year. He walked into the wrong theater, though.

You have probably never even heard of this movie but Thai director Apichatpong Weerasethakul's Blissfully Yours was finally released in America this year, and its story of lovers who play hooky from their humdrum existence by taking a picnic into a verdant forest is regarded, by us film buffs, as a small masterpiece. When I saw it, I was surprised by the vivid colors, the playful dialogue and by the heavy reliance on seafood imagery until, after 30 minutes, it sank in that I had accidentally walked into the theater where the SpongeBob SquarePants movie was playing, because the ticket-tearing woman had said, Theater 12, last one on the left, which was wrong. The Sponge Bob movie (I stayed, because I was caught up in the plot, by that time) was actually pretty good but whoever directed it is certainly no Apichatpong Weerasethakul.

I guess he saw it eventually. Blissfully Yours was at No 9 on the Hartford Courant's Top 10 films of 2004.

(Cross-published at Rotten Tomatoes)

Thursday, January 6, 2005

Blissfully Yours tied for No 12 on Village Voice poll

2004 was Apitchatpong Weerasethakul's year. He won the jury prize at Cannes for his Tropical Malady. His co-directed campy comedy The Adventure of Iron Pussy wowed festival audiences. And his 2002 film, Blissfully Yours, opened in New York and gained the attention of the Village Voice, which listed it in its annual critics poll.

Overall, it tied for 12th with Pedro Almodovar's Bad Education. Pretty good company, I say.

Here's the Take 6 Top 15 films:
  1. Before Sunset
  2. Eternal Sunshine of the Spotless Mind
  3. Dogville
  4. Sideways
  5. Goodbye Dragon Inn
  6. Notre Musique
  7. Crimson Gold
  8. I Heart Huckabees
  9. Vera Drake
  10. Moolaadé
  11. Million Dollar Baby
  12. Bad Education
    Blissfully Yours
  13. Los Angeles Plays Itself
  14. Kill Bill Vol. 2
Of the three critics, Dennis Lim rated Blissfully the highest. He had it at No 5 on his list. J. Hoberman listed it in his runners-up. Michael Atkinson didn't mention it but had many other choices.

(Cross-published at Rotten Tomatoes)

Wednesday, January 5, 2005

Wisit's influences


In surfing for information about film conservation in Thailand, I came across an article about Tears of the Black Tiger (and now Citizen Dog) director Wisit Sasanatieng, who got his start making television commercials.

The article mentioned Dome Sukwong, head of film conservation at the ambitious but underfunded Thai Film Archive. Dome gave the sobering and saddening statistic that some 70 percent of all Thai films of past have been lost to official indifference and climate-accelerated decay.

Nonetheless, Khun Dome's center provided inspiration for Tears of the Black Tiger (or Fah Talai Jone, which is literally translated as Heaven Strikes the Thief).

Whenever the Film Archive screened an old film," Wisit said, "I'd be there. Usually, I'd be the only one there. Most Thai audiences dislike Thai movies, especially the old ones, which they consider nam nao ["stinky water," i.e., stagnant and cliched]. But what I saw in them was a way to stay true to the spirit of those old styles of Thai filmmaking, as well as a way to make them new again. And none of the older generation of filmmakers impressed me more than Rattana Pestonji."

Rattana, the leading Thai filmmaker of the 1950s, was born to Persian parents and educated in England. He produced and directed a series of color-coded but at first blush creakily archaic melodramas on a limited assortment of minimalist sets. As it turns out, Rattana's films were in fact satires of still more archaic and impoverished Thai films of an even earlier generation.

No wonder Wisit took note. "For me, Rattana is our greatest filmmaker," admits Wisit, who funded his passion for film history by convincing Wrangler jeans to finance a television ad that served as the stylistic trial run for his film's vibrant visual design. "I knew all along that I wanted Tears of the Black Tiger to be more than just an old-fashioned film. And the first thing I knew was that the action scenes would have to be a lot faster and more cleverly choreographed than they were in the old days."

Another article makes the Rattana connection and also cites the Thai action films of the 1960's (known locally as 'Bomb-the-mountain, burn-the-huts' movies) as an influence.

The Bangkok Post recently included film preservation in its annual Holiday Time roundup of worthy causes. Thailand needs an independent body to preserve the Kingdom's old films as national heritage.

