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Thailand Movie Companies
are starting to produce more international standard films. It is just a shame that they (The Thai movie producers) don't realize it. The potential for "foreign films" ,outside of the special event film shows, is huge. However one thing they will need to fix is either dubbing into English or adding quality English subtitles.

Here is an informative article about the state of the Thai Movie business.

This year finds us at perhaps the most important juncture in the history of Thai cinema. Until recently focusing primarily on films for domestic consumption, Thailand's film industry has captured global attention following a three-year streak of film hits at cinema festivals around the world. Now, more than ever before, fans of world cinema have come to appreciate what Thai directors have to offer.

Thailand began experimenting with film very early in the history of world cinema. Within five years of the Lumičre brothers' historic first public film showing in 1895, Siam's Prince Sanbhassatra imported film-making equipment and began documenting the royal ceremonies of his elder brother, King Rama V.

In 1922, Hollywood director Henry MacRae was hired to direct the silent Nang Sao Suwan, which used Thai actors for all roles and was released in Thailand in 1924. The storyline followed the tribulations of a beautiful young Thai girl with too many suitors. Unfortunately no viewable print of this early film appears to have survived.

Bangkok Film kicked off the domestic film industry with the launch of the first Thai-directed silent movie, Chok Sorng Chan, in 1927. In Thailand, silent films proved to be more popular than talkies right into the 1960s, and as late as 1969 Thai studios were still producing them from 16mm stock. Perhaps partially influenced by India's famed masala movies (which gained a strong following in post-WWII Bangkok), film companies blended romance, comedy, melodrama, and adventure to give Thai audiences a little bit of everything.

The arrival of 35mm movies in Thailand around this same time brought with it a proliferation of modern cinema halls and a surge in movie-making. During this era, Thai films attracted more cinema-goers than nang farang (as the Thais called movies from Europe and America), and today many Thais consider the 60s to be a golden age of Thai cinema.

Over half of the approximately 75 films produced annually during this period starred the much-admired onscreen duo of actor Mit Chaibancha and actress Petchara Chaowaraj. One of the last and most famous films of the era was Mit-Petchara's Mon Rak Luk Thung, a musical rhapsodizing Thai rural life. The 1970 film played in Bangkok cinemas for a solid six months, its popularity spurred by the film's best-selling soundtrack album and Mit's accidental death while filming another Thai production, Insee Thong.

Despite the founding of a government committee that same year to promote Thai cinema, Thai film production in the 70s and early 80s was mostly limited to inexpensive action or romance stories. Among notable exceptions, 1983's Child of the Northeast (Luk Isan), based on a Thai novel of the same name, followed the ups and downs of a farming family living in drought-ridden Isan. Luk Isan became one of the first popular films to offer urban Thais an understanding of the hardships endured by many Northeasterners, and initiated a social drama sub-genre that continues to this day.

Butterfly and Flower (Peesua lae Dokmai), again drawn from a popular Thai novel of the time, highlighted the hardships faced by a boy forced by economic circumstance to smuggle rice across the Thai-Malaysian border. Aside from once again exposing Thai audiences to regional poverty, the 1985 movie broke new ground by portraying a Buddhist-Muslim romance. Butterfly and Flower delighted the Thai public when it earned a Best Film award at the 1986 East-West Film Festival in Honolulu.

Despite this budding acclaim, the Thai movie industry almost died during the 80s and 90s, swamped by Hollywood extravaganzas and the boom era's taste for anything imported. From a 1970s peak of a couple hundred releases per year, the Thai output shrank to an average of only 10 films a year by 1997.

While the Southeast Asian economic crisis that year threatened to further bludgeon the ailing industry, a lack of larger budgets coupled with the need to compete with foreign films brought about a new emphasis on quality rather than quantity. The current turn-of-the-millennium era sees a new generation of seriously good Thai directors, several of whom studied film abroad during Thailand's 80s and early 90s boom period.

Recent directorial efforts have been so encouraging that Thai and foreign critics alike speak of a current Thai 'new wave'. Avoiding the soap operatics of the past, the current crop of directors favor gritty realism, artistic innovation, and a strengthened Thai identity. Pen-Ek Ratanaruang's Fun Bar Karaoke, a 1997 satire of Bangkok life in which the main characters are an ageing Thai playboy and his daughter, received critical acclaim for its true-to-life depiction of modern urban living blended with sage humor. The first feature-length outing by a young Thai who is fast becoming one of the kingdom's most internationally noted directors, the film played well to international audiences but achieved only limited box-office success at home. Similarly Nonzee Nimibutr's Dang Bireley's Young Gangsters (2499 Antaphan Krong Meuang) was hailed abroad - winning first prize at the 1997 Brussels International Film Festival - but only modestly successful in Thailand

A harbinger of things to come for the Thai film industry arrived with Nonzee Nimibutr's 1998 release of Nang Nak, an exquisite re-telling of a Thai spirit tale that had seen no fewer than 20 previous cinematic renderings. Nang Nak not only featured excellent acting and period detailing, but managed to transform Nak into a sympathetic character rather than a horrific ghost. The film became the largest-grossing film in Thai history, out-earning even Titanic, and earned awards for best director, best art director, and best sound at the 1999 Asia-Pacific Film Festival.

