Showing posts with label Sahamongkol. Show all posts
Showing posts with label Sahamongkol. Show all posts

Friday, May 6, 2016

Review: Buppha Arigato


  • Written and directed by Yuthlert Sippapak
  • Starring Supassara Thanachat, Charlie Potjes, Chalermpon Thikampornteerawong, Yok Teeranitayatarn, Aphichan Chaleumchainuwong, Thana Wityasuranan, Triwarat Chutiwatkhachorachai, Navin Yavapolkul
  • Released in Thai cinemas on May 5, 2016; rated 18+
  • Wise Kwai's rating: 3/5

Yuthlert Sippapak is one of the Thai film industry's more distinctive and prolific directors. His signature move is to throw all kinds of ideas into the blender and then somehow assemble them as mostly coherent films that I have more or less enjoyed over the years.

After a bit of a hiatus, he's back at it with Buppha Arigato (บุปผาอาริกาโตะ, a.k.a. Buppha Rahtree: A Haunting in Japan).

Not only does it blend the horror, comedy and romantic-drama genres, it's also an Asian cultural mix, with a blood-and-slapstick story about a Thai musician and a film crew visiting a winter resort in Japan, where they are haunted by Japanese-style ghosts as well as the ghost of a spurned young Thai woman. I also couldn't help but feel a bit of John Carpenter vibe, with perhaps a nod to Halloween.

Additionally, it is trading on a combination of well-known Thai movies, tying in with Yuthlert's own Buppha Rahtree franchise of ghost comedy-horrors and the hit 2003 film Fan Chan (แฟนฉัน, a.k.a. My Girl). The bulk of the cast are the boys from Fan Chan, all grown up, including that film's lead actor Charlie Potjes along with the schoolyard bully, Chalermpon "Jack" Thikampornteerawong. It's the first time all the guys have been reunited onscreen since they were children.

The story follows the familiar template of the Buppha Rahtree films, which dealt with the ghost of a vengeful heartbroken young woman haunting an apartment building, and mined comedy from the colorful procession of police, priests and shamans who are recruited to perform exorcisms.

Buppha Arigato changes things up by having the action take place in a rental lodge at a picturesque Japanese ski resort. And instead of one ghost, there are several. The most lethal is a knife-wielding mother and her creepy little boy, spirits of a family who stayed in the house years before but could not pay their rent.

Meanwhile, there's a young Thai woman named Buppha who comes to the resort on a solo trip to mend her broken heart. Seems she caught her boyfriend having sex with another woman. Somehow, she has passed away but her soul is hanging on at the lodge, and is drawn to Charlie and his crew because Charlie looks a bit like her cheating ex.

The lodge's shady landlord, a Thai expat portrayed by "Tar" Navin Yavapolkul, is aware of his property's status as a haunted house, and he has various clergymen brought in to get rid of the bad spirits. Among the bumbling exorcists is a Thai Buddhist monk who is hung over after having too much beer and a sake bomb the night before. His saffron robe is accessorized by expensive sunglasses and a designer handbag, reflecting an actual controversy about a jet-setting monk in Thai religious society. Later, a Thai Hindu priest takes a crack at the spirits. Neither are successful at much except getting plenty of laughs.

So it's up to Charlie, Jack and the rest of the gang to solve the mystery of why the ghosts are haunting the place.

It's a chance for the former child actor Charlie to stretch his dramatic chops, and to show his talent as an indie singer-songwriter. He gets an extended scene during the closing credits, with a stylishly shot close up of just him, his tenor voice and acoustic guitar.

Jack, now a ubiquitous TV personality and commercial pitchman, gets to play director, heading up the film unit that is comprised of other four other now-grown child actors from Fan Chan, namely Yok Teeranitayatarn, Aphichan Chaleumchainuwong, Thana Wityasuranan, Triwarat Chutiwatkhachorachai.

There is a passing of the torch, with former Buppha Ratree actress "Ploy" Chermarn Boonyasak putting in a cameo in a limbo dream sequence, and offering guidance to new-face actress Supassara Thanachat, who takes over the role.

But the real hero of Buppha Arigato is of course Yuthlert's long-time collaborator, actor and veteran film-industry hand Adirek "Uncle" Watleela, again playing a police officer as he has throughout the franchise, and in other films. Here, he's a Japanese cop, but helpfully speaks Thai, and he comes up with an unusual way of defeating the ghosts, involving the use of an umbrella and the Thai military's infamous divining-rod-like GT-200 "bomb detector".

Also, all the guys are required to strip down to their tighty-whitie underwear briefs, so at least these young emperors have a shred of dignity.

Wednesday, April 20, 2016

Review: Take Me Home


  • Directed by Kongkiat Komesiri
  • Starring Mario Maurer, Wannarote Sonthichai, Noppachai Jayanama
  • Released in Thai cinemas on April 13, 2016; rated 15+
  • Wise Kwai's rating: 4/5 

The weird culture of Thai high society – entitled families whose perfect, luxurious existences are insulated from the ordinary working-class world – have long been the subject of the often off-putting and alienating films of ML Bhandevanov Devakula, the blue-blooded director of stage and screen who is better known as "Mom Noi" and is revered in the industry as the acting coach to most of Thailand's movie and TV stars.

With the new horror Take Me Home (สุขสันต์วันกลับบ้าน, Suksan Wan Klab Baan), Mom Noi's painterly, stagebound hi-so sensibilities are merged with indie grit, and the combination is surprisingly potent and enjoyable.

Mom Noi, who directed a string of lavish romantic dramas in the 1980s and '90s and then had a resurgence in recent years with a series of new adaptations of classic Thai novels that had been made into movies long before, is billed as a consultant on Take Me Home.

The thriller notably stars big-name talent Mario Maurer, who came under Mom Noi's tutelage in the dramatist's unique Thai take on Akira Kurosawa's Rashomon, U mong pa meung, which was titled for the U.S. market as At the Gate of the Ghost. Mario then took the lead in Mom Noi's insanely epic two-part reworking of the erotic tale Jan Dara, which was all about bizarrely flawed rich folks and their oh-so-problematic lives.


But the driving force of Take Me Home is Kongkiat Komesiri, a writer-director who has helmed three very fine films, all slick-but-scuzzy crime dramas, 2007's Muay Thai Chaiya, 2009's Slice and 2012's Antapal.

Take Me Home is being touted as Kongkiat's "first horror", though his previous films, Slice especially, had horror elements, and he did take part in the "Ronin Team" collective effort behind the Five Star Production torture thrillers Art of the Devil.

Kongkiat came up with the story for Take Me Home and got help on the screenplay from Piyaluck Mahatanasab and the industry's go-to script surgeon Kongdej Jaturanrasmee. Piyaluck is also the producer, whose indie shingle North Star was among the imprints on Kongdej's critically hailed post-coup drama Snap, last year.

Mario portrays a young man who was in a coma around 10 years ago. He woke up with no recollection of his life except his name was Tan. While working as an orderly in the hospital's morgue, he's spookily led to clues about his family, and decides to investigate further. "Once you leave here, you can never return," is the administrator's prophetic warning he should've heeded.

The family estate is a modern architectural masterpiece. And he is warmly greeted at the gate by the family's doting maid Waew (Napapha Sukrit), who immediately recognizes him. Singing a soothingly unsettling Thai song, she gives him a lift in a golf cart to the main building, a stunning structure ripped from the pages of Architectural Digest. Inside, the welcome is as cold as all the tile, glass and stainless steel. A pair of horseplaying small children take no heed of Tan. The man of the house is the upright, sweater-clad snob Cheewin (Noppachai Jayanama), who has no clue who Tan is. Cheewin's wife, it turns out, is Tan's beautiful twin sister (Wannarote Sonthichai) Tubtim, whom Tan seems to barely recognize. And Cheewin states flatly that Tubtim never mentioned she had a twin brother.