To help, contact Khun Chalida Uabumrungjit, National Film Archives c/o Thai Film Foundation, PO Box 6, Phutthamonthon Sub Post Office, Nakhon Pathom, 73170. Tel: 66 2 800 2716. Fax: 66 2 800 2717. Bank info: Kasikorn Bank Phaholyothin branch, account name Thai Film Foundation, savings account number 799-2-42333-6.

(Cross-published at Rotten Tomatoes)

Chuck Stephens' Top 10 for 2004



Film critic and subtitlist Chuck Stephens offers his look back at 2004's year in cinema in a recent article in the San Francisco Bay Guardian.

Writing from Bangkok, he relates the unique experience of shopping at a local supermarket and finding the new DVD for Apichatpong Weerasethakul's Tropical Malady in an impuse-buy display.

He writes more about his neighborhood on Soi Thonglor in Bangkok:

Of course, the street I live on, Soi Thonglor, isn't anywhere remotely near southern California. It's half a planet away, deep in the heart of Bangkok, on the eastern edge of the neighborhood traditionally inhabited by the city's sizable community of expat Japanese. The only Hollywood nearby is the consortium of go-go bars – Hollywood Stars, Hollywood Carousel, and Hollywood 2 – where a few months back I think I might have spotted Oliver Stone, the Alexander auteur, roaming alone on an all-night odyssey that might easily have ended in the enormous local disco known as Coliseum. Not that Thonglor doesn't have its fair share of homegrown cineastes. Filmmaker Pen-ek Ratanaruang, contemporary Thai cinema's reigning social satirist, has lived for most of his life in a house quite nearby, as did the fictional hero of his latest film, Last Life in the Universe – a disaffected Japanese librarian, played by Asano Tadanobu, whose apparent hobby is deciding how best to kill himself. And director Wisit Sasanatieng asked me to meet him a few months ago at one of those two Starbucks, to discuss subtitling his new film Citizen Dog; in fact, the filmmaker spends so much time in that coffee joint that they ought to name one of their high-caffeine confections Tears of the Black Tiger – after the title of his best-known film.

So it's not exactly surprising that the DVD of Tropical Malady should be so conveniently available in my local grocery store, even though American audiences will have to wait to see the film – a two-part invention wherein a forest ranger and an unemployed country boy quickly fall in love, then just as quickly drift apart as the story shifts from sunny romance to spooky parable about tiger spirits, talking monkeys, and a tree that emits extraterrestrial bleeps in the night – until Strand Releasing begins allowing American theatrical runs some time later in 2005. After all, Tropical Malady already enjoyed its local theatrical run in Bangkok, a modest but surprisingly successful four-week stint that constituted a first for Apichatpong, whose internationally acclaimed films are only just beginning to find an audience at home. What may be surprising, though – particularly for anyone who's never traveled to Thailand, Malaysia, or any of the many places throughout Southeast Asia where intellectual property rights aren't exactly chief among local law enforcement's concerns – is the degree to which so much of up-to-the-minute cinema from the rest of the world is available almost everywhere here.

Not just last weekend's Hollywood blockbusters, either; Wong Kar-wai's 2046, Olivier Assayas's Clean, and the entire fifth season of The Sopranos – the residents of Kuala Lumpur, Kowloon, and Krung Thep can pick up those and a hundred other recent titles from sidewalk vendors and at makeshift stalls in any local shopping mall for as little as $2.50 a disc.

The most important thing to point out about all this – before Jack Valenti comes bursting through these pages like a freshly incubated alien fetus, spewing acid-rich invective and righteous indignation – is that very few of these obviously illegal entertainments originate from the sources the American film industry tends to worry most about_: those seasonal video-screeners intended for Academy members. Nor is the cabal of American film critics – whom the Motion Picture Association of America last year tried to insinuate were less prone to use the year-end screeners sent them by aggressive studio flacks as aids in compiling their annual top 10 rankings than as black-market booty to buoy their eBay accounts – behind this international free-for-all of forged fictions (and, as in the case of that global bootleg blockbuster Fahrenheit 9/11, the occasional doc). Nope. It's the paying theatergoer with the camcorder in her backpack – setting up as the houselights dim and zooming in on her local multiplex screen, and jacking audio direct to tape from those state-of-the-art hearing-impaired audio outputs – who's doing most of the dirty work. And the longer that fans like her are left fed up by distributors too lazy to release the films they've got languishing in their vaults, or who refuse to release those films uncut, undubbed, and otherwise unmauled by their regional marketing department's meat hooks – the longer this market will flourish. And that's before the black market begins to shade into gray. There's no beverage called Tears of the Black Tiger available at Starbucks; nor is there a film with that title available for purchase on DVD in the U.S. of A. – despite Miramax having licensed it for American distribution nearly five years ago. But there are still plenty of available copies, and they're only a Web search away. And as the world grows ever smaller, and the possibility of mistaking Soi Thonglor for a boulevard in Santa Monica becomes ever easier, so too does the temptation to bypass Miramax with a mouse click grow stronger day by day.

