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Amazing Thai film: The rise and rise of contemporary Thai cinema on the international screen*

2005; Taylor & Francis; Volume: 36; Issue: 3 Linguagem: Inglês

10.1080/03068370500276290

1477-1500

Rachel Harrison,

Cinema and Media Studies

Click to increase image sizeClick to decrease image size Notes 1. This paper forms part of a larger research project conducted in conjunction with Peter Jackson on 'The Ambiguous Allure of the West: Power, Aesthetics and the Making of Thai Identities'. I am grateful to the Arts and Humanities Research Council (AHRC) for their generous funding of this project, which has made the research for this paper possible. I am particularly appreciative of the support of the project's Bangkok-based research assistant Farung Srikhaw in her provision of some of the raw data on which this paper relies. I would also like to extend my thanks for the invaluable collegiality of Ben Murtagh for reading an earlier draft of this paper; and to May Adadol Ingawanij for the stimulating conversations which have helped me develop the ideas investigated in the paper. Any errors that remain are of course my own. The transliteration of Thai words in the paper is broadly consistent in its distinction, for example, between long and short vowels and between aspirated and unaspirated consonants. However, the paper also follows the accepted practice of using that spelling of personal names preferred by the individuals in question. This is particularly noteworthy in the case of filmmakers who have a potential or established international profile to defend and who consequently adopt striking and somewhat atypical renditions into English of their own names and those of their films. See, for example, Nonzee, as opposed to the more commonplace transcription Nonsii. Some directors may additionally assume pseudonyms more friendly to the Western ear, as in the case of Pen-ek Ratanaruang, alias Tom Pannet. This strategy serves to counter Western reticence to engage with names that are overtly 'foreign' and polysyllabic, as revealed by Financial Times arts critic Nigel Andrew's comment on 'Tears of the Black Tiger' director Wisit Sasanatieng: "If you had to spell the filmmaker's name to save your life you would end up in front of a firing squad" (16 August 2001: 18). 2. 'Tears of the Black Tiger' was showcased at Cannes in the category of Un Certain Regard, which sets out to complement the Official Selection and is intended for films deemed particularly distinctive in some sense. The category encompasses the work both of veteran directors experimenting with new styles and of newcomers offering an innovative approach. As with many of the filmmakers included in this selection, Wisit entered his film in 2001 as that of a first-time director. He has since directed a second feature, Maa Nakhorn ('Citizen Dog'), released in Thailand in early 2005, the international rights (excluding Asia) of which have been purchased by the French distributor EuropaCorp, owned by the renowned film director Luc Besson. Wisit is currently said to be working on the co-production of a third film, entitled Namprix (or 'Hot Chilli Sauce') co-produced by Besson and EuropaCorp (Anchalee, 2005a). For a more detailed analysis of Wisit's 'Tears of the Black Tiger' and, in particular, a study of its multiple meanings in differing cultural contexts, see Harrison, forthcoming. 3. "Amazing Thailand" is the appellation invented by the Tourism Authority of Thailand in its aim to promote the country as a tourist destination exuding marvellous and astounding natural and cultural features. 4. For a critical discussion of the reception of the Thai film 'Iron Ladies' (Satree Lex, 1999, dir.Youngyooth Thongkongthoon) at the ICA and the significance of this reception see May and Lowell, 2005. 5. For a fuller account of the first film screenings to be held in Thailand, based on the meticulous research of the esteemed Thai film archivist Dome Sukwong, see Anchalee, undated. 6. Established Thai film critic Anchalee Chaiworaporn (2004 Chaiworaporn, Anchalee. 2004. 'Politics in Thai Film'. See http://www.thaicinema.org/Essays_o6politcs.asp [Google Scholar]) similarly draws attention to the crucial link that has long existed between Thai cinema and politics, describing the interconnection as one that took place from the birth of the movies in 1922. For a further incisive treatment of the relationship between the state and the Thai film industry see Hamilton, 1994 Hamilton, Annette. 1994. "'Dilemmas of Representation in Thailand'". In Colonialism and Nationalism in Asian Cinema, Edited by: Wimal, Dissanayake. 141–161. Bloomington & Indianapolis: Indiana University Press. [Google Scholar]. 7. Prince Sanbhassatra (1857–1920) witnessed his first movie while accompanying King Rama V on a state visit to Singapore in 1896. A year later, on the King's state visit to Europe, the prince was able to purchase a movie camera, projector and film, whence he made a number of short documentaries and historical records of Chulakongkorn's daily activities, including film footage of King Chulalongkorn's second visit to Europe in 1907 (Dome and Sawasdi, 2001: 6 and 27). For further details of the career and contributions of Prince Sanbhassatra see also http://www.thaifilm.com/articleDetails_en.asp?id = 56. The association between Siamese royalty and filmmaking persisted in the reign of King Rama VII (1925–41) when the monarch himself became a keen amateur filmmaker from the year of his coronation. His establishment of the Amateur Film Association of Siam at the palace in 1929 encouraged other members of the royal family and the wider nobility to take up the hobby, while his interest in Western cinema was confirmed by his two visits to Hollywood in 1924 and 1931 (Dome and Sawasi, 2001: 10 and 29). 8. For full details of Rattana's life, career and filmography see Anchalee, 2005b. For an in-depth treatment of 'Black Satin' see Williamson, 01/01/04a. 9. For further details of Insii thorng and of the career of Mitr Chaibancha in general see Ingsak, 2002; and Wimonrat, 2001. 