Showing 1 - 10 of 16
We'll always have Casablanca
Life, Kong Rithdee, Published on 06/01/2017
» In Casablanca -- yes, Casablanca -- they fall in love amidst the escalation of war. It wasn't supposed to be real: Brad Pitt is Commander Max Vatan, a Canadian intelligence officer parachuting into French Morocco at the height of World War II to meet his contact, a French resistance fighter Marianne Beausejour, played by Marion Cotillard. They only need to pretend to be lovers in order to fool the Germans in the lead up to the assassination of a German ambassador. But like in Casablanca, which is a thousand times more romantic and sad by the way, Max and Marianne can't resist the dangerous lure of romance as the spectre of death and war smother them.
Bond's countdown clock still ticks
Life, Kong Rithdee, Published on 06/11/2015
» The first shot in Spectre begins above a carnivalesque party during Mexico's Day of the Dead; the camera then comes down to the ground, weaves among the masked revellers dressed as skeletons, glides into a hotel door, up the elevator, out of the elevator, slips into a bedroom where Her Majesty's secret agent kisses a woman, then follows him out of the window -- "I won't be long", he tells her -- then it goes up again to see Bond sneak across the roofs to a spot where he performs his first assassination in this 24th James Bond movie.
Autocratic filmmaking is our forte
News, Kong Rithdee, Published on 20/12/2014
» In the week Sony censored itself and shelved the Christmas Day release of The Interview, a comedy about the assassination of North Korean leader Kim Jong-un, I'm reminded of this slim book on my desk which I sometimes flip to random pages. One has this: "In the capitalist system of filmmaking the director is called 'director' but, in fact, the right of supervision and control over film production is entirely in the hands of the tycoons of the filmmaking industry who have the money, whereas the directors are nothing but their agents."
Of Naga and political dissidents
Life, Kong Rithdee, Published on 13/09/2021
» The Naga is real but the murder is not. Or is it vice versa? What history chooses to remember and relegate to oblivion, what it enshrines as story and what it buries as hearsay, is how the narrative of a nation is forged in a mould of clay or a furnace of fire. Or in this particular case, in disembowelled bodies stuffed with concrete blocks. The murder is real but the Naga is not. This sounds more like it.
On unhappy women and clumsy hitmen
Life, Kong Rithdee, Published on 19/01/2018
» Pen-ek Ratanaruang's movies -- eight of them in the past 20 years and the ninth slated for a Feb 1 release -- are often inhabited by unhappy women and clumsy hitmen. Unhappy, yet those women are neither resigned nor passive. Clumsy, yet those hitmen have aspirations, dreams and worries like people in other respectable professions. A genre geek, Pen-ek likes crime thrillers, but one of Thailand's best-known directors is also a diligent investigator of human relationships and man-woman dynamics, their eccentric and mysterious rapport and misunderstandings that determine the course of the world, and of cinema.
That precious gold statuette
Life, Kong Rithdee, Published on 24/02/2017
» The Oscars takes place Monday morning Thailand time. We pontificate and prognosticate the results
'Pre-truth' far scarier than 'post-truth'
News, Kong Rithdee, Published on 19/11/2016
» 'Post-truth" -- that's Oxford Dictionaries' word of 2016. Trump-inspired and aided by Facebook algorithms, it clicks. What happens isn't as important as what you think happens, and if you think something is true, then what is true is simply what you think. But truth be told, post-truth still suggests an involvement of truth, how truth is there and yet is blithely bypassed by emotion and prejudice, and thus there's a more dangerous term that fits better in some places: "pre-truth".
Northern lights
Life, Kong Rithdee, Published on 23/09/2016
» With over 400 movies on the slot, the Toronto International Film Festival was a feast and a maze. The latest edition of this North American showcase concluded last Sunday, with Damein Chazelle's La La Land winning the People's Choice Award, a bellwether for the bright Oscar season (Toronto, unlike other major festivals, has no prominent juried competition, instead letting the audiences decide the big winner). The festival is known as a launch pad for Oscar hopefuls as well as independent titles looking for distribution. It also features a strong experimental section that casts its radical net far and wide.
A poem in motion
Life, Kong Rithdee, Published on 11/09/2015
» From the first shot to the last, when the assassin leads a group of peasants into the majestic wilderness of Tang Dynasty China, this is likely to be the most ravishing film you'll see in a long while. The swift tumult of fabric, the heart-bleeding colours, the luxuriant verdant of the forest -- The Assassin, shot on 35mm at a time when almost every film in the world is shot on digital, is also a martial arts drama that compels us to rethink the essence of the genre. Historically regarded as a cheap, sweaty form of entertainment, the wuxia film has reached the pinnacle of high-art in this Taiwanese production -- and some audiences will certainly feel baffled, if not exasperated.
Chaiyaphum owed more than lost data
News, Kong Rithdee, Published on 11/08/2018
» In the age of video clips, one video clip is absent. At a time when we're inundated by cat clips, dog clips, accident clips, slap clips, brawl clips, grope clips, chase clips, murder clips -- when we even have clips recorded from the depths of a dark cave where light hardly reaches -- it's amazing that one crucial clip, shot in broad daylight, is missing, lost or made to be lost forever, along with transparency and maybe justice.