So right away, nothing is adding up. And therein lies the suspense, as the reality of the house, Tan's family and their tortured history are gradually revealed. Seems Tan's and Tubtim's father was a respected architect who committed suicide. He had bought the house for a song years before, but the former owner felt betrayed. So there's much bad karma in the structure, along with all the right angles and spiral staircases. Tan is trapped, and has to live what appears to be a hellish, Groundhog Day-type existence, repeating fruitless escape attempts over and over.

Mario, the boyish Thai-Chinese-German actor whose career was launched with 2007's Love of Siam, gives what is perhaps his strongest (and sweatiest) performance yet. Noppachai is sure and steady in a supporting role. TV star Wannarote chews up her scenes as the increasingly unstable Tubtim.

With Mom's Noi's hidebound art-museum tendencies kept at arm's length, Kongkiat heads a production that vividly transforms the gleaming white modern home into a moldering, creaking haunted house. It's a welcome, worthy effort from one of the industry's more distinctive writer-directors.

In the meantime, Kongkiat has another feature in the works, the big-budget historical action epic Khun Phan, which stars Ananda Everingham as a policeman in the 1930s who is in pursuit of a roving bandit played by Krissada Sukosol Terrence. The picture, long since in the can, has been on Sahamongkol's release calendar for the past couple of years or so but has remained mysteriously in the vaults. Reportedly, Kongkiat is in the midst of reworking Khun Phan and updating the visual effects.



See also:

Friday, March 4, 2016

Freelance earns prizes at Thai Film Director Awards

The winners of the Thai Film Director Assocation. Photo via TFDA, used by permission.

The Thai Film Director Association (สมาคมผู้กำกับภาพยนตร์ไทย) points the way when it comes to film awards in Thailand, officially kicking off the Kingdom's film-kudos season last Sunday by awarding five of its prizes – best film, best director, best actor, best actress and best supporting actress – to Freelance.

Writer-director Nawapol Thamrongrattanarit and actress Davika Hoorne were among the figures on hand to grab the attractive trophy, which is in the shape of the TFDA logo, a hand with a pointing finger.

Other prizes in the sixth edition of the TFDA Awards went to May Who? – the last feature from GTH before it broke up and reformed as GDH 559 – and Snap.

Runner-up certificates included the indie brotherhood drama How to Win at Checkers (Every Time) for best film and Kongdej Jaturanrasmee was awarded runner-up best director for his indie romance Snap.

The indie thriller The Blue Hour (Onthakarn), the M-Thirtynine comedy Miss Happy and Sahamongkol's giant snake drama Mae Bia also collected certificates.

In addition, the TFDA also recognizes the best assistant directors, with the crews from Freelance and Snap getting pats on their backs. For Nawapol, they were first assistant directof Parama Malakul Na Ayutthaya and second Ad Therawit Srisiri. Kongdej's team were 1st AD Pipat Jomkoh with Tippawan Narintorn and Kanachat Limthammahisorn as 2nd and 3rd AD.

Here's the list of other winners:
  • Best Film: Heart Attack (Freelance)
  • Runner-up best film: How to Win at Checkers (Every Time) a.k.a. P'Chai My Hero)
  • Best Director: Nawapol Thamrongrattanarit, Heart Attack (Freelance)
  • Runner-up best director: Kongdej Jaturanrasamee, Snap
  • Best Actor: Sunny Suwanmethanon, Heart Attack
  • Runner-up best actor: Toni Rakkaen, Snap
  • Best Actress: Davika Hoorne, Heart Attack (Freelance)
  • Runner-up best actress: Sutatta Udomsilp, May Nhai (May Who?)
  • Best Supporting Actor: Thanapob Leeratanakajorn May Nhai (May Who?)
  • Runner-up best supporting actors: "Ben" Chalatit Tantiwut, Miss Happy (Paa Happy She Taa Yuh and Oabnithi Wiwattanawarang, The Blue Hour
  • Best Supporting Actress: Violette Wautier, Heart Attack (Freelance)
  • Runner-up best supporting actress: Arpa Pawilai (Mae Bia)
  • Lifetime Achievement Award: Jazzsiam (Silhouette of God a.k.a. Kon Song Jao)

More details can be found at the TFDA's Facebook page.

(Thanks to Manussa Vorasingha for all assistance!)

Wednesday, March 2, 2016

Freelance leads nominations for Subhanahongsas and Bangkok Critics


Hollywood's awards season is over, with the awarding of the Oscars on Sunday night. But now the Thai film scene is gearing up for its own onslaught of trophies, with nominees listed for two major awards, the industry's own Subhanahongsa Awards (รางวัลภาพยนตร์แห่งชาติ สุพรรณหงส์), put on by the Federation of Film Associations of Thailand, and the Bangkok Critics Assembly Awards (ชมรมวิจารณ์บันเทิง).

The leading nominee is Freelance, which is listed in most categories. Other leading nominees include P'Chai My Hero, a.k.a How to Win at Checkers (Every Time), Snap, May Nhai and The Blue Hour. There's an article in The Nation that has more details.

The Subhanahongsa Golden Swan trophies will be given out on March 13 at the Siam Pic-Ganesha Theatre in Siam Square One, while the Bangkok Critics Assembly Awards will held on March 23 at the Royal Thai Army Club.

Ready for this? Here are the nominees for both awards.

25th Thailand National Film Assocation Awards nominees

Best Film

  • Snap
  • P’Chai My Hero
  • Freelance Ham Puay Ham Phak Ham Rak More
  • Arpatti
  • Onthakan


Best Director

  • Josh Kim, P’Chai My Hero
  • Nawapol Thamrongrattanarit, Freelance
  • Anucha Boonyawatana, The Blue Hour
  • Chayanop Boonpakob, May Nhai


Best Actor

  • Sunny Suwanmethanon, Freelance
  • Toni Rakkaen, Snap
  • Thiti Mahayotharak, May Nhai?
  • Atthaphan Poonsawas, Onthakan
  • Thira Chutikul, P’Chai My Hero


Best Actress

  • Davika Hoorne, Freelance
  • Ploy Sornnarin, Arpatti
  • Pimchanok Luevisadpaibul, 2538 Alter Ma Jive
  • Waruntorn Paonil, Snap
  • Sutatta Udomsilp, May Nhai


Best Supporting Actor

  • Krisana Panpeng, Snap
  • Torpong Chantabubpha, Freelance
  • Ingkarat Damrongsakkul, P’Chai My Hero
  • Thanapop Leeratanakajorn, May Nhai
  • Obnithi Wiwatanawarang Onthakan
  • Sorapong Chatree, Arpatti


Best Supporting Actress

  • Duangjai Hiransri, Onthakan
  • Nareekul ketprapakorn, May Nhai
  • Pympan Chalayanacupt, Arpatti
  • Violette Wautier, Freelance
  • Arpa Phawilai, Mae Bia


Best Screenplay

  • Kongdej Jaturanrasamee, Snap
  • Josh Kim, P’Chai My Hero
  • Nawapol Thamrongrattanarit, Freelance
  • Anucha Boonyawatana and Wasuthep Ketpetch, Onthakan
  • Chayanop Boonpakob, Vasuthorn Piyarom, Nottapon Boonprakob, Thodsapon Thiptinnakor, May Nhai


Best Editing

  • Kamontorn Ekwatanakij, P’Chai My Hero
  • Chonlasit Upanigkit, Freelance
  • Panayu Kunvanlee, May Nhai
  • Chonlasit Upanigkit and Anuphap Autta, The Blue Hour
  • Kamontorn Ekwatanakij and Manussa Worrasingh, Snap