10. Pridi went into exile in Mao's China following a failed coup attempt against Field Marshall Pibul Songkhram in 1949. Associated with socialist, communist and anti-monarchical views, Pridi was unfavourably linked to the untimely death of King Ananta Mahidol (Rama VIII) during his Prime Ministership in 1946 and died in exile in Paris in 1983. He was also known as a filmmaker, following his production in 1941 of 'The King of the White Elephant' (Phrachao chang pheuak), a historico-political movie dubbed in English for international release in a wartime plea for world peace. For further details see 'Khaphajao eng', 2001. 11. Of the extensive number of movies to be made by Hollywood about the Vietnam War, 'The Green Berets' is the only one to have been produced during the conflict itself. 12. Personal biographical details supplied to the author by Cherd Songsri in email correspondence, 29 March 2005. Cherd notes that before 'The Scar' was released it proved impossible to sell the film to a distributor but that immediately following its release it grossed more than any other film shown in Thailand at the time. Cherd Songsri's 1983 film Pheuan-Phaeng ('Pheuan and Phaeng'), based on the tale of two royal sisters in the 16th century Thai epic poem Lilit Phra Lor, was also screened at the London Film Festival, in 1985. 13. Cherd's success in the mission of promoting Thai culture to the outside world was recognized by the award to him in 2005 of a Lifetime Achievement Award for his contribution as best Thai film director to have represented Thailand to the world (email correspondence with Cherd Songsri, 29 March 2005). 14. For a lengthy treatment of this topic see Harrison, 2001 Harrison, Rachel. 2001. "'Prostitution, Politics and Power. Issues of "Foreignness" in Western Television Documentaries of Female Sex Workers in Thailand'". In Images of the 'Modern Woman' in Asia: Global Media, Local Meanings, Edited by: Shoma, Munshi. Richmond: Curzon. [Google Scholar]. 15. See Appendix one and two. The majority of entries for both volumes are penned by Tony Rayns, an independent film critics who, although working more widely on Asian cinema, has done much to promote the screening and broader reception of Thai film to international audiences in the West, and in particular in the UK. 16. Throughout the 19th century the story of 'Nang Nak' or 'Mae Nak Phrakhanong' has been a popular topic among Thai moviemakers with over 40 different productions or adaptations of this resilient ghost tale. For further details see Dome and Sawasdi, 2001: 52–5; and Anake, 2000. 17. For a further discussion of 'Nang Nak' see Robert Williamson, 10/03/05 Williamson, Robert. 10/03/05. 'Nang Nak'. See http://www.thaifilm.com/articleDetail_en.asp?id = 62 [Google Scholar]. 18. 'Three' and 'Jan Dara' were similarly screened at London Film Festivals in consecutive years. For a detailed discussion of the novel 'The Story of Jan Dara' on which Nonzee's film is based see Harrison, 2004 Harrison, Rachel. 2004. "'Sex in a Hot Climate: Moral Degeneracy and Erotic Excess in The Story of Jan Daraa'". In National Healths: Gender, Sexuality and Health in a Cross-cultural Context, Edited by: Michael, Worton and Nana, Wilson-Tagoe. London: UCL Press. [Google Scholar]. 19. For further details of Fortissimo's interest in Thai cinema see Anchalee Chaiworaporn's interview (in Thai) with the company's president Wouter Barendrecht (Anchalee, 2001: 48–56). 20. For a further analysis of Pen-ek's 'Last Life in the Universe' see Robert Williamson 01/01/04b. 21. Yuthlert refers in this extract to the actor Mam Jokmok, an actor/comedian of enormous recent success in the Thai film industry and who also plays a leading role in the more recent 'Ong Bak' (discussed below) and 'Tom Yam Kung'. In 'Killer Tattoo' Mam plays the part of hand grenade expert Maa ('Dog'). 22. For further information on the work of Wat Wanlyangkun see Harrison, 1999 Harrison, Rachel. 1999. '"The Son of a Javanese": Translating and Positioning Luuk chaai khon chawaa in a Comparative Literary Frame'. South East Asia Research, 7(2): 141–188. (September) [Google Scholar]. 23. 'Monrak Transistor' includes a further noted intertextual reference in a cheeky redubbing of a scene from Wisit's 'Tears of the Black Tiger' to huge comic effect. 24. In further support of its emphasis on the immorality of George's disregard for blood relations and community cohesion, 'Ong Bak' further supports its comment on the value of the family through the character Muay Lek, George's teenage female partner in crime. As with several of Pen-ek and Yuthlert's protagonists, Muay Lek is from a broken home and is devastated by the murder of her only remaining relative, her sister Ngek, at the hand of her drug-pushing boyfriend. 25. As Pattana notes at this juncture, see also Pattana, 2005 and Vail, 1998 Vail, Peter. 1998. 'Modern Muai Thai Mythology'. Crossroads., 12(2): 75–95. [Google Scholar]. 26. Nowhere better was this intense sentiment illustrated than in the case of the Visnu Anantasayin lintel, pilfered from Prasat Hin Khao Phnom Rung during the early 1960s and eventually returned to Thailand from the Oriental Art Institute in Chicago where it had been housed. The campaign for its repatriation was spearheaded by the Thai pop group Carabao, who whipped up nationalist sentiment with the release of their album Thap Lang (literally meaning 'Lintel'), featuring on its cover the Statue of Liberty cradling the lintel in her left arm. The title song rang out a challenge to the US: "You can keep your Michael Jackson. We want our Visnu lintel back!" Additional informationNotes on contributorsRachel HarrisonRachel Harrison is a lecturer in Thai literature and cinema at London University's School of Oriental and African Studies. She has published widely on modern Thai literature, with particular reference to issues of gender, sexuality and prostitution. Her current research focuses on Siam/Thailand's relations with the West, from 1850 to the present day, and most notably on the effects of Western influence on literary and cinematic developments in Thai culture.