Chuck Stephens' 10 best films of 2004
  1. Tropical Malady (Apichatpong Weerasethakul, Thailand)
  2. 2046 (Wong Kar-wai, Hong Kong)
  3. Nobody Knows (Hirokazu Kore-eda, Japan)
  4. Woman Is the Future of Man (Hong Sang-soo, South Korea)
  5. 6horts (Amir Muhammad, Malaysia)
  6. The World (Jia Zhang-ke, China)
  7. Collateral (Michael Mann, USA)
  8. Eternal Sunshine of the Spotless Mind (Michel Gondry, USA)
  9. Primer (Shane Carruth, USA)
  10. Tarnation (Jonathan Caouette, USA)

(Photo: Chuck Stephens as Peter/Andre in Citizen Dog; cross-published at Rotten Tomatoes)

Monday, January 3, 2005

2004 in review

Bangkok's two English dailies, The Nation and the Bangkok Post have recently taken a look back at the year in Thai film, which saw 44 or 45 releases, with some notable films, but mainly a lot of junk.

A surprise hit, according to The Nation's Parinyaporn Payee was Hoam Rong (The Overture).

If ever a film was doomed to failure, it was this tale of Thai society in transition, as told through the rivalry of two players of the ranad-ek, or traditional xylophone.

Directed by Itthisunthorn Wichailak, it screened for almost empty theatres for the first few days and was about to be withdrawn when, almost overnight - thanks to the website pantip.com and its Chalermthai chat room - it reached cult status.

The Education Ministry got in on the act and started promoting the movie as a must-see for anyone who cared about Thai culture. Banks and mobile-phone companies offered tickets in special promotions. “The Overture” stayed in the cinema for three months, grossed 52 million baht and even had youngsters swapping guitars for ranad-ek at its peak.

A bigger surprise was Shutter, a debut film by two young directors. But the bump-in-the-night ghost story scared audiences out of their wits and grossed 110 million baht, making it the biggest financial success of the year. However, this is modest compared to 2003, which saw the two top-ranking movies raking in 120 million and 145 million baht (the martial arts hit Ong-bak and the kid flick Fan Chan, respectively), points out the Post's Wut Homcheun.

Controversy came in the form of I-Fak (The Judgement). Critics panned it because it was considered disrespectful of its source material, the SeaWrite-award-winning novel Kham Phiphaksa by Chat Khobjitti. Previews billed the film as a kind of screwball sexy comedy. And audiences flocked in for the erotic interpretation of the love scenes. Overall, it was actually a charming film that deserves more international recognition. Unfortunately the only headlines it made were when an anonymous tip about the cutting of a nude scene erupted into a conflict between leading lady Bongkot Kongmalai and the entertainment giant GMM Grammy. Later on, some nude still photos from the set were posted on a popular local online forum with the suspected poster arrested. The charges against him were later dropped.

Thailand's film industry got a big boost in May when Tropical Malady won a Special Jury Prize in the main competition of the Cannes International Film Festival. Ironically, the attention was lavished on an indie director, Apichatpong Weerasethakul, who has had to work outside the Thai studio system to get his films made. And, when the movie finally returned home to Thailand, it played in a limited engagement for a few weeks at only a couple of theaters. Another of Apichatpong's films, The Adventure of Iron Pussy, a low-budget parody of spy films and old-time Thai melodramas that featured a transvestite as its lead, finally was screened in Bangkok (albeit in an also limited engagement) after rolling around the film festival circuit for nearly a year. Still, both films did quite well, considering their limited screenings. But Tropical Malady remained ignored by the government, which embraced bland melodrama of The Overture and submitted to the Academy Awards for consideration as the Best Foreign Language Feature.

Writes Wut Homcheun:

Above all, the studios' prevailing attitude -- perhaps characteristic of businessmen following the doctrine of Thaksinomics [and Prime Minister Thaksin Shinawatra] -- is to make quick bucks, with a focus on short-term goals, relying on the belief that a marketing blitz can make up for poor quality product. Investors pay attention to which type of films they should make (horror, comedy, action, historical drama) but not to how a film should be made (Is it original? Does it have a good script?). Thai cinema has become just a giant screen television.