Best Cinematography

  • Charnkit Chamnivikaipong, F Hiliare
  • Uruphong Raksasad, Phleng Khong Khao (The Songs of Rice)
  • Niramol Ross, Freelance
  • Chaiyaphruk Chalermpornpanich and Kamonphan Ngewthong, Onthakan
  • MR Ampornpol Yukol, Snap


Best Recording and Sound Mixing

  • Kantana Sound Studio, Freelance
  • Kantana Sound Studio, May Nhai
  • Noppawat Likhitwong/ Onecool Sound Studio, Onthakan
  • Sarawut Phantha Akrichalerm Kalayanamitr, Snap
  • Ram Intra Sound Studio Arpatti


Best Art Direction

  • Rasiguet Sookkarn, Snap
  • Phairot Siriwath, Freelance
  • Phairot Siriwath, Onthakan
  • Akradej Kaewkote, May Nhai
  • Salinee Khemjaras, Tee Wang Rawang Samut (The Isthmus)


Best Original Score

  • Chaibandit Peuchponsub, Snap
  • Bodvar Isbjornsorn, P’Chai My Hero
  • Hualampong Riddim, Freelance
  • Hualampong Riddim, May Nhai
  • Chupvit Temnithikul Onthakan


Best Song

  • Ther Dern Khao Ma from Runpee
  • Mai Me Ther, from Latitude 6
  • Nhai Nhai from May Nhai
  • Sai Tai from 2538 Alter Ma Jive
  • Sud Sai Ta from The Down


Best Documentary

  • Y/our Music
  • The Down
  • The Songs of Rice



Best Costume Design

  • Suthee Muanwaja, May Nhai
  • Phim Umari, Rujirumpai Mongkol, P’Chai My Hero
  • Wasitchaya Mojanakul, Mon Love Sib Muen
  • Wasana Benjachat, Freelance
  • Sukanya Maruangpradit, F Hiliare


Best Make Up Effects

  • Benjawan Sroy-in, Freelance
  • Methaphan Pitithunyapat, Phee Ha Ayothaya
  • Pongrat Kijbamrung, F Hiliare
  • Pattera Puttisuraseat, Runpee
  • Sivakorn Suklangkan, Arpatti


Best Visual Effects

  • Surreal Sutdio, Arpatti
  • Thanan Chimprasert, Mon Son Phee (Ghost Ship)
  • Thosaporn Poonnart, Phee Ha Ayothaya
  • Alternat Studio, Runpee
  • Yggdrazil Group Co and Riff Animation Studio, May Nhai


Lifetime Achievement Award

  • Jaroen "See Thao" Petchjaroen


25th Bangkok Critics Assembly Awards nominees

Best Film

  • Snap
  • P’Chai My Hero (How to Win at Checkers (Every Time))
  • Freelance Ham Puay Ham Phak Ham Rak More (Heart Attack)
  • May Nhai Fai Raeng Fer (May Who?)
  • Onthakan (The Blue Hour)


Best Director

  • Josh Kim, P’Chai My Hero
  • Nawapol Thamrongrattanarit, Freelance
  • Anucha Boonyawatana, Onthakan
  • Uruphong Raksasad, Phleng Khong Khao (The Songs of Rice)
  • Chayanop Boonpakob, May Nhai


Best Actor

  • Jason Young, F Hilaire
  • Sunny Suwanmethanon, Freelance
  • Thiti Mahayotharak, May Nhai
  • Atthaphan Poonsawas Onthakan
  • Ingkarat Damrongsakkul, P’Chai My Hero


Best Actress

  • Davika Hoorne ,Freelance
  • Taya Rogers, Love Sucks
  • Pimchanok Luevisadpaibul, Cat A Wabb # Baeb Wa Rak Ah
  • Waruntorn Paonil, Snap
  • Sutatta Udomsilp, May Nhai


Best Supporting Actor

  • Danai Jarujinda, Arpatti
  • Thira Chutikul, P’Chai My Hero
  • Thanapop Leeratanakajorb, May Nhai
  • Obnithi Wiwatanawarang, Onthakan
  • Soraphong Chatree, Arpatti


Best Supporting Actress

  • Duangjai Hiransri, Onthakan
  • Nareekul ketprapakorn, May Nhai
  • Ploy Sornarin, Arpatti
  • Violette Wautier, Freelance
  • Arpa Phawilai, Phee Ha Ayothaya


Best Screenplay

  • Kongdej Jaturanrasamee, Snap
  • Josh Kim, P’Chai My Hero
  • Nawapol Thamrongrattanarit, Freelance
  • Anucha Boonyawatana and Wasuthep Ketpetch, Onthakan
  • Chayanop Boonpakob, Vasuthorn Piyarom, Nottapon Boonprakob, Thodsapon Thiptinnakorn, May Nhai


Best Editing

  • Uruphong Raksasad, The Songs of Rice
  • Kamontorn Ekwatanakij, P’Chai My Hero
  • Chonlasit Upanigkit, Freelance
  • Panayu Kunvanlee, May Nhai
  • Chonlasit Upanigkit and Anuphap Autta, Onthakan


Best Cinematography

  • Phuttipong Aroonpheng, Vanishing Point
  • Uruphong Raksasad, The Songs of Rice
  • Niramol Ross, Freelance
  • Chaiyaphruk Chalermpornpanich and Kamonphan Ngewthong, Onthakan
  • Kittipat Jinathong, Arpatti


Best Art Direction

  • Vikrom Janpanus, Vanishing Point
  • Rasiguet Sookkarn, P’Chai My Hero
  • Ek Iemchuen, F Hilaire
  • Phairot Siriwath and Chaiwat Boonsoongnern, Freelance
  • Phairot Siriwath and Vitune Tulakorn, Onthakan


Best Original Score

  • Wuttipong Leetrakul, The Songs of Rice
  • Bodvar Isbjornson, P’Chai My Hero
  • Hualampong Riddim, Freelance
  • Hualampong Riddim and Vichaya Vatanasapt, May Nhai
  • Chupvit Temnithikul, Onthakan


Best Song

  • Jai..Jai from Kyushu...Laew Phrung Nee Rao Khong Ja Roo Kan
  • Phra Arthit Thiang Khuen
  • from Water BoyyYorm from Khuen Nan
  • Rao Me Rao from Khun Thongdaeng: The Inspirations
  • Sud Sai Ta from The Down


Best Documentary

  • Y/our Music
  • The Guitar King
  • Kyushu
  • Mard Phayak
  • The Down
  • The Songs of Rice


Young Filmmaker Award

  • Josh Kim, P’Chai My Hero
  • Kanittha Kwunyoo, Arpatti
  • Jakrawal Nilthamrong, Vanishing Point
  • Surussavadi Chuarchart, F Hilaire
  • Anucha Boonyawatana, Onthakan


Lifetime Achievement Awards

  • Marasri Israngkool Na Ayuthaya
  • Sompong Wongrakthai

Thursday, February 11, 2016

In Thai cinemas: Luk Thung Signature and the return of The Act of Killing


Star-studded stories unfold to the toe-tapping beat of Thai country songs in Luk Thung Signature (ลูกทุ่ง ซิกเนเจอร์, a.k.a. Love Beat), a sprawling musical drama by producer-director Prachya Pinkaew. Best known for directing the Tony Jaa martial-arts dramas Ong-Bak and Tom-Yum-Goong, Prachya has long wanted to make a luk thung musical.

Featuring 13 songs, the stories include a brooding business executive (Krissada Sukosol Clapp) who is searching for the cleaning lady he heard singing while he was in the toilet. She's played by Rungrat Mengphanit, a singer who is best known as "Khai Mook The Voice", thanks to her winning appearance on a Thai TV talent show.

Another story centers on a washed-up overweight pop singer (singer-actor Chalitit "Ben" Tantiwut) who finds new popularity when he puts on a glittering rhinestone suit and switches to luk thung.

