Kongkiat Khomsiri’s third feature, The Gangster, confirms him as the king of blood and violence with beauty, as in Slice (2009). This remake of Nonzee Nimibitr’s directorial debut Dang Bireley’s and the Young Gangsters (1997) is another of Kongkiat’s cinematic masterpieces – playing with different modes of narration, editing, cinematography and mise-en-scene, and at the same time artistically reminiscent of Thailand’s 1950s gangster and youth culture, male-bonding, and Thai ways of chivalry.
Unlike Nonzee’s 1997 version of this true story, The Gangster highlights the life of Jod, who was known among the junior gang members as ‘the real deal’ but positioned himself subordinately to Dang. This character was barely glimpsed in Nonzee’s version, avoiding direct references which might have provoked legal action from the real Jod, who was still alive at that time. But The Gangster puts Jod at the forefront, the past hero Dang only appearing until his death 40 minutes into the film. A GI’s son, Jod is represented as a gentleman in the wrong world – a caring son and brother, a quiet sincere friend, and a man of instinctive chivalry who never attacks women.
This may seem idealistic. But it is in the tradition of the gentlemen we are familiar with in many historical films, American westerns or Hong Kong martial arts films, from King Arthur to Jean Pierre-Melville or John Woo. But The Gangster shows a Thai knight’s Thai ways and principles. Unlike those existentialist knights, Jod – like many other real-life gangsters – has a family and a lot of friends. He is a man of gratitude, friendship and loyalty. He takes care of his mother and sister and loves his friends. And perhaps that is why he decides to serve and never overshadow Dang. He defies his boss for only one reason – he can not follow his orders to kill his friends. They are like his family. He is a proud man who protects women. The memory of his accidental victim, who was killed during a shootout, becomes his lifelong nightmare. Jod and The Gangster show to the world the differing values among Thai gangsters.
Kongkiat’s scriptwriting experience has also taught him how to smartly render the 1950s lifestyle. We can see not only the shifting culture of violence from knives to gun, and from the gangster mafia to the police. Youth culture, from the influence of Elvis Presley to James Dean, is also embedded throughout, even with the projectionist.
The Gangster is a cool story, heightened by Kongkiat’s cinematic experimentation. The narration uses a combination of feature and documentary styles. Several interviews with real-life 1950s youths are interspersed with the dramatic action. The songs of Elvis Presley and other rock’n’roll artists are heard throughout. Black-and-white and stylised colour images are intercut. A variety of editing techniques, from fast cuts to wipes, are thrown in to support the director’s creation. Fighting scenes and styles are designed with a view towards authenticity. This is the must-see film among the Thai selections this year.
Anchalee Chaiworaporn