Plae kao (2014)

The legend of Kwan-Riem is one of Thailand's classic tragedies. Made into film and TV drama several times, and with great commercial success every single time. Camouflaged as a forbidden love story of two country folks, "the Scar" or, to be more exactly translated, "the Old Wound" is indeed a class struggle in Thai society. Both Kwan and Riem are two honest souls being played with, most brutally so, by the rich and powerful Bangkok elites. Their innocent and sincere romance is complicated by outside forces they can't control. Yet they stand defiant and sacrifice themselves to pure love, instead of giving in. The tragic ending has imprinted hearts and minds of people who know. I must give credits to the director for his sense of fairness and de-politicizing. Although his previous works are of heavy prejudices against democratization in Thai society, with him being a distant member of the Thai royal family who lost most political powers in the aftermath of 1932 democratic revolution, this work of his shows no sign of such sneak attacks, and the theme of mass' struggle against the upper class is reasonably well-kept. Foreign viewers should find this film a visually and artistically accurate depiction of Thailand's then countryside. Excellent cinematography. Elegant soundtrack and songs. Appropriate costume. I do not recall any other Thai films with a better view. Great beauty of the background plays a major role in the film's build-up. Some scenes, however, may convey unclear messages to international audience. The Sai Shrine, for example, should be further explained. So is an ordainment of a Buddhist monk and what it means to the mind of a Thai parent. The final scene, too, is too abrupt and shortened, effectively damaging the film. The entire build-up is meant for the great dramatic effect of the particular scene. It should have been given more time, more reflection, and much clearer illustration of the tragedy and its subsequent haunting quality. It is even too quick for tears to well up and stream down. Too quick, in fact, to leave a scar. This I do not understand. It has been a graceful dance all along, and, suddenly, it becomes "let's dance as fast as you can" for no apparent reason. Steadiness and balances are always the problem of this Thai director.