Friday, May 21, 2010

Tears of the Black Tiger

Tears of the Black Tiger Review



Thai cinema has certainly come a long way in recent years. "Bangkok Dangerous" and "Last Life in the Universe" are just two of the more interesting Thai films of the past decade. Now comes "Tears of the Black Tiger," a stylistic hybrid that brings together the cinematic excesses of Douglas Sirk and Sergio Leone, with a smattering of Quentin Tarrentino. Its director, Wisit Sasanatieng certainly wears his influences on his sleeve! The storyline and dialogue are strictly from hunger, but the voice-over narration can be hauntingly beautiful. It involves a poor boy who falls in love with the governor's daughter. They are separated in childhood and then reunited as adults. In the meantime, the girl has become engaged to a policeman, and the boy has linked up with a band of outlaws and is now known as the Black Tiger. His male-bonding with one of the outlaws is reminiscent of the Monty Clift/Arthur Kennedy relationship in "Red River." It's all very cliched and yet strikingly original (I half expected a Brokeback angle). The music is folkish, the colors pastel, and the violence over the top. But somehow it makes an impression; this is a film that will continue to haunt me.



Tears of the Black Tiger Feature





Tears of the Black Tiger Overview


CLR NR


Tears of the Black Tiger Specifications


Imagine John Ford (The Searchers), Jean-Luc Godard (Weekend), and John Waters (Pink Flamingos) collaborating on an insane 1950s melodrama, drenched in succulent Technicolor--rose-petal reds, turquoise blues, saffron yellows, and Pepto-Bismol pinks--and you're just barely encompassing the cinematic delirium of Tears of the Black Tiger. This fever dream of a movie features rival gunslingers, a poor farmboy and the daughter of a wealthy landowner, a murdered father, bloody revenge, a forced marriage, and a half-dozen other cliches stitched into a preposterous yet weirdly engaging story. But the story isn't the point; director Wisit Sasanatieng takes every opportunity to dive into a different style or device, ranging from delicate shots of a lovely girl in a mint-green gazebo to spewing gore and full-on battle with machine guns and grenade-launchers. The sets are often blatantly theatrical, the lighting exaggerated, and the acting ranges from wooden to maniacal. In short, this Thai movie is like nothing you've ever seen, born of a deep moviemania and unbridled chutzpah, and you owe it to yourself to watch it. --Bret Fetzer

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