Rattana Pestonji: Difference between revisions
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{{short description|Thai film director}} |
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{{Infobox |
{{Infobox director |
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| name = Rattana Pestonji |
| name = Rattana Pestonji |
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| native_name = รัตน์ เปสตันยี |
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| native_name_lang = th |
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| image = Pestonji.jpg |
| image = Pestonji.jpg |
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| imagesize = |
| imagesize = 200px |
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| caption = Pioneering Thai film director. |
| caption = Pioneering Thai film director. |
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| birth_name = Rattan Pestonji |
| birth_name = Rattan Pestonji |
||
| birth_date = {{Birth date|1908|5|22| |
| birth_date = {{Birth date|1908|5|22|df=y}} |
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| birth_place = [[Bangkok]], |
| birth_place = [[Bangkok]], [[Rattanakosin Kingdom (1782–1932)|Siam]] |
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| death_date = {{death date and age|1970|8|17|1908|5|22| |
| death_date = {{death date and age|1970|8|17|1908|5|22|df=y}} |
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| death_place = [[ |
| death_place = Bangkok, [[Thailand]] |
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| othername = R. D. Pestonji |
| othername = R. D. Pestonji |
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| occupation = Film director |
| occupation = {{hlist|Film director|[[cinematographer]]|screenwriter}} |
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| yearsactive = |
| yearsactive = 1939–1970 |
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| spouse = |
| spouse = Thappatat Pestonji (1937) |
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| partner = |
| partner = |
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| children = |
| children = 3 |
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| parents = |
| parents = |
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| influences = |
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| influenced = |
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| website = |
| website = |
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| awards = '''[[Asia Pacific Film Festival]]''' |
| awards = '''[[Asia Pacific Film Festival]]''' {{nowrap|'''Best cinematography''' 1954}} ''[[Santi-Vina (1954 film)|Santi-Vina]]'' |
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}} |
}} |
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'''Rattana Pestonji''' ({{lang-th|รัตน์ เปสตันยี}}; {{RTGS|Rat Pesatanyi}} |
'''Rattana Pestonji''' ({{lang-th|รัตน์ เปสตันยี}}; {{RTGS|Rat Pesatanyi}}) was a Thai film director, producer, screenwriter and [[cinematographer]] and is regarded as the father of contemporary [[Cinema of Thailand|Thai film]]. Although his filmography was brief, his films placed Thai cinema on the world stage. He also pushed for innovations, and was one of the first Thai directors to use [[35 mm movie film|35-mm film]]. He died just as he was giving a speech to government officials to call for support of a domestic industry he saw as coming under threat from Hollywood films.<ref name = "the man">{{cite web| last = Chaiworaporn | first = Anchalee | title = The Man Who Died for his Art | publisher=ThaiCinema.org | year = 2004 | url = http://www.thaicinema.org/Essays_05The-Man-Who-Died.asp | accessdate =August 3, 2007 }}</ref> |
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==Biography== |
==Biography== |
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{{wikinews|Centennial of 'father of contemporary Thai cinema' celebrated}} |
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===Early life=== |
===Early life=== |
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He was born Rattan Pestonji (also sometimes referred to as R. D. Pestonji or Ratt Pestonji) in [[Bangkok]], to [[Parsi people|Parsi]] parents |
He was born Rattan Pestonji (also sometimes referred to as R. D. Pestonji or Ratt Pestonji) in [[Bangkok]], to Indian-[[Parsi people|Parsi]] parents.<ref name="Ainslie">Ainslie, M. J. (2020). 8. Ratana Pestonji and Santi Vina. Exploring the ‘Master’ of Thai Cinema during Thailand’s ‘American Era.’ In Southeast Asia on Screen (pp. 171–192). [[Amsterdam University Press]]. https://doi.org/10.1515/9789048541904-012</ref> At an early age, he showed an avid interest in photography. He was so adept at dismantling and reassembling his camera, that it was decided he should study engineering at the [[University of London]]. |