Other stars include The Voice Thailand Season 1 winner Tanon Jamroen as well as Siraphan Wattanajinda, Chaiyathat Lampoon, Sombat Metanee and Pitsamai Wilaisak, Sumet Ong-art, Su Boonliang and luk thung songwriter Sala Khunawut.

Read more about it in a story in The Nation.






Also in cinemas is a revival run for the 2012 documentary The Act of Killing, which has the perpetrators of genocide in Indonesia in the 1960s re-enacting their gruesome deeds in often self-aggrandizing fashion, in scenes from their favorite types of movies – westerns, film-noir mysteries and lavishly staged musical numbers.

The Act of Killing rubbed me the wrong way when I saw it in a one-off special screening in Bangkok a few years ago. I felt it let those colorful politicians and military figures mostly off the hook for their wave of politically motivated killings in 1965-66. But it was part of a one-two punch by director Joshua Oppenheimer and his "anonymous" team of filmmakers, who followed up the The Act of Killing with the powerful and essential counter-punch, The Look of Silence, which focused on one gentle survivor's personal search for truth and justice.

Brought back by the Documentary Club, this is the 159-minute "director's cut" of The Act of Killing. It won many awards, including the European Film Award for Best Documentary and the Asia Pacific Screen Award. It was also a nominee for the Academy Award for Best Documentary Feature.

The Act of Killing opens this week, and the must-see followup The Look of Silence is released next Thursday. There's a special screening of both films from 6pm on Saturday in an event put together by the Documentary Club and Film Kawan, an academic group that specializes in Southeast Asian films. It's at SF World Cinema at CentralWorld.

Apart from that special screening, regular venues for The Act of Killing are SF World, SFX Central Rama 9, SFX Central Lad Phrao and SFX Maya Chiang Mai. For further details, check the Documentary Club Facebook page or SF Cinemas booking site




Departing first-run cinemas after of two-week run is Khon Muay Kab Rak Thee Taektaang (ฅนมวยกับรักที่แตกต่าง, a.k.a. Boxing in Love), in which former childhood sweethearts – traditional dancer Roong and boxer Yord – are reacquainted years later in Bangkok, where Yord gets mixed up with mobsters and is tasked with going undercover in a police sting. Roengsak Misiri and Kriangsak Phinthutrasi direct.

Other new movies this week include Deadpool and Carol. There's more details on the other blog.



Thursday, January 21, 2016

In Thai cinemas: Awasarn Loke Suay, Krasue Kreung Khon


The year in Thai cinema commences with Awasarn Loke Suay (อวสานโลกสวย), a teen-oriented psychological drama from Kantana Motion Pictures.

Apinya Sakuljaroensuk stars as a faded Internet idol who becomes upset at being unseated by a new schoolgirl star (Napasasi Surawan). She decides to teach the naive upstart a lesson in cruelty. Pun Homcheun and Onusa Donsawai direct, adapting a short film of the same name.

In a gimmick to gin up publicity, there are two versions – rated 18+ and the “uncut” 20-






And there's another Thai film to start 2016 – veteran actor-director Bin Banluerit's horror-comedy
Krasue Kreung Khon (กระสือครึ่งคน) – which has a jungle tribe of dwarfs being terrorized by the notorious krasue, the female ghost of Southeast Asian folklore that’s a floating vampiric head and entrails. It's a mainstream release, from Sahamongkol.



New releases in Thai cinemas this week include the Oscar-nominated 45 Years from upstart indie distributor HAL Film, which made its debut last year with the release of the offbeat foreign indies White God and The Tribe. And, oddly, the Documentary Club is releasing a dramatic feature, that iPhone movie", Tangerine. Shows the possibilities for doc filmmaking, I suppose.

Upcoming events to mention include the Bangkok Art and Culture Center's Cinema Diverse: Directors' Choice series, which wraps up on February 6 with a screening of the Chilean drama No hosted by Apichatpong Weerasethakul, Thailand's most-celebrated filmmaker. He and film critic Kong Rithdee will talk about the movie afterward, with translation in English. Registration opens at 4.30pm with seating on a first-come, first-served basis.

Still more events this year include the Goethe-Institut and Thai Film Archive's Wim Wenders Retrospective, which will include Wings of Desire outdoors at Lumpini Park in February and a 3D screening of Pina at the Archive in March. There's also the Salaya International Documentary Film Festival in March, the Archive's travelling Memories fest in April, the Silent Film Festival of Thailand in June and the Thai Short Film and Video Festival in August.

Sunday, January 10, 2016

Top 10 Thai films of 2015


Zombies shuffled, independent films delighted and a favorite studio released two more winning entries before closing up shop, helping to make 2015 another memorable year for Thai cinema. Here, mostly in the order viewed, are some of the best Thai movies I saw in Bangkok cinemas last year.

Phi Ha Ayodhaya (The Black Death)

Just as my interest in Thai film had hit an all-time low, MR Chalermchatri “Adam” Yukol reinvigorated my passion with Phi Ha Ayodhaya, the first honest-to-goodness Thai zombie film.

Made with the same props and costumes as the “Suriyothai” and “Naresuan” historical epics of his father MC Chatrichalerm Yukol, Adam’s “Phi Ha Ayodhaya” was set in 1565 and covered what’s possibly the first historical instance of zombies. As the dead come shambling from the battlefields with a hunger for brains, a disparate band of survivors hole up in a brothel and fight back.

With plenty of cartoonish action and a decent helping of cinematic gore, the familiar tropes of George Romero’s “Dead” franchise mixed with the stately pageantry of “Naresuan” and “Pantai Norasingh” to create something refreshing.

Y/our Music

Indie filmmakers David Reeve and Waraluck Hiransrettawat Every begged and borrowed cameras as they shot their documentary over the course of several years, during which they explored the divide between urban and rural folk and examined contrasting Thai music scenes – mostly-unheard-of indie musicians in Bangkok and almost forgotten country stars in the Northeast.

I got to see Y/our Music twice, and both times the film demonstrated its power to move usually reserved Thai movie audiences into spontaneous applause, as if it were a live concert.

P’Chai My Hero a.k.a. How to Win at Checkers (Every Time)

Korean-American director Josh Kim brought much-needed fresh perspective to the scene with his debut feature, a sweet, multi-layered comedy-drama about an 11-year-old boy and his relationship with his openly gay teenage older brother.

At the heart of the story is the Thai military’s unusual lottery-drawing draft, which Kim had previously dealt with in his short documentary Draft Day, covering transgender draftees. Checkers is adapted from the short stories of noted Thai-American writer Rattawut Lapcharoensap, and adds more observations about the class divide. It was one of two major Thai premieres at the Berlin fest and Thailand’s official submission to the Academy Awards.

Freelance .. Ham Puay Ham Phak Ham Rak More (Heart Attack)

Exploited workers and the rickety state of public-health services become unlikely sources of comedy in indie filmmaker Nawapol Thamrongrattanarit’s directorial debut with the big studio GTH.

He had previously made the abstract romance 36 and wrote screenplays for the hit GTH films Bangkok Traffic Love Story and Top Secret. Nawapol’s quirky deadpan indie style was burnished with the backing of GTH, which provided its bankable stars, leading man Sunny Suwanamethanon as a freelance graphic artist who pushes himself too hard and gets sick, and Davika Hoorne as the lonely young overworked doctor who treats him.

Subverting the “feel good” style of most GTH films, Freelance turned out to be one of the two last films from that company, which broke up at the end of the year. Freelance now provides one possible template for the reformed company, GDH 559, to follow.

Onthakan (The Blue Hour)

Representing the best that Thailand’s burgeoning indie gay cinema movement has to offer, Anucha Boonyawatana directed this remarkable thriller about a bullied gay teenage boy who arranges to meet another young guy. From their initial rough coupling in a forbidden place, their relationship leads to even darker territory.

