Last life in the universe

"Last Life in the Universe (Ruang rak noi nid mahasan)" is a testimonial to opening up films to new voices around the world, as Thai director/co-writer Pen-Ek Ratanaruang completely re-invents the worn-out Hollywood genre of opposites meeting cute and attracting (viz. "Laws of Attraction" or "Forces of Nature") that even the French could barely resuscitate in "Jet Lag (Décalage horaire)."

If I hadn't read a promotional flyer after the movie identifying the star Tadanobu Asano as also having been in "Zatôichi: The Blind Swordsman" I wouldn't have realized that the charismatic ronin there was the still, isolated, seriously depressed obsessive-compulsive here, but now I see why he's a big star in Japan and I will catch up on his films (oh, he's married to a pop star, directing her music videos, and in his own rock band, too, but I digress, sigh).

"Kenji" meets up with "Noi" a live wire, profane wreck of a Thai escort in tragic-comic circumstances brought on by their siblings that insert startling, balletic violence into the dream-like cinematography by Australian Christopher Doyle, reinforced by the mesmerizing music of Hualongpong Riddim.

But it took me as a monolingual American awhile to figure out that their communication difficulties were based on their limited language commonality as I couldn't tell when a character was speaking in Thai or Japanese (perhaps the annoying white-on-white subtitles could have included some coded indicators) until they ended up struggling in pidgin English. I'm sure I missed many other cultural clues (though I did pick up the telltale yakuza back tattoos that complicate their odd idyll outside Bangkok).

They contradict each other's expectations- he's allergic to sushi, she's surrounded in Western accoutrements; he's mysteriously left Japan, she's determined to emigrate there, and so on.

Slapsticky comedy and a sweet children's book continually lull us to the dangers they trip over. The lovely magic realism leaves the resolution up to interpretation, but I don't think I've ever seen such a moving courtship over the use of an ashtray or as sexy a hopeful line as "Tomorrow we'll do the laundry."

This has to be the offbeat romance of the year.

Pen-Ek Ratanaruang's gently observed tale of the love that develops between a suicidal Japanese librarian and a streetwise Thai woman who meet under tragic circumstances is hypnotically absorbing. Shot in a lyrical and languid style by Christopher Doyle, who abandons his trademark vivid and hyper-real use of colour, the piece has been given a muted, naturalistic look. This suits the subdued tone and measured pace of the film which focuses on emotion rather than action. Ratanaruang, describes Last Life in the Universe as his most tender film, and this is as good a word as any to describe the relationship of Tadanobu Asano's Kenji, and Sinitta Boonyasak's Noi.

After unhappy fate has brought them together Noi and Kenji find sanctuary in each other. Kenji, deeply introspective, disconnected from reality, and suicidal, is literally saved from himself by Noi, whose joie de vivre, though dampened by grief, is infectious. Noi brings energy, colour, and most importantly life, to Kenji's dull and organised universe. Kenji brings a sense of order and balance to Noi's chaotic life, and his tranquil non-intrusive presence helps Noi to cope with her grief and the resulting sense of loneliness. As Ratanaruang claims, it is very tenderly done, and this is translated into the performance of both leads.

Asano, hugely famous in Japan for playing offbeat characters, brings a restrained sense of wonder to Kenji whose growing appetite for life is communicated in simple gestures such as a draw on a cigarette, or a ruffle of his hair. Boonyasak, in what is a very difficult first role, does exceptionally well to convince as a woman who though filled with grief has an irrepressible lust for life. Part of what fascinates the audience about both characters is the ambiguity that surrounds them. They are both without a history, especially Kenji who appears to have been linked to the Yakuza, and though it is never made clear why he is in Thailand there is an implication that he may have a murky past in Japan.