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Between studies in London, he was able to take photos and he picked up several awards in photographic competitions. |
He spent his early life studying in India and UK.<ref name="Ainslie"/> Between studies in London, he was able to take photos and he picked up several awards in photographic competitions. |
||
He returned to Thailand with an engineering degree, but continued to pursue his interest in photography and found a job as a film salesman. It was then he began to explore an art form that was still in its infancy – [[cinematography]].<ref name = "the man"/> |
He returned to Thailand with an engineering degree, but continued to pursue his interest in photography and found a job as a film salesman. It was then he began to explore an art form that was still in its infancy – [[cinematography]].<ref name = "the man"/> |
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===His first films=== |
===His first films=== |
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In 1937, Rattana shot his first film, a short called ''Tang'', about a young Thai girl. ''Tang'' won the Amateur Cine Competition in [[Glasgow]], Scotland and Rattana was given the |
In 1937, Rattana shot his first film, a short called ''Tang'', about a young Thai girl. ''Tang'' won the Amateur Cine Competition in [[Glasgow]], Scotland and Rattana was given the top award by Alfred Hitckcock, who was president of the jury. He made another short called ''White Boat'' in 1939 and it was shown at the New York World Festival.<ref name = "the man"/> |
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Rattana continued his work in film sales, but he was given his big break into filmmaking in 1949 when he was asked by Prince [[Bhanu Yugala]] to act as a cameraman on the film ''Phanthaay Norasingh'' (''Oarsman Norasingh'').<ref name = "Prince">{{Cite news | |
Rattana continued his work in film sales, but he was given his big break into filmmaking in 1949 when he was asked by Prince [[Bhanu Yugala]] to act as a cameraman on the film ''Phanthaay Norasingh'' (''Oarsman Norasingh'').<ref name = "Prince">{{Cite news | last1 = Rithinondh | first1 = Pusadee | last2 = Chaiworaporn | first2 = Anchalee | title = The Prince of Celluloid | newspaper=The Nation (Thailand) | pages = C1 | date = February 11, 1995 }}</ref> Rattana showed great talent as a cinematographer. |
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Around this time, Rattana formed his own studio, Hanuman Films Company. He directed his first feature film, ''Dear Dolly'' in 1951.<ref name = "the man"/> |
Around this time, Rattana formed his own studio, Hanuman Films Company. He directed his first feature film, ''Dear Dolly'' in 1951.<ref name = "the man"/> |
||
===Pushing for innovations=== |
===Pushing for innovations=== |
||
In each of his films, Rattana sought to experiment and raise the standard of production. At a time when post-dubbed [[16 mm film]]s were the industry standard in Thailand, Rattana wanted to use [[35 mm]] stock, which was more expensive and technically difficult to work with, but it allowed for the sound to be recorded along with the image.<ref name = "the man"/> |
In each of his films, Rattana sought to experiment and raise the standard of production. At a time when post-dubbed [[16 mm film]]s were the industry standard in Thailand, Rattana wanted to use [[35mm movie film|35 mm]] stock, which was more expensive and technically difficult to work with, but it allowed for the sound to be recorded along with the image.<ref name = "the man"/> |
||
His first 35-mm film was the drama, ''[[Santi-Vina (1954 film)|Santi-Vina]]'', on which he worked as cinematographer only. It was directed by [[Thavi Na Bangchang]] (better known as "Kru Marut") with a screenplay by [[Vichit Kounavudhi]].<ref name = "the man"/> |
His first 35-mm film was the drama, ''[[Santi-Vina (1954 film)|Santi-Vina]]'', on which he worked as cinematographer only. It was directed by [[Thavi Na Bangchang]] (better known as "Kru Marut") with a screenplay by [[Vichit Kounavudhi]].<ref name = "the man"/> |
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Undaunted, Rattana continued his work, working as cinematographer on the romantic drama ''Chuafah Din Salai'' (''[[Dying Forever]]'') and then taking the director's chair for ''Rongraem Narok''. |
Undaunted, Rattana continued his work, working as cinematographer on the romantic drama ''Chuafah Din Salai'' (''[[Dying Forever]]'') and then taking the director's chair for ''Rongraem Narok''. |