The other major Thai premiere at Berlin last year, The Blue Hour had a foreboding atmosphere and electrifying performances from the young lead actors, Atthaphan Poonsawas and Oabnithi Wiwattanawarang.

May Nhai .. Fai Raeng Fer (May Who?)

The final film made by GTH before it broke up and then reformed as GDH 559 is more in keeping with the youth-focused slate of films from that company, with its story about a high-school girl with a weird condition that causes her to generate a powerful electrical charge.

The sophomore feature from Chayanop Boonpakob, who followed up his 2011 rock ’n’ roll romance SuckSeed, May Who? was highlighted by a domineering performance by Sutatta Udomsilp as the electrically afflicted teen. Full of positive energy, the picture was further polished with manga-inspired animated sequences, giving May Who? the colorful feel of a comic book.

Vanishing Point

The lives of two men in the midst of existential crises converge in Jakrawal Nilthamrong’s arthouse drama, which won the Hivos Tiger Award at the Rotterdam fest.

Bringing Vanishing Point to Bangkok, Jakrawal chose a rundown porn cinema in Klong Toey for the Thai premiere, creating a visceral connection between our sin-filled realm and the world of the movie, which had things to say about materialism, merit-seeking and willful self-deception. Quietly released in a handful of mall multiplexes, Vanishing Point had much more to say about Buddhism than did another Buddhist-themed drama Arpatti, which created controversy with its trailer showing a novice monk nearly kissing a girl. The film was briefly banned before the filmmakers trimmed the scenes that offended censors and clergymen.

Runpee (Senior)

The year just kept getting better with the unexpected return of New Thai Cinema Movement leader Wisit Sasanatieng, who came back after a five-year hiatus with Runpee, a teen horror comedy released by M-Thirtynine.

Similar to May Nhai, Runpee also had a strong young superpowered heroine. Played by Ploychompoo Jannine Weigel, she’s a Catholic schoolgirl who has the ability to smell ghosts, and teams up with a boy ghost to solve a 50-year-old murder.

It has all the hallmarks of Wisit’s earlier works, including Fah Talai Jone and Pen Choo Kub Pee, with spooky Gothic settings and inventively stylish (and funny) horror sequences.

Sway

More fresh perspective came from Rooth Tang, a US-educated Thai-American filmmaker, making his feature debut with a story about dysfunctional romances in three cities.

Sway was filmed over the course of several years, starting in 2010 in Bangkok with Ananda Everingham and Sajee Apiwong as a couple trying to figure things out.

Subsequent segments filmed in Los Angeles and Paris provide a look at the developing style of a new filmmaker, whose cultural views about East vs West are coincidentally similar to other Western-educated Thai filmmakers, particularly Aditya Assarat and Lee Chatametikool.

Snap

Another New Thai Cinema figure, Kongdej Jaturanrasmee, combines quietly snarky commentary on social-media oversharing with anxiety about the junta in this contemporary romance, which is still playing in Bangkok cinemas following its premiere in competition at Tokyo.

The multi-layered story is about a young woman who spends her days plugged into social media, sharing her heavily filtered and hashtagged photos of everything. But the realities of life come crashing down as she attends the wedding of old friends, reconnects with her high-school boyfriend and has second thoughts about marrying her current beau, a junior Army officer. And it’s all taking place under the cover of martial law.

Saturday, October 17, 2015

Banned film Arbat, now Arpatti, is unbanned


Arbat (อาบัติ), the Buddhist-themed horror film that was banned for its scenes of a monk kissing a girl, has been unbanned, and was released in Thai cinemas last night.

Running around three minutes shorter than the banned version, the movie is now known as Arpatti (อาปัติ).

"A little toned down" is how the movie is described in an article in The Nation by producer Prachya Pinkaew, whose Baa-Ram-Ewe production marque supported the film.

It is directed by Kanitta Kwunyoo, a young filmmaker making her debut feature. "I felt relieved that I could save the main theme of the movie," she is quoted as saying in The Nation.

According to the newspaper, the removed scenes included the novice monk kissing a woman and novices disrespectfully lifting a Buddha image by its head.

Censors, which had included Buddhist clergy on their committee, had also objected to scenes of monks drinking alcohol and getting into physical altercations.

The novice, a young man packed off to the monkhood by his father, is played by Charlie Potjes, a.k.a. Charlie Trairat, the former child actor from such movies as Fan Chan and Dorm. The story has the young man falling for a local girl. Meanwhile, dark secrets of the temple's past begin to manifest themselves.

The title change, from Arbat (อาบัติ) to Arpatti (อาบัติ), softens the film's image. The original title is a Pali word that refers to offenses committed by monks. The new title, Arpatti, has no apparent meaning. The difference as written in Thai is so subtle it is difficult to spot, with ปั instead of บั. New posters with the changed title were issued.

While Buddhist groups feared the film would cause Thais to lose faith in their majority religion, the film's supporters said it would strengthen the institution by calling attention to the issue of monks who break the Buddhist precepts – monks who drink, fornicate, fight, gamble, etc. – instances that are reported widely in the daily Thai press.

And though the filmmakers will deny it, there was also criticism that the movie's provocative original trailer and the ban itself were simply moves to generate publicity.

News of the ban received worldwide coverage, including articles in the Hollywood industry press.

Thailand's film-censorship law was changed in 2008, shifting the focus to a ratings system rather than 1930s-era one-size-fits-all blanket censorship. There are six ratings, ranging from P (for "promote") and G (general), to the age-related advisory categories, 13+, 15+ and 18+, and the restrictive 20-, which requires IDs to be shown. There is also a hidden seventh category, for films that are banned. Arpatti is rated 18+

Previously banned films include Tanwarin Sukkhapisit's erotic drama Insects in the Backyard and Ing K.'s political satire Shakespeare Must Die. Both filmmakers have appealed against the bans, and those cases are pending.

Other controversial films have included Nontawat Numbenchapol's 2013 Thai-Cambodian border documentary Boundary (ฟ้าต่ำแผ่นดินสูง, Fahtum Pandinsoong), which was banned and unbanned. There was also the political documentary Paradoxocracy (ประชาธิป'ไทย, Prachatipthai), which had the sound muted and subtitles blacked out when certain things were said.

Sahamongkol Film International, the studio releasing Arpatti, had previously released the Buddhist-themed crime thriller Nak Prok (นาคปรก, a.k.a. Shadow of the Naga), which had criminals posing as monks brandishing guns. It was eventually released in Thai cinemas with pop-up text warnings during certain scenes, to remind viewers that monks should not do those things.

Further coverage of the unbanning can be found in the Bangkok Post and there's discussion at the Dhamma Wheel forum.

Friday, October 16, 2015

From World War I to Love of Siam, 25 Thai films added to historical registry

The Siamese Military in the First World War

Another 25 titles have been added to the growing list of “Films as National Heritage” by the Culture Ministry and the Thai Film Archive, ranging from 1918 footage of soldiers going off to battle in World War I to puppy-love romance between teenage boys in the 2007 drama The Love of Siam.

Updated each year on October 4, which is Thai National Film Preservation Day, the historic-film registry now numbers 125 titles.

Many of the entries this year are from the U.S. Information Service, the propaganda arm of America's diplomatic corps. These include Thai Army Goes to Korean War, which shows Thai troops joining the fight against communism, and Heritage from King Mongkut, which recounts the contributions of American missionary and physician Dan Beach Bradley.

USIS also made The Ordination of the King, documenting the ceremony by which His Majesty King Bhumibol entered the monkhood.