True, we've come past the point of accepting that show business is a business, but that doesn't necessarily have to mean a total sacrifice of art and creativity.

That's why horror and comedy continue to be bankable genres, and no matter how fatuous films are it's okay -- if they fill the theatres for a few weeks. A prime example being the second highest-grossing movie of 2004, The Bodyguard, starring TV comedian [and Ong-Bak sidekick] Petthai Wongkamlao, which took 75 million baht. Meanwhile the fifth-highest earner, Sai Lor Fah (47 million baht), proved that a cool ad could be much smarter than the film it plugged.

Fortunately, quality mainstream films were not entirely absent. Early in the year, The Overture energised the industry, as this xylophone flick bounced back from poor first-week earnings to gross 52 million baht, ranking it third in the earnings league table. In June, The Letter, burst the floodgates holding back viewer's tears with its emotional narrative, coming in fourth when it bagged almost 50 million baht. But fate was much harsher to other films with strong vision but smaller promotional budgets. First-time director Chookiat Sakweerakul made the smarter-than-average horror Khon Pee Pisaj, an impressive debut that took only about 10 million baht, while Wisit Sasanatieng's Mah Nakorn (Citizen Dog) was the year's most strikingly visual film but earned only a meagre five million baht.

Citizen Dog's failure at the box office made Five Star Entertainment, one of Thailand's oldest film studios, struggle even harder. Things weren't going smoothly over at Sahamongkol Films either; it may remain the biggest local studio, but it sustained a major setback when its flagship movie of the year, the daredevil Kerd Ma Lui (Born to Fight), didn't break any records. However, a new player going from strength to strength is GTH (a company formed by GMM Pictures, Tai Entertainment and Hub Ho Hin). Last year the studio hit the jackpot with Fan Chan and repeated the feat this year with Shutter. This is the company to keep an eye on.

In general, the situation has been more upbeat on the experimental/independent film scene. The success of Sud Pralad is a boost to the morale of the indie crowd, long frustrated by the dominance of mindless studio flicks. Apart from his Cannes-award winning movie, Apichatpong had another film released. His campy The Adventure of Iron Pussy (co-directed with Michael Shaowanasai) is the year's most hilarious movie. And the fact that the Rotterdam International Film Festival, a major European film fest, selected four local short films to screen next year means Thai shorts may have more of a future than the long ones.

Here's a rundown of the box-office stats for the year, from The Nation (figures are in Thai baht):
  1. Shutter - 110,000,000
  2. The Bodyguard - 74,000,000
  3. The Overture - 52,000,000
  4. The Letter - 48,000,000
  5. Sai Lor Fah - 48,000,000
  6. Spicy Beauty Queen In Bangkok - 42,000,000
  7. I-Fak - 38,000,000
  8. The Extern - 33,000,000
  9. Garuda - 32,000,000
  10. Born To Fight - 23,000,000
  11. The Sisters - 22,000,000
  12. Art of the Devil - 20,500,000
  13. Bangkok Robbery - 20,000,000
  14. Sagai United - 18,500,000
  15. The Commitment - 13,500,000
  16. Siam Renaissance - 12,900,000
  17. Six - 12,600,000
  18. Headless Hero 2 - 12,000,000
  19. The Lizard Woman - 11,000,000
  20. Xtreme Limit - 9,500,000
  21. Evil - 9,000,000
  22. Bangkok Loco - 8,200,000
  23. The Sin - 8,000,000
  24. The Story of X-Circle - 7,000,000
  25. Sar Wars - 6,500,000
  26. Zee-Oui - 6,100,000
  27. Siamese Outlaws - 6,050,000
  28. Citizen Dog - 6,000,000
  29. Unhuman - 5,500,000
  30. Jumbo Queen - 5,100,000
  31. My Space - 4,800,000
  32. Cholestoral...Love - 4,000,000
  33. The Grone - 2,500,000
  34. Woak Wak - 2,300,000
  35. Formalin Man - 2,000,000
  36. The Meteor - 1,900,000
  37. Pad Thai Story - 1,350,000
  38. Tropical Malady - 1,300,000
  39. The Adventure of Iron Pussy - 1,000,000
  40. Be True - 800,000
  41. The Shadow Lovers - 620,000
  42. Mon Rak Roi Ran - 430,000
  43. Curse of The Sun - 280,000

(Cross-published at Rotten Tomatoes)