Tears Of The Black Tiger Hd Mp4 Download
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In the countryside of Thailand, a gang of outlaws makes the region unsafe. Among them is the handsome gun hero Dum, who became unwillingly involved in the bandit life. Handsome Dum made a promise to his upper-crust lover Rumpoey: despite the class difference, they will get married. When the moment of reunion arrives, Dum gets involved in a fire fight and cannot possibly reach Rumpoey in time. She is desperate: her father has married her off to a policeman. The taciturn Dum, called the 'Black Tiger' by his co-conspirators, has however not forgotten Rumpoey. He does everything in his power to reach her, but fate gets in the way: his gang leader suspects him of treachery and his blood brother turns into his greatest enemy. Will the two lovers ever meet up? This urgent question propels the melodrama forward, supported by exciting music, spectacular shootouts and heroic duels.
With its loud acting style, exuberant sets and stunning shots in pastel colours, this Thai cult film is as much a parody as an homage to the Western and the romantic tearjerker.
This movie if seen by most movie goers will be thought of as awful, boring, with a few funny bits. If seen by People who like surreal art movies, will be thought of as Funny, and well done.
If "men were weeping" it probably was because they had to sit through it. I never walk out on a film but this film was "walk out" material.
For those of you who have seen it compared with "Crouching Tiger..." I can assure you there is no similarity whatsoever except that it has subtitles. Don't go expecting another "crouching Tiger.." you will be doubly disappointed.
Actually I caught this movie on TV as I was about to go to bed, and
it grabbed me immediately. Sure, it's parody and genre, but it's
other things too. It is visually eye-grabbing for a start. The odd
candy colors are partly reminiscent of The Wizard of Oz and The
King and I, but the total effect is disorientating, colder, more high
pitched: its clashing colors dominated by the piercing fuschia red,
but sometimes slanting off towards yellows, or sepias and soft
blues. In European terms it's like seeing the paintings of
Pontormo and Bronzino - a Mannerist palette on film. There is, I
imagine a lot of filtering and digital enhancement here. It's
self-conscious but no more so than any consistent vision has to
be. So the color comes first.
Immediately, you are pitched in an alternative reality of westerns
(Sergio Leone mixed with Zorro) and romances, but comic as the
'western' scenes are, these are not merely 'cool' parodies. The
style everywhere refers to memory, of period, of genre: if it is irony it
is a strange poignant irony in the service of poetry. The palette
changes with the genre, as does the framing. Parts of it are
presented as scenes in theaters.
The story is simple enough but acute in its balance of belief and
distance. It makes sense as an adult take on the feel of childhood.
I thought it marvelously original, funny and alarming. Oh far far far
better than the vastly cerebral Greenaway whose work might make
a reasonable aesthetic analogy.
This is a scrapbook, a happy jumble, of many of the things we instinctively respond to in movies: color, shape, sound and movement, all intensified by heightened emotion.
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