The growth of commercial Thai cinema is represented by entries from the 1970s through the 1990s, ranging from director Piak Poster’s erotic island romance Choo, to Baan Phi Pob 2, the second film in the popular horror-comedy franchise, which had villagers endlessly running around and screaming and they tried to escape the gut-stabbing ghost-granny Pob Yip.

Ta-mone Prai

Aside from Piak, other notable filmmakers on this year’s list are Manop Udomdej, with 1981's On the Fringe of Society, Cherd Songsri with his 1983 sibling-rivalry romance Puen-Pang, Bhandit Rittakol and his 1987 farming drama Duay Klao, Pen-ek Ratanaruang with his 1999 black comedy Ruang Talok 69 and Jira Maligool with his 2002 Nong Khai festival yarn Mekhong Full Moon Party.

Historical battle epics now become history themselves, with the inclusion this year of Thanit Jitnukul’s Bang Rajan from 2000 and MC Chatrichalerm Yukol’s Suriyothai from 2001.

And recent global hits are represented by 2003’s martial-arts drama Ong Bak, which introduced Tony Jaa to the world, and GTH’s 2004 thriller Shutter, which introduced Thai horror to the world.

Here's the list, which is translated by Thai Film Archive deputy director Sanchai Chotirosseranee, who also offered commentary on some of the more-obscure entries.

Ngoa Ba
Films as National Heritage 2015


  1. The Siamese Military in the First World War (unofficial title) / ภารกิจทหารอาสาสยามในสงครามโลกครั้งที่ ๑, 1918/63.26 min. – King Rama VI sent 1,233 Siamese volunteer soldiers to join World War I in 1917. According to newspaper ads from the era, the film was shown in Siam in 1919. It was thought to be lost, but resurfaced last year as France observed the centenary of the war. The French Embassy and the Alliance Francaise exhibited rare photographs and this film footage, which was well-preserved at the archives of the French Ministry of Defense.
  2. The Playful Kids in the Reign of King Rama VII (unofficial title)/เด็กซนสมัย ร.๗, 1927-32)/7 min. – This "found footage" was shot on 16mm. There is no information on who made the film. It shows youngsters putting on a performance for the camera, playing traditional games, dancing, play-fighting and comic acting in the style of Western films, showing the already pervasive influence of film on Siamese society.
  3. Pan-Tai Norasingh/พันท้ายนรสิงห์, 1950/98 min. – Directed by Prince Bhanubandhu Yugala (grand-uncle of MC Chatrichalerm Yukol) with cinematography by then-budding auteur R.D. Pestonji, this is the first theatrical feature of a historical tale that has been adapted many times for theater, film and television. The story, which takes place during the reign of Ayutthaya's King Sanphet VIII, is about an oarsman on a royal barge who loses control of the vessel in strong currents, causing it to hit a tree and become damaged. The king, understanding the difficult conditions, did not wish to punish Norasingh, but the ever-dutiful and devoted sailor insisted that no exceptions should be made, and he was beheaded according to law.
  4. Thai Army goes to Korean War (unofficial title)/ทหารไทยไปเกาหลี, 1951–52)/7.42 min. – The United States Information Service in Bangkok made this clip of Royal Thai Army troops joining the United Nations' "police action" against the communist North Korean invaders.
  5. Heritage from King Mongkut/มรดกพระจอมเกล้า, 1954/60 min. – This USIS dramatization depicted the influential contributions to Thai society of Dr. Dan Beach Bradley, an American Christian missionary and physician, whose close relations with the King Rama IV court helped Western medicine gain acceptance in Thailand. Bradley also published the first Thai newspaper, the Bangkok Recorder.
  6. The Ordination of the King/พระบาทสมเด็จพระเจ้าอยู่หัวเสด็จออกผนวช, 1956/13.42 min. – When His Majesty King Bhumibol entered the monkhood for 15 days in 1956, the USIS was there with its film cameras to record the royal ceremony.
  7. The Commercial of the Monk Coin for 25th Buddhist Century Anniversary/โฆษณาพระเครื่องฉลอง ๒๕ พุทธศตวรรษ, 1957/4.52 min. – Commemorative coins were minted in observance of the 25th Buddhist century anniversary, which the government aimed to use to raise funds to build the massive "Buddhist Vatican" called Phutthamonthon, near Salaya, Nakhon Pathom.
  8. Ta-mone Prai/ทะโมนไพร, 1959/42 min. – King Kong has a starring role this an artifact from a lost era of regional cinema. It was made by a filmmaker in Narathiwat and screened only there and in nearby southern provinces. “Only a few of these films survive,” Sanchai says, adding that the complete movie was 50 minutes but one reel was damaged, leaving just 42 minutes of the tale of triangular romance and a giant ape.
  9. Field Marshal Sarit Thanarat Performing the Duty for His Nation as Head of Government and Military Commander Until He Fell Ill and Died/การปฏิบัติหน้าที่เพื่อประเทศชาติในตำแหน่งหัวหน้ารัฐบาลและผู้นำทางทหารจนถึงล้มป่วยและอสัญกรรมของ ฯพณฯ จอมพลสฤษดิ์ ธนะรัชต์, 1963/25.16 min. – Their Majesties the King and Queen make an appearance, visiting the bedridden military ruler, who in an act of devotion, takes His Majesty's hand and places it over his head.
  10. Yuthana und Siripon Monch auf Zeit/ยุทธนา –ศิริพร, 1963/44.54 min – Another monkhood ordination is depicted in this travelogue documentary by German documentarian Hans Berthel in collaboration with noted lensman Tae Prakardwuttisan, following a middle-class Bangkok couple as they visit tourist attractions. Tae was made a National Artist in film in 1999.
  11. The Spread of Kinship/สายเลือดเดียวกัน, 1966–68/103 min. – Another Cold War relic, made with support of the USIS, this feature-length drama aimed to attack and defame communism.
  12. Choo/ชู้, a.k.a. Adulterer, 1972/145 min. – While he's probably best known for his string of teen-oriented comedies, movie-poster-artist-turned-filmmaker Somboonsuk Niyomsiri, a.k.a. Piak Poster, also made many solidly dramatic films, including this erotic island romance. "Although the film was not successful in term of box-office earnings, it was much-acclaimed and became the Thai representative at the 19th Asia-Pacific Film Festival in Singapore, where it was awarded the special award because of its outstandingly unconventional story," Sanchai notes.
  13. Wai Tok Kra/วัยตกกระ, 1978/122 min. – Here's a Thai cinema “first” – the first commercial feature to have elderly people as central characters, with “actual senior actors, not young, famous actors in makeup,” Sanchai explains.
  14. Ngoa Ba/เงาะป่า, 1980/86.21 min. – Two generations of master filmmakers, Prince Bhanubandhu Yugala and Piak Poster, came together to collaborate on this adaptation of a popular play from the King Rama V era. It's a "Romeo and Juliet" romance taking place in land of the Sakai, an indigenous tribe in the South of Thailand.
  15. On the Fringe of Society/ประชาชนนอก, 1981/90 min. – Manop Udomdej directs this flipside view of all that anti-communist propaganda, with the story of community activists who were wrongly persecuted and killed for their socialist leanings. It was funded by the Roman Catholic charity Caritas Thailand.
  16. Puen-Paeng/เพื่อนแพง, 1983/131 min. – Auteur director Cherd Songsri's best-regarded film is the tragic romance Plae Kao (The Scar). But I saw Peun-Pang several years ago and liked it better. Sorapong Chatree stars as a poor farmboy in 1930s Siam, who is in love with one sister, but the girl's plucky younger sister likes him more. It was another entry in Cherd's campaign to introduce the concept of "Thainess" to this world, which I think he accomplishes with subtlety and sensitivity.
  17. Duay Klao/ด้วยเกล้า a.k.a. The Seed, 1987/107 min. – Like Piak Poster in the 1970s, director Bhandit Rittakol in the 1980s was primarily known for his teen-oriented Boonchu movies. Duay Klao was his attempt at "serious" cinema, and he succeeded. Made in celebration of His Majesty the King's 60th birthday, the drama stars folksinger Jarun Manupetch as a farmer who nurtures a rice crop from a single seed he obtained from the Royal Ploughing Ceremony. A story of drought-hit farmers and opium-growing indigenous people, the movie depicts many of the His Majesty's Royal Projects, including cloud-seeding and crop replacement. The movie had a brief revival run in 2006 to celebrate the King's 60th anniversary of accession.
  18. Baan Phi Pob 2/บ้านผีปอบ 2, 1990/91 min. – This is the second entry in a crazily popular ghost comedy franchise, which for many Thais are the films that defined the '90s. The films all involve hayseed villagers endlessly running around and screaming and they tried to escape the gut-stabbing ghost-granny Pob Yip, portrayed by Natthinee Sittisaman.
  19. 6ixtynin9/เรื่องตลก 69 (Ruang Talok 69), 1999/115 min. – With an iconic poster that features actress Lalida Panyopas pointing a gun into her mouth, I'm not sure Ruang Talok 69 would fly in today's squeamishly conservative and politically correct Thai culture. Directed by Pen-ek Ratanaruang, the biting black comedy is about a desperate jobless woman who comes across an instant-noodle box full of cash outside her apartment. She then haplessly racks up a body count as various thugs try to retrieve the loot.
  20. Bang Rajan/บางระจัน, 2000/118 min. – Produced by Film Bangkok, this was one of the first Thai titles to make global impact during the "new wave" period of the late '90s and early 2000s. Thanit Jitnukul directs the blood-soaked tale of farmers mounting a last-ditch defense against the invading Burmese hoards in 1767.
  21. Suriyothai/สุริโยไท, 2001/142 min. – Directed by MC Chatrichalerm Yukol and supported by Her Majesty the Queen, this epic historical drama recounts the life of an Ayutthaya-era queen who famously took up arms and rode an elephant into battle, and perished in defense of her king. A box office hit that was only recently unseated from the top spot by Pee Mak Phra Khanong, Suriyothai served as the prequel and template for Chatrichalerm's six-film Naresuan saga.
  22. Mekhong Full Moon Party/15 ค่ำเดือน 11 (15 Kham Duean 11), 2002/120 min. – Jira Maligool's charming comedy offers an explanation of the mysterious fireballs that arise from the Mekong River during the annual Full Moon Festival in Nong Khai. While scientists and various experts offer their theories on the phenomenon, there's a local boy and a monk who know the truth.
  23. Ong-Bak/องค์บาก , 2003/104 min. – Directed by Prachya Pinkaew, this is the definitive showcase of the abilities of martial-arts star Tony Jaa and the innovative choreography of Jaa's former mentor Panna Rittikrai, who passed away last year.
  24. Shutter/ชัตเตอร์ กดติดวิญญาณ, 2004/92 min. – Banjong Pisanthanakun and Parkpoom Wongpoom wrote and directed this thriller, which is based on the notion of ghostly images turning up in photos, and has Ananda Everingham as a lensman who is haunted and slowly goes insane. It was one of the first Thai films to get the Hollywood remake treatment.
  25. The Love of Siam/รักแห่งสยาม, 2007/171 min. – Widely acclaimed and winner of dozens of awards, this was the hit that brought gay romance to the Thai mainstream. It was a breakthrough for director Chookiat Sakveerakul, as well as the film’s stars, leading man Mario Maurer, actor-musician Witwisit Hiranyawongkul and the August band.
(Adapted from an article in The Nation)