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For ''Rongraem Narok'', (literally ''hotel hell'', but entitled ''[[Country Hotel]]'' in English), he employed the use of one camera on a single set, similar to Hitchcock's 1948 film, ''[[Rope]]''. The film had a bit of everything – rustic comedy, music (including a full ballad by a Filipina singer), rough-and-tumble action and dark, thrilling drama.<ref name = "pusan">{{cite web| last = Uabumrungjit | first = Chalida | title = Special Program – Remapping of Asian Auteur Cinema 1 | publisher=Pusan International Film Festival | year = 2005 | url = http://www.piff.org/eng/html/archive/arc_history10_02.aspp | accessdate =August 3, 2007 }} {{Dead link|date=October 2010|bot=H3llBot}} (Additional use of search field for "Thailand" helps to find the links to the films.)</ref> |
For ''Rongraem Narok'', (literally ''hotel hell'', but entitled ''[[Country Hotel]]'' in English), he employed the use of one camera on a single set, similar to Hitchcock's 1948 film, ''[[Rope (film)|Rope]]''. The film had a bit of everything – rustic comedy, music (including a full ballad by a Filipina singer), rough-and-tumble action and dark, thrilling drama.<ref name = "pusan">{{cite web| last = Uabumrungjit | first = Chalida | title = Special Program – Remapping of Asian Auteur Cinema 1 | publisher=Pusan International Film Festival | year = 2005 | url = http://www.piff.org/eng/html/archive/arc_history10_02.aspp | accessdate =August 3, 2007 }} {{Dead link|date=October 2010|bot=H3llBot}} (Additional use of search field for "Thailand" helps to find the links to the films.)</ref> |
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His first color film was 1958's ''Sawan Mued'' (''[[Dark Heaven]]''), which featured songs and some dramatic battlefield scenes.<ref name = "pusan"/> |
His first color film was 1958's ''Sawan Mued'' (''[[Dark Heaven]]''), which featured songs and some dramatic battlefield scenes.<ref name = "pusan"/> |
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Next was ''Prae Dum'' (''[[Black Silk]]''), which is regarded as Thailand’s first [[film noir]] (though ''Country Hotel'' had film noir elements as well). It is regarded as Rattana's best work. He performed almost all the major tasks himself, acting as writer, producer, director, cinematographer and editor. For his efforts, ''Prae Dum'' was included in competition at the [[11th Berlin International Film Festival]] in 1961.<ref name="Williamson">{{cite web|last=Williamson |first=Robert |title=Black Silk (Prae Dum) |work=Review |publisher=Thai Film Foundation |date=January 1, 2004 |url=http://www.thaifilm.com/articleDetail_en.asp?id=40 |accessdate=August 4, 2007 | |
Next was ''Prae Dum'' (''[[Black Silk]]''), which is regarded as Thailand’s first [[film noir]] (though ''Country Hotel'' had film noir elements as well). It is regarded as Rattana's best work. He performed almost all the major tasks himself, acting as writer, producer, director, cinematographer and editor. For his efforts, ''Prae Dum'' was included in competition at the [[11th Berlin International Film Festival]] in 1961.<ref name="Williamson">{{cite web|last=Williamson |first=Robert |title=Black Silk (Prae Dum) |work=Review |publisher=Thai Film Foundation |date=January 1, 2004 |url=http://www.thaifilm.com/articleDetail_en.asp?id=40 |accessdate=August 4, 2007 |url-status=dead |archiveurl=https://web.archive.org/web/20070927000957/http://www.thaifilm.com/articleDetail_en.asp?id=40 |archivedate=September 27, 2007 |df=mdy }}</ref> |
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His final film was made in 1965, ''Nahmtaan Mai Waan'' (''[[Sugar Is Not Sweet]]''). A romantic farce, it is a vibrant film that takes visual cues from the pop-art style of Western films of the time.<ref name = "pusan"/> |
His final film was made in 1965, ''Nahmtaan Mai Waan'' (''[[Sugar Is Not Sweet]]''). A romantic farce, it is a vibrant film that takes visual cues from the pop-art style of Western films of the time.<ref name = "pusan"/> The film concerns a wealthy Thai aristocrat who owns a hair treatment business and wants to repay a debt to his dear Indian friend.<ref>[http://worldcat.org/identities/lccn-no2013018811/ Rat Pēttanyī 1908-1970]. [[WorldCat Identities]].</ref> |
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===Death while giving a speech=== |
===Death while giving a speech=== |
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Whilst Rattana was artistically respected, his films – featuring unhappy endings – were mostly commercial failures. |