Reduced to the basics then Last Life in the Universe is a simple love story with very familiar themes; opposites attract, and the redemptive power of love. That this well-trodden path is followed again here takes nothing away from the film however, as though the story unfolds slowly it is well paced, well acted, and sensuously shot. The only potential weakness was Ratanaruang's inclusion of the comic gangster element (actor/director Takashi Miike plays a mob boss bent on revenge) which could very easily have been Last Life in the Universe's Achilles' heel, upsetting the tone and balance. As it turns out the Yakuza scenes work very well. In the context of the story Miike, and his henchmen do not seem out of place, and the absurd humour that they inject provides a necessary distraction from the studied inaction of Kenji and Noi. Overall then the elements combine to make Last Life in the Universe an unmissable film.

And I thought Mon-Rak Transistor was a masterpiece...

Last life in the Universe, or "Reung Rak Noi Nid Mahasarl", is problaby one of the best films made by one of the best Thai directors, Mr. Pen-Ek Rattanareung. I'll not waste time talking about this movie's sypnosis, but I'll just give some patricular reasons why this is a must-see Thai movie. First of all, this movie barely has a plot. It's all about emotions. Every elements you see in this film is... alive. They all have reasons for their existance. While a camera stays still for most of the time, lets you feel the very feeling of certain scene. Thanks, Chris. Secondly, the sotry is a love story, which doesn't seem so ordinary, but very ordinary itself. It's just natural. That's the way people who don't know each other talk, and even in a different language. You simply beleive they are who they are, there was no acting no pretending. It was just soooo natural. Last, because the subject matter is very precise, and sometimes hard to understand, you simply don't have to understand it. I mean, some parts of movie are very confusing, just ignore it. Try to absorb the moods and feelings this movie has to offer... You'll just feel really good after walking out of the theater. No other Thai movies are like this one. Pen-Ek himslef said that in previous movies, it seemed to him that he tried to tell everything too much, too straight. This film certainly doesn't do that, and it certainly is his masterpiece for me.

I've seen the plot before, at least in some fashion. A man and a woman meet under tragic (or tragicomic) circumstances. They are complete opposites, but begin an unconventional, semi-romantic relationship. It took me the whole movie to think of where I had seen it, but I did finally come up with a title (Monster's Ball). So I've seen the plot before. It's been done before. But it hasn't been done too often, and I tend to like stories like this. Besides, it's all in the way it's done, and, man, is this done right. Tadanobu Asano, best known as the masochistic villain Kakihara of Takashi Miike's Ichi the Killer, plays a withdrawn Japanese man living for unspecified reasons in Thailand. He works in a library and the walls of his meticulously organized apartment are lined with stacks of books. Through a couple of events, which are too good to spoil, he meets with polar opposite Sinitta Boonyasak, a Thai girl who works dressed up as a Japanese schoolgirl, and is probably something of a prostitute. Asano moves in with the girl and there is a connection (in that order). This is a subtle film that flows like a gentle brook. Christopher Doyle, easily the best cinematographer working today, lends his impeccable style to the picture (director Ratanaruang says many kind words about him in a 20 minute interview on the DVD), and the music, by Hualongpong Riddim, is simply amazing. Takashi Miike himself appears late in the film in an amusing role, and he's given the film's best line. Pen-Ek Ratanaruang's direction is truly impressive, and his attention to detail is particularly worth praising. It's a wonderful film, one that will live with me a long time.

there's something about this movie that makes me just want to break out in a big smile, and it has nothing to do with my thinking the lead actress is really pretty. the visual composition of this movie as with most movies by Christopher Doyle is amazing. you could stop the movie at any point and it would make an award winning photograph. Tadanobu Asano also displays in this movie why he is one of my favourite actors. his performances in this movie, ichi the killer and zatoichi should rate him as one of the best actors outside of Hollywood(not that that makes him worse than anyone there, and he should stay out of Hollywood but thats a totally different subject for another day). the film itself has a pretty simple storyline, but follows a rather similar tone to another movie that was released last year, lost in translation. personally i felt this movie was superior because it seemed less contrived and pretentious. plus the extra little storyline with the yakuza is fall-off-your-chair funny. with hints of wong kar wai this is a very refreshing movie that should help get back your faith that good movies can still be made on small budgets.