The Love of Siam

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Monday, October 12, 2015

Buddhist horror Arbat banned just days before premiere

Arbat (อาบัติ), a horror thriller centered on a teenage novice Buddhist monk, has been banned by censors, a day before the movie's press premiere.

According to various social-media and news sources, the Culture Ministry's film and media committee banned Arbat for four reasons: it shows the novice drinking alcohol, has scenes of novices fighting, depicts the novice having inappropriate contact with a female, and for a scene of the novice showing disrespect to the Buddha image.

The movie's trailer, released last month, caused a stir with a scene of the young monk touching the face of a girl, prompting Buddhist groups to demand that the film be banned. Thai Buddhist culture strictly prohibits physical contact between monks and females.

The debut feature by young director Kanittha Kwunyoo, Arbat was to be released in cinemas on Thursday, with a press and VIP premiere set Tuesday night.

According to the reports, the movie's studio, Sahamongkol Film International and producer Prachya Pinkaew's Baa-Ram-Ewe company, plan to appeal the decision.

The title Arbat actually means "offense" or "misdemeanor" and refers to acts committed against the Buddhist precepts.

“Viewers will understand the cause and the consequence of everything in the film," director Kanittha had told The Nation in an article last week. "Nothing is there just to stir up controversy. My father told me that if my intention was clear and I could make the film reach the goal I intended, then I should go for it. I haven’t touched on anything I don’t fully understand and I have made the film as a commitฌted Buddhist who still has faith in my religion.”

Starring Charlie Potjes as the central character, Arbat is about a young man who is forced into the monkhood by his father. He takes his vows and dons the monastic robes at a rural temple. Lonely and isolated, he grows close to a local girl in a relationship that would be innocent if the young man weren't a monk. Meanwhile, hidden secrets of the temple and of the young man's own life become revealed.

Also known as Charlie Trairat, the Arbat star is transitioning to more-mature roles after years of working as a child actor in such films as Fan Chan and Dorm.

The controversy over Arbat recalls another Sahamongkol film, Nak Prok (นาคปรก, a.k.a. Shadow of the Naga), which stirred opposition from Buddhist groups over its depiction of criminals dressed as monks brandishing guns and behaving violently. Nak Prok screened at the Toronto International Film Festival in 2008 and was shelved for a couple of years by Sahamongkol.

Nak Prok was eventually released after the adoption of a film-ratings law overseen by the Culture Ministry, which in some ways has more leeway than the old system of blanket censorship administered by the Royal Thai Police, but still has provisions in place for the outright banning of films.

Update: Prachatai has more coverage.

Tuesday, September 22, 2015

Checkers jumps into place as Thailand's Oscars contender

The independent coming-of-age drama How to Win at Checkers (Every Time), a.k.a. P'Chai My Hero (พี่ชาย My Hero) has been chosen to represent Thailand in the 88th Academy Awards.

As announced today in a press release by the Federation of National Film Associations of Thailand, Checkers was picked by an eight-member committee that considered films released in Thai cinemas from October 1, 2014 to September 30 of this year.

Aside from Checkers, other titles that were pondered were the current hit romantic comedy Freelance, the just-released literary-classic adaptation Mae Bia (แม่เบี้ย, a.k.a. The Snake), the gay psychological thriller The Blue Hour (Onthakan, อนธการ), the time-travel comedy 2538 Alter Ma Jive (2538 อัลเทอร์มาจีบ) and the Catholic schoolteacher biographical drama F. Hilaire (ฟ.ฮีแลร์).

However, after much debate and analysis by the committee, it was decided that Checkers "transcended" the other choices, said Weerasak Kowsurat, the committee chairman.

The debut feature by Korean-American director Josh Kim, How to Win at Checkers (Every Time) is adapted from Sightseeing, the short story collection of noted Thai-American author Rattawut Lapcharoensap. The comedy-drama, set against the backdrop of class conflict in Thai society, centers on 11-year-old Oat, a poor orphan raised by his openly gay older brother Ek and their superstitious aunt. With Ek facing the upcoming military draft lottery, Oat takes a big risk to ensure his brother will not be conscripted.