Whilst Rattana was artistically respected, his films – featuring unhappy endings – were mostly commercial failures. Frustrated, he retired from filmmaking. However, he continued to be involved with the industry and was a tireless lobbyist. He co-founded and headed the Thai Film Producers Association. |
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| ⚫ | On the night of August 17, 1970, at the Montien Hotel in Bangkok, Rattana was set to address film producers and Thai government officials in a meeting called to discuss ways of supporting the film industry. Finally, at 9 pm, after an address by Economics Minister {{ill|Bunchana Atthakorn|th|บุญชนะ อัตถากร}} and speeches by numerous other filmmakers and officials, Rattana's time to speak came. Here is an accounting of his speech: |
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Frustrated, he retired from filmmaking. However, he continued to be involved with the industry and was a tireless lobbyist. He co-founded and headed the Thai Film Producers Association. |
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| ⚫ | {{cquote|When I first started out in the movie business ... ''Sadet Ong Chai Yai'' [Prince [[Bhanu Yugala]]] had just hired me as a cameraman for a film he wanted to shoot called ''{{ill|Phan Thai Norasing (1950 film)|lt=Phanthaay Norasingh|th|พันท้ายนรสิงห์ (ภาพยนตร์ พ.ศ. 2493)}}''. I've spent every baht I ever earned on my productions and now I have to make adverts just to survive. The foreign film distributors have been preying on Thai cinemas ...}} |
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| ⚫ | |||
Finally, at 9 pm, after an address by Economics Minister [[Bunchana Atthakorn]] and speeches by numerous other filmmakers and officials, Rattana's time to speak came. Here is an accounting of his speech: |
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| ⚫ | {{cquote|When I first started out in the movie business ... ''Sadet Ong Chai Yai'' [Prince [[Bhanu Yugala]]] had just hired me as a cameraman for a film he wanted to shoot called ''Phanthaay Norasingh''. I've spent every baht I ever earned on my productions and now I have to make adverts just to survive. The foreign film distributors have been preying on Thai cinemas ...}} |
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Rattana faltered then collapsed to the floor. He was rushed to nearby [[Chulalongkorn Hospital]], but he died three hours later of a massive coronary.<ref name = "the man"/> |
Rattana faltered then collapsed to the floor. He was rushed to nearby [[Chulalongkorn Hospital]], but he died three hours later of a massive coronary.<ref name = "the man"/> |
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Still, Rattana's legacy is recognizable. His films are cited as a major influence by [[Wisit Sasanatieng]], a Thai film director whose acclaimed ''[[Tears of the Black Tiger]]'' (''Fah Talai Jone'') was shown at the [[Cannes Film Festival]] in 2000.<ref name = "Williamson"/> |
Still, Rattana's legacy is recognizable. His films are cited as a major influence by [[Wisit Sasanatieng]], a Thai film director whose acclaimed ''[[Tears of the Black Tiger]]'' (''Fah Talai Jone'') was shown at the [[Cannes Film Festival]] in 2000.<ref name = "Williamson"/> |
||
The studio that Rattana started, Hanuman Films Company, is still operated by his sons Edal and Santa. It is now called Santa International Film Productions and it provides technical support and equipment to foreign film productions. His son Santa Pestonji directed a remake of ''Santi-Vina'' in 1976. The original version of ''Santi-Vina'' was considered a [[lost film]] until prints were discovered in 2015. After restoration, it is set to be screened at the 2016 [[Cannes Film Festival]].<ref name = "Rithdee">{{cite |
The studio that Rattana started, Hanuman Films Company, is still operated by his sons Edal and Santa. It is now called Santa International Film Productions and it provides technical support and equipment to foreign film productions. His son Santa Pestonji directed a remake of ''Santi-Vina'' in 1976. The original version of ''Santi-Vina'' was considered a [[lost film]] until prints were discovered in 2015. After restoration, it is set to be screened at the 2016 [[Cannes Film Festival]].<ref name = "Rithdee">{{cite news| last = Rithdee | first = Kong | title = Santi-Vina film selected to screen at Cannes Classics section | newspaper=Bangkok Post | date = April 21, 2016 | url = http://www.bangkokpost.com/news/general/931053/santi-vina-film-selected-to-screen-at-cannes-classic-section | accessdate =May 11, 2016 }}</ref> |
