Wisit Sasanatieng

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Wisit Sasanatieng Wisit Sasanatieng Underfundig humor og stærke farver er vigtige ingredienser i den thailandske instruktør Wisit Sasanatiengs to første film, der begge sprudler af visuelt overskud Thailand er flere gange inden for det en ellers ganske konventionel historie om seneste par år blevet udnævnt til en af de stor, ulykkelig kærlighed. mest interessante filmnationer i Asien. I Tears o f the Black Tiger, som havde sin deres evige, næsten desperate søgen efter internationale premiere på filmfestivalen noget nyt og originalt har filmkritikerne i Cannes for fem år siden og siden har det med at uddele den slags titler til højre rejst verden rundt, er en spøjs og meget og venstre. Men i Thailands tilfælde er der underholdende blanding af gammeldags rent faktisk noget om snakken. Efter at western og kulørt melodrama. Den foregår Thailand filmisk set har været et regulært i Thailand i en ikke nærmere defineret uland i mange år, har man på festivaler fortid og handler om den fattige Dum med rundt om i verden - ikke mindst NatFilm tilnavnet Black Tiger og hans gengældte Festivalen i Danmark - kunnet mærke et forelskelse i Rumpoey, datter af en lokal frisk pust fra en række unge og ofte meget guvernør. Skæbnen er ikke de unge forskellige instruktører, og nu har man elskende nådig, og Dum, der i desperation indtrykket af et mangfoldigt filmmiljø har sluttet sig til en bande hærgende, i rivende udvikling. Senest har den plyndrende cowboys, må kæmpe med både thailandske regering, i et ambitiøst forsøg politi og sine kammerater, da han finder på at fastholde succesen, tilmed etableret ud af, at Rumpoey står for mod sin vilje at en international filmfestival i Bangkok. skulle giftes med en ung karriereofficer. En af de mere interessante af de nye Alle den amerikanske westerns instruktører er Wisit Sasanatieng (f. 1964), stereotyper og klichéer fremføres modigt der har skrevet manuskript til et par af af Sasanatieng. Men fordi Tears of the kollegernes film, men indtil videre kun selv Black Tiger foregår i Thailand, får det har to film på sit cv, Tears o f the Black Tiger velkendte ny klang, og det bidrager kun (Fah talai jone, 2000) og Citizen Dog (Mah til morskaben, at instruktøren samtidig nakorn, 2004), der var et af slagnumrene presser især karaktererne så langt ud, på dette års filmfestival i Bangkok. som det overhovedet er muligt. De onde er virkelig onde, når de skoggerler under The fastest gun in the East. Sasanatieng deres tynde, markerede moustacher. er kunstskoleuddannet, men har primært Tears of the Black Tiger er fuld af slået sine folder i reklamefilmverdenen, overraskende og energisk koreograferede hvilket man næsten kan se ud af hans skuddueller - Dum er simpelthen the visuelt flamboyante debutfilm, der ikke fastest gun in the East - hvor blodet minder om mange andre thailandske film sprøjter, som var det Jackson Pollock, der og selvbevidst benytter sig af alle kendte og stod foran et malerlærred. Men der bydes 200 en del ukendte tekniske kneb for at fortælle også på farvemættede, lyriske øjeblikke, Wisit Sasanatieng hvor den længselsfulde Rumpoeys smukke ansigt akkompagneres af smægtende kærlighedssange. Man får fornemmelsen af, at Sasanatieng trods alt er en stor romantiker. Tidligere tiders thailandsk film har sat sit præg på Sasanatieng, og han har blandt andet ladet sig inspirere af de farveladeagtige og i dag uglesete thai- genrefilm fra 60erne og en form for populært folketeater, hvor publikums fantasi spiller en stor rolle. I sin brug af Tears of the Black Tiger (Fah talai jone, 2000) farver og kulisser og i sit kameraarbejde prøver den forfriskende respektløse filmskaber ikke på at skjule, at det er en film, man sidder og ser på: Efter et specielt indbyggere i Bangkok har Pod ikke nogen imponerende skud fra Dum spørges der hale, hvilket til at begynde med er et f.eks., om man nu også fik set det hele, stort problem og noget, han skammer sig hvorefter m an får lov til at se skuddet gevaldigt over. Men så bliver Pod berømt, igen, denne gang i slow motion. Og på et netop fordi han skiller sig ud. Det er tidspunkt sidder Dum på en trægren og pludselig højeste mode at være haleløs, og spiller mundharmonika med en skøn, nu må han flygte fra skrigende fans. tydeligvis malet solnedgang som baggrund. Nej, Citizen Dog er ikke nogen Der er en næsten trier sk insisteren på almindelig film, og indimellem at fratage publikum alle illusioner for så at insisterer den lidt for meget på sin bygge dem op igen ved hjælp af karakterer egen ualmindelighed. Men det er også og historie. en underfundig og ofte ret rørende coming of age-skildring med indbygget Pod haleløs. Samme visuelle overskud kærlighedskomedie, forklædt som fabel præger også Sasanatiengs anden spillefilm, og samtidig en satire over det moderne, den pastelfarvede Citizen Dog, selv om de hektiske storbyliv, hvor alle render i hælene to film ellers er så forskellige som dag og på hinanden i stedet for bare at være sig nat. Citizen Doger en nutidig storbyfilm selv. om en ung, nøgtern mand, Pods, jagt på Citizen Dogs billedside er ikke lige så en drøm og om, hvordan han finder den umiddelbart overvældende som Tears of hos en ung pige, Jin, der dog drømmer om the Black Tigers - hvilket vel også ville være alt muligt andet. Det er ikke nogen nem forkert i denne trods alt mere ’hverdagslige’ situation for Pod, titlens ’borger hund’, film. Men der bydes alligevel på tilpas der kommer fra landet og forsøger at mange af den opfindsomme instruktørs overleve i den forvirrende storby, Bangkok, smågeniale, visuelle indfald - f.eks. den hvor det regner med røde styrthjelme, og gigantiske bunke af plastikflasker, som fin hans afdøde bedstemor giver gode råd i samler i et forsøg på at være miljøbevidst skikkelse af en gekko. og redde verden, og som ses med storbyen I modsætning til alle de andre som malerisk baggrund. 201 Wisit Sasanatieng For at kunne få finansieret sit næste, Visuelt bliver Namprix utvivlsomt noget meget ambitiøse og dyre projekt har Wisit ud over det sædvanlige, og i et interview Sasanatieng slået sig sammen med Luc har Sasanatieng sagt, at filmen tager Besson, der efterhånden er blevet en af udgangspunkt i en ’’antik thai-legende Europas mægtigste producenter. Namprix, og et meget traditionelt thai-billedsprog som filmen kommer til at hedde, lægger som de gamle vægmalerier. Vi vil animere sig tilsyneladende fint i forlængelse af dem, få dem til at bevæge sig. Det er ikke instruktørens to første film, idet han igen en episk fortælling, men den fortæller om griber tilbage og bruger af den righoldige vores rødder, vores kultur.” thailandske kulturarv for at fortælle sin historie. Christian Monggaard Film ografi 2000 Fah talai jone/Tears of the Black Tiger 202 2004 Mah nakorn/Citizen Dog.
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