Checkers premiered at the Berlin International Film Festival and has made the rounds on the circuit. It was given the Thai title of P'Chai My Hero (literally My Brother, My Hero) for local release in July. It was produced by an international consortium of filmmakers from Indonesia, South Korea, Thailand and the US, including Thai director-producer Anocha Suwichakornpong.

The film federation's selection has a notable omission from this year's festival circuit, Apichatpong Weerasethakul's Cemetery of Splendour, which has garnered much acclaim since its premiere at the Cannes Film Festival, and more recently in Toronto. However, it has not yet been released in Thailand. Apichatpong's previous feature, the 2010 Cannes Palme d'Or winner Uncle Boonmee Who Can Recall His Past Lives, was submitted for the 83rd Academy Awards.

Checkers is the 22nd Thai entry in the Oscars race for Best Foreign Language Film, which Thailand has taken part in since 1984. None have made the short-list of nominees.

Thursday, September 17, 2015

In Thai cinemas: Mae Bia

Giant snake aside, it's the same old story with veteran director ML Bandevanop "Mom Noi" Devakula, who adapts yet another well-known Thai tale with his latest film Mae Bia (แม่เบี้ย, a.k.a. The Snake).

Based on a short story by the late writer Vanich Charoenkit-anant, it's the erotic tale of a married businessman returning to Thailand after many years overseas. Needing a refresher course in Thai ways, he signs up for a cultural tour and becomes smitten with the enchanting guide Mekhala.

Sparks fly, but Mekhala has a symbiotic relationship with a supernatural cobra, which makes her deadly to would-be suitors.

Journeyman actor Shahkrit Yamnarm stars alongside newcomer "Oam" Karnpithchar Katemanee, a third-place winner of Thailand Miss World 2009.

As with the other movies the veteran drama coach Mom Noi has made since his return to filmmaking a few years ago, Mae Bia is an old and often-adapted tale. It has already been made into a film at least twice, including a 2004 version that featured Napakprapha "Mamee" Nakprasert in one of her big break-out roles.

Mom Noi's other late-period efforts are Chua Fah Din Salai (Eternity), U Mong Pha MueangJan Dara and last year's Plae Kao (The Scar).

Aside from the Rashomon remake U Mong Pha Meuang, all are slavish adaptations of well-worn and well-known stories from the canon of Thai popular literature. And to a certain segment of Thai society, these stories never get old. Appearing to have been made in the bygone eras in which they are set, Mom Noi's movies feature unabashedly stagebound acting, sumptuous period costumes, lush backdrops and lots and lots of sex scenes. It's rated 18+

Tuesday, September 15, 2015

Review: SPL 2: A Time for Consequences



  • Directed by Cheang Pou-soi
  • Starring Tony Jaa, Wu Jing, Simon Yam, Zhang Jin, Louis Koo
  • Released in Thai cinemas on September 19, 2015; rated 15+
  • Wise Kwai's rating: 3/5


You know SPL 2: A Time for Consequences is going to be a different kind of Tony Jaa movie when the stern Thai martial-arts star is introduced wearing ice skates, and he promptly falls on his ass.

Indeed, the reinvention of Jaa's career, post-Sahamongkol, continues apace with SPL 2, Jaa's first, and much-anticipated, foray into Hong Kong action films.

In a supporting role alongside a cast of Hong Kong and Chinese stars, here's a Jaa who takes a page from Jackie Chan's playbook, playing the nice guy. He's immediately a sympathetic character, taking his young daughter to a Bangkok ice rink. After he falls down and is helpfully brought a comical penguin-shaped skating aid to stay upright, his character Chatchai's cute little girl turns around and has blood streaming from her nose. She is, of course, very ill, and in need of a rare type of bone marrow.

The only match, according to the movie medical database, is a Hong Kong police officer named Kit. And because this is a Hong Kong movie, a crazily elaborate plot must be constructed to put Kit and Chatchai on a collision course.

Kit has gone deep undercover in an operation to bring down Hung, a notorious trafficker in human organs who, perhaps not ironically, needs an organ transplant himself. Louis Koo milks his credit as "guest star" for all its worth, brandishing an evil cane and wearing a surgical mask as he orders his minions to do his bidding. On the verge of death, the Hong Kong kingpin is preparing to head to Thailand for an operation that will swap out his heart for the ticker of his own brother.

In Thailand, the Hung operation is overseen by a perfectly coiffed, three-piece-suited prison warden (Zhang Jin). He has an entire secret wing of his prison, where he keeps the victims of human trafficking under lock and key until their organs are needed on the black market. That seems to be a constant with foreign co-productions made in Thailand – there's often some angle involving organ trafficking or people smuggling.


Anyway, it's that very prison where Jaa's Chatchai works. To earn more money for his daughter's hospitalization, he agrees to get on the payroll of the corrupt warden, which sets him up for the meeting with Kit.

SPL 2 is a sequel-in-name-only to a terrific 2005 crime thriller that had Donnie Yen as a tough cop throwing down against the formidable Sammo Hung. The SPL sequel has been in development ever since then, and what has finally emerged is a completely different story. There's no Donnie or Sammo, but Wu Jing was in the first one, in a memorable supporting role as a blade-wielding thug, as was Simon Yam, as the head of the undercover police squad. Yam is back as a senior cop, but it's different character, overseeing the operation that sent Kit down the rabbit hole.

After a bit of running around in Hong Kong, and a big shoot-out at a cruise-ship terminal, the action shifts to Thailand, where Wu Jing ends up in prison, face to face with the guard who wants his bone marrow. Only Chatchai doesn't know that Kit is the potential donor. So a lot of time is eaten up getting the two to realize they have a much deeper connection than they ever imagined.

In the Thai-dubbed version screening in Bangkok, there was an added layer of unintended hilarity as Chatchai, in a prison cell with the bone-marrow donor he's seeking, uses an app on his phone to translate between Thai and Cantonese, to get Wu Jing's character to call the guy Chatchai thinks is still in Hong Kong. Because it's dubbed, even the Cantonese parts are in Thai, so all the lines are spoken the same twice. Hey, the audience needed a good laugh about then.

SPL 2 fares better when there's no CGI wolves or bits of bone marrow to clutter things up, because that's when the action takes place.

Aside from the Hong Kong shootout, there's a great scene in a doctor's office where cops have Hung's injured brother on lockdown. Here, a blade-wielding thug (Zhang Chi) is introduced to great effect.

Back in Thailand, there's a prison riot, giving the evil warden a chance to show off his martial-arts prowess.

Later, Yam's character is trussed up and taken to a scuzzy warehouse where bodies are hacked up. People in various states of disrepair are hanging around, as if they sold off a limb to be able to survive one more day.

In a scene that might have made his late mentor Panna Rittikrai proud, Jaa uses a prison bus to smash the place, and he acquires chains that he wraps around his arms, to add even more heft to his Muay Thai punches.

The big climactic setpiece takes place in a ritzy five-star resort hospital where Hung is to have his operation. Here's where the blade-wielding dude from Hong Kong comes back and joins in the mayhem along with the fierce warden. Wu Jing does his kung fu thing, with lightning-fast punches and sweeping kicks, while Jaa flies back and forth, all knees and elbows, as if he's being shot out of a cannon.

SPL 2 is the third in a trio of Tony Jaa movies this year, following his separation from the Thai studio Sahamongkol, where he made Ong-Bak and Tom-Yum-Goong. First was his big Hollywood debut in Fast and Furious 7, which featured him in short but crucial scenes with Paul Walker. Next to be released was the local co-production Skin Trade, which had Jaa in a leading role alongside action star Dolph Lundgren, as two rogue cops facing off a human-smuggling mobster played by Ron Perlman.

And though I enjoyed Furious 7 and Skin TradeSPL 2 is my favorite of the three, and it's the type of thing I'd hope to see more of from the Thai action star.



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