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Rattana's films are periodically shown in retrospectives at film festivals. The 10th [[Pusan International Film Festival]] screened ''[[Sugar Is Not Sweet]]'', ''[[Black Silk]]'', ''[[Country Hotel]]'' and ''[[Dark Heaven]]''.<ref name = "pusan"/> He was posthumously awarded the Lifetime Achievement Award at the [[2004 Bangkok International Film Festival]]. |
Rattana's films are periodically shown in retrospectives at film festivals. The 10th [[Pusan International Film Festival]] screened ''[[Sugar Is Not Sweet]]'', ''[[Black Silk]]'', ''[[Country Hotel]]'' and ''[[Dark Heaven]]''.<ref name = "pusan"/> He was posthumously awarded the Lifetime Achievement Award at the [[2004 Bangkok International Film Festival]]. |
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The R. D. Pestonji Award, the top prize of the [[Thai Short Film and Video Festival]], is named in his honor. |
The R. D. Pestonji Award, the top prize of the [[Thai Short Film and Video Festival]], is named in his honor. |
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[[Image:countryhotel.jpg|right|thumb|Cover from the DVD of Rattana's 1957 film, ''Country Hotel'', available from the Thai Film Foundation.]] |
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==Filmography== |
==Filmography== |
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*{{IMDb name|id=0676112|name=Rattana Pestonji}} |
*{{IMDb name|id=0676112|name=Rattana Pestonji}} |
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*[http://www.santafilm.com/ Santa International Film Productions] |
*[http://www.santafilm.com/ Santa International Film Productions] |
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{{authority control}} |
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{{DEFAULTSORT:Pestonji, Rattana}} |
{{DEFAULTSORT:Pestonji, Rattana}} |
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[[Category:1908 births]] |
[[Category:1908 births]] |
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[[Category:1970 deaths]] |
[[Category:1970 deaths]] |
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[[Category:Thai people of Indian descent]] |
[[Category:Thai people of Indian descent|Rattana Pestonji]] |
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[[Category:Thai people of Parsi descent|Rattana Pestonji]] |
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[[Category:Parsi people]] |
[[Category:Parsi people]] |
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[[Category:Thai film directors]] |
[[Category:Thai film directors|Rattana Pestonji]] |
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[[Category:Thai cinematographers]] |
[[Category:Thai cinematographers]] |
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[[Category:Thai screenwriters]] |
[[Category:Thai screenwriters|Rattana Pestonji]] |
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[[Category:Thai film producers]] |
[[Category:Thai film producers|Rattana Pestonji]] |
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[[Category:Alumni of the University of London]] |
[[Category:Alumni of the University of London]] |
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[[Category:20th-century screenwriters]] |
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Latest revision as of 10:19, 27 March 2023
Rattana Pestonji | |
|---|---|
รัตน์ เปสตันยี | |
 Pioneering Thai film director. | |
| Born | Rattan Pestonji 22 May 1908 |
| Died | 17 August 1970 (aged 62) Bangkok, Thailand |
| Other names | R. D. Pestonji |
| Occupations |
|
| Years active | 1939–1970 |
| Spouse | Thappatat Pestonji (1937) |
| Children | 3 |
| Awards | Asia Pacific Film Festival Best cinematography 1954 Santi-Vina |
Rattana Pestonji (Thai: รัตน์ เปสตันยี; RTGS: Rat Pesatanyi) was a Thai film director, producer, screenwriter and cinematographer and is regarded as the father of contemporary Thai film. Although his filmography was brief, his films placed Thai cinema on the world stage. He also pushed for innovations, and was one of the first Thai directors to use 35-mm film. He died just as he was giving a speech to government officials to call for support of a domestic industry he saw as coming under threat from Hollywood films.[1]
Biography[edit]
Early life[edit]
He was born Rattan Pestonji (also sometimes referred to as R. D. Pestonji or Ratt Pestonji) in Bangkok, to Indian-Parsi parents.[2] At an early age, he showed an avid interest in photography. He was so adept at dismantling and reassembling his camera, that it was decided he should study engineering at the University of London.
He spent his early life studying in India and UK.[2] Between studies in London, he was able to take photos and he picked up several awards in photographic competitions.
