14 September 2009

กุมภาพันธ์ | February

An old film by veteran director Yuthlert Sippapak in 2003, February is a beautiful film set in Bangkok and New York. Kaewta is an unsuccessful artist in Bangkok, who realises that she has got only four months to live. Her relationship also comes to an end. All in all, her life in Bangkok can't get any worse. Thus, it is natural that she needs to fly to New York to enjoy the last period of her life forgetting her life in Bangkok.

Once in NYC, she finds life can definitely take a worse turn, as she is conned by a taxi driver and, when escaping, is run over by a car. Kaewta wakes up, only to realise that she forgets who she is and where she comes from. Beside her is a mysterious man named Jeeradech, who works for a mafia gang and who wants to be good.

Of course, I can't help but feel that this plot is somehow very typical and not that original, but the director manages to hold our attention with the beauty of the Big Apple. Fate is a main issue of this film, as the lives of both Kaewta and Jeeradech cross one another through fate. Yet, somehow this fate is closely intertwined with the notion of fatalism, as they are also reminded that they know so little about how their lives would turn. Little would Kaewta realise that her pictures would be appreciated by an American artist (whose slow accent is somehow condescending) and little would she realise that her relationship with Jeeradech would be cut short. Little would she know that she would meet him once again and little would she know that the director would take him away once again. (At this point, it makes me wonder whether the director himself got inspired by Brad Silbering's City of Angels.)

I don't mean to be too cynical here but a film that harbours too much on coincidences and chances is bound to be not highly regarded in terms of plot, as the director could easily make things happen and blame them on fate. Perhaps that's the reason why I still esteem old-fashioned whodunits which require the real power of reasoning and the great technique of ratiocination.

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