Hot on the heels of Nang Nak's success came the 2000 film Satree Lex (Iron Ladies), which humorously dramatized the real-life exploits of a Lampang volleyball team made up almost entirely of transvestites and transsexuals. At home, this Yongyoot Thongkongtoon-directed film became Thai cinema's second largest-grossing effort to date, and was the first Thai film ever to play the art house cinemas of Europe and America in general release.

The next Thai film to garner international attention was 2000's Suriyothai, an historic epic directed by Prince Chatrichalerm Yukol. Forty months and US$15 million in the making, the three-hour film lavishly narrates a well known episode in Thai history in which an Ayuthaya queen sacrifices herself at the 1548 Battle of Hanthawaddy to save her king's life. Recently legendary American producer-director Francis Ford Coppola agreed to re-edit the film to create a shorter, more internationally palatable version for general release.

The year 2000 also introduced the Oxide brothers, Danny and Pang, to Thai and foreign film festival audiences with the release of Bangkok Dangerous (Krung Thep Antharai). Influenced in equal parts by Hong Kong director John Woo and American writer-director Quentin Tarantino, this story of a deaf-mute hit man who finds love won a Discovery award at the Toronto Film Festival and Best Director, Runner-Up, in Seattle. Although the Oxides hail from Hong Kong, Thailand has become their main cinematic inspiration.

In 2001, Nonzee Nimibutr returned with Jan Dara, a cinematic rendition of Utsana Pleungtham's controversially erotic 1966 novel of the same name. Filmed almost entirely on soundstages save for outdoor scenes shot in Luang Prabang, Laos, the film was critically compared with Vietnam's famous Scent of Green Papaya. The Globe & Mail called it a "sultry melodrama with a Thai twist."

Encouraged by critical acclaim abroad and box office receipts at home, Thai producers nearly tripled their output from a total of 12 Thai-language movies in 2001 to around 30 new productions in 2002. Quality continues to improve as well, as Thai films have assumed a newly favored identity on the international film scene. The Vancouver International Festival, for example, increased its screening of Thai films from three in 2001 to five in 2002.

For indications that Thailand's role in world cinema will continue to expand, one need look no farther than Pen-Ek's latest effort, Mon Rak Transistor. This acclaimed film broke ground by seizing a thoroughly Thai movie theme - the tragic-comic odyssey of a young villager who tries to crack the big time luk thung music scene in Bangkok - and upgrading production values to the highest international standards. The 2001 release was honored with a special Directors Fortnight showing at Cannes 2002, and went on to earn Best Asian Film at Seattle 02 and the Audience Award at Vienna 02.

One of Thai cinema's finest moments arrived when Cannes 2002 chose Blissfully Yours (Sut Sanaeha) for the coveted Un Certain Regard (Of Special Consideration) screening, an event that showcases notable work by new directors. Helmed by 31-year-old Apichatpong Weerasethakul, the film echoes Butterfly and Flower in its presentation of a budding romance between a Thai woman and an illegal Burmese immigrant.

Another favorite on the 2002 festival circuit, and a blockbuster in Thailand as well, Jira Malikul's Mekhong Full Moon Party (15 Kham Deuan 11), juxtaposes folk beliefs about mysterious 'dragon lights' emanating from Mekong River with the skepticism of Bangkok scientists and news media, as well as with Thai Buddhism. As with Mon Rak Transistor, the film affectionately displays everyday Thai culture for the whole world to enjoy. It's also the first Thai feature film where most of the script is written in the Isan dialect, thus necessitating standard Thai subtitles.

Another watershed occurred when the 2002 London Thai Film Festival screened 16 Thai films over a one-week period, becoming the first such event outside of the country. The only way an event like this has become feasible is because so many Thai films are now released with English subtitles, something almost unheard of even five years ago.

Just as significantly, the prestigious CineAsia convention and trade show, which focuses on the Asia-Pacific film marketplace, shifted to Bangkok last year after eight years residence in Hong Kong. One of the reasons cited for the move was the availability of over 300 quality screening venues in Bangkok.

The January 2002 inauguration of the Bangkok International Film Festival, exhibiting more than 70 new features from around the world, further demonstrates that Thailand lies at the epicenter of a growing film industry.

With more Thai films filling cinema houses outside of Asia, and with more films seeing screens in Thailand then ever before, it would appear that a new golden age for Thai movies has begun.
Joe Cummings -

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Featured Thailand Movie Companies
Final Cut Co.,Ltd. Thailand Thai Movie production company providing Editing, Sound Design, Special Effects, Computer Graphic Animation, Feature Films, Documentaries, Television Dramas, TV Commercials and Music VDO’s.
M.O.M. International Co.,Ltd Thailand Thai TV Producer of TV Programs, Travel Documentaries, Entertainment Programmes, Television Programming Business and Distribution of International Documentaries
PGM Record Co.,Ltd Thailand A multi faceted Thai Media company Television Program Producer, Music Producer, Thai popular, country and folk music, VDO, CD, VCD, DVD, blank cassette tape, CD-R, and VDO cassette and CD cleaner

Following you will find lists of movie companies involved in the movie business in Thailand. If you want Bangkok Companies to put you in touch with a movie company or simply supply a database of these companies then please email


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