He returned to Thailand with an engineering degree, but continued to pursue his interest in photography and found a job as a film salesman. It was then he began to explore an art form that was still in its infancy – cinematography.[1]
His first films[edit]
In 1937, Rattana shot his first film, a short called Tang, about a young Thai girl. Tang won the Amateur Cine Competition in Glasgow, Scotland and Rattana was given the top award by Alfred Hitckcock, who was president of the jury. He made another short called White Boat in 1939 and it was shown at the New York World Festival.[1]
Rattana continued his work in film sales, but he was given his big break into filmmaking in 1949 when he was asked by Prince Bhanu Yugala to act as a cameraman on the film Phanthaay Norasingh (Oarsman Norasingh).[3] Rattana showed great talent as a cinematographer.
Around this time, Rattana formed his own studio, Hanuman Films Company. He directed his first feature film, Dear Dolly in 1951.[1]
Pushing for innovations[edit]
In each of his films, Rattana sought to experiment and raise the standard of production. At a time when post-dubbed 16 mm films were the industry standard in Thailand, Rattana wanted to use 35 mm stock, which was more expensive and technically difficult to work with, but it allowed for the sound to be recorded along with the image.[1]
His first 35-mm film was the drama, Santi-Vina, on which he worked as cinematographer only. It was directed by Thavi Na Bangchang (better known as "Kru Marut") with a screenplay by Vichit Kounavudhi.[1]
Santi-Vina was among the first Thai films to be sent to an overseas competition, the 1954 Asia Pacific Film Festival in Tokyo. It was a sensation, sweeping the awards for best cinematography, art direction and the Golden Harvest Award for best Asian cultural presentation.[1]
Still, Rattana would run afoul of the Thai government, and upon his return from the festival, he was charged $5,000 tax for the $16,000 Mitchell Camera he won, and was fined 1,000 baht for failing to clear his film with the Thai censor.[1]
Career as director[edit]
Undaunted, Rattana continued his work, working as cinematographer on the romantic drama Chuafah Din Salai (Dying Forever) and then taking the director's chair for Rongraem Narok.
For Rongraem Narok, (literally hotel hell, but entitled Country Hotel in English), he employed the use of one camera on a single set, similar to Hitchcock's 1948 film, Rope. The film had a bit of everything – rustic comedy, music (including a full ballad by a Filipina singer), rough-and-tumble action and dark, thrilling drama.[4]
His first color film was 1958's Sawan Mued (Dark Heaven), which featured songs and some dramatic battlefield scenes.[4]
Next was Prae Dum (Black Silk), which is regarded as Thailand’s first film noir (though Country Hotel had film noir elements as well). It is regarded as Rattana's best work. He performed almost all the major tasks himself, acting as writer, producer, director, cinematographer and editor. For his efforts, Prae Dum was included in competition at the 11th Berlin International Film Festival in 1961.[5]
His final film was made in 1965, Nahmtaan Mai Waan (Sugar Is Not Sweet). A romantic farce, it is a vibrant film that takes visual cues from the pop-art style of Western films of the time.[4] The film concerns a wealthy Thai aristocrat who owns a hair treatment business and wants to repay a debt to his dear Indian friend.[6]
Death while giving a speech[edit]
Whilst Rattana was artistically respected, his films – featuring unhappy endings – were mostly commercial failures. Frustrated, he retired from filmmaking. However, he continued to be involved with the industry and was a tireless lobbyist. He co-founded and headed the Thai Film Producers Association.
On the night of August 17, 1970, at the Montien Hotel in Bangkok, Rattana was set to address film producers and Thai government officials in a meeting called to discuss ways of supporting the film industry. Finally, at 9 pm, after an address by Economics Minister Bunchana Atthakorn and speeches by numerous other filmmakers and officials, Rattana's time to speak came. Here is an accounting of his speech:
When I first started out in the movie business ... Sadet Ong Chai Yai [Prince Bhanu Yugala] had just hired me as a cameraman for a film he wanted to shoot called Phanthaay Norasingh. I've spent every baht I ever earned on my productions and now I have to make adverts just to survive. The foreign film distributors have been preying on Thai cinemas ...
Rattana faltered then collapsed to the floor. He was rushed to nearby Chulalongkorn Hospital, but he died three hours later of a massive coronary.[1]
Legacy[edit]
Rattana's death was the first of two tough blows for the burgeoning Thai industry in 1970, for later in the year, it would lose its biggest star, Mitr Chaibancha, in a fatal accident during the filming of a stunt.
A few days after Rattana's death, the government did set up the Thai Film Promotion Board, which would be responsible for promoting and encouraging investment in Thai films. But to this day there is still no direct government support for the Thai film industry and foreign films continue to dominate the domestic cinema landscape.
Movies made in the Thai studio system, such as Ong-Bak: Muay Thai Warrior, fare better in local cinemas, while indie directors such as Apichatpong Weerasethakul are left to seek funding from overseas backers.
Still, Rattana's legacy is recognizable. His films are cited as a major influence by Wisit Sasanatieng, a Thai film director whose acclaimed Tears of the Black Tiger (Fah Talai Jone) was shown at the Cannes Film Festival in 2000.[5]
The studio that Rattana started, Hanuman Films Company, is still operated by his sons Edal and Santa. It is now called Santa International Film Productions and it provides technical support and equipment to foreign film productions. His son Santa Pestonji directed a remake of Santi-Vina in 1976. The original version of Santi-Vina was considered a lost film until prints were discovered in 2015. After restoration, it is set to be screened at the 2016 Cannes Film Festival.[7]
Rattana's films are periodically shown in retrospectives at film festivals. The 10th Pusan International Film Festival screened Sugar Is Not Sweet, Black Silk, Country Hotel and Dark Heaven.[4] He was posthumously awarded the Lifetime Achievement Award at the 2004 Bangkok International Film Festival.
The R. D. Pestonji Award, the top prize of the Thai Short Film and Video Festival, is named in his honor.
Filmography[edit]
- Tang (short) (1937) – (Thai: แตง)
- White Boat (short) (1939)
- Phanthaay Norasingh (Oarman Norasingh) (cinematographer) (1949) – (Thai: พันท้ายนรสิงห์)
- Tukkata Jaa (Dear Dolly) (1951) – (Thai: ตุ๊กตาจ๋า)
- Santi-Vina (cinematographer) (1954) – (Thai: สันติ-วีณา)
- Chuafah Din Salai (Forever Yours) (cinematographer) (1955) – (Thai: ชั่วฟ้าดินสลาย)
- Rongraem Narok (Country Hotel) (1957) – (Thai: โรงแรมนรก)
- Sawan Mued (Dark Heaven) (1958) – (Thai: สวรรค์มืด)
- Phrae Dum (Black Silk) (1961) – (Thai: แพรดำ)
- Namtarn Mai Warn (Sugar Is Not Sweet) (1964) – (Thai: น้ำตาลไม่หวาน)
Further reading[edit]
- Sukwong, Dome; Suwannapak, Sawasdi (2001). A Century of Thai Cinema. River Books Press Dist A C. ISBN 978-0-500-97603-6.
References[edit]
- ^ a b c d e f g h i Chaiworaporn, Anchalee (2004). "The Man Who Died for his Art". ThaiCinema.org. Retrieved 3 August 2007.
- ^ a b Ainslie, M. J. (2020). 8. Ratana Pestonji and Santi Vina. Exploring the ‘Master’ of Thai Cinema during Thailand’s ‘American Era.’ In Southeast Asia on Screen (pp. 171–192). Amsterdam University Press. https://doi.org/10.1515/9789048541904-012
- ^ Rithinondh, Pusadee; Chaiworaporn, Anchalee (11 February 1995). "The Prince of Celluloid". The Nation (Thailand). pp. C1.
- ^ a b c d Uabumrungjit, Chalida (2005). "Special Program – Remapping of Asian Auteur Cinema 1". Pusan International Film Festival. Retrieved 3 August 2007. [dead link] (Additional use of search field for "Thailand" helps to find the links to the films.)
- ^ a b Williamson, Robert (January 1, 2004). "Black Silk (Prae Dum)". Review. Thai Film Foundation. Archived from the original on September 27, 2007. Retrieved August 4, 2007.
- ^ Rat Pēttanyī 1908-1970. WorldCat Identities.
- ^ Rithdee, Kong (21 April 2016). "Santi-Vina film selected to screen at Cannes Classics section". Bangkok Post. Retrieved 11 May 2016.
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