Among the wide variety of films that make up the thriving Vietnamese commercial cinema scene today, The Tailor can be seen as somewhat unique in terms of both production quality and the narrative. A product that differentiates itself too in terms of its target public’s usual fodder – it is aimed at the female public, one that goes beyond teenagers. And it is no coincidence that female DNA runs throughout the whole film, seeing as the producer and star is one of the most dynamic and independent figures in Vietnamese showbusiness, the actress, model and singer Veronica Ngo Thanh Van, whom the Udine public will remember for her role in the action movie The Rebel (2007).
The Tailor opens in Saigon in 1969. Th city is portrayed as a Westernised metropolis, where the trends of London and Paris influence the customs and dreams of the youth (obviously no reference is made to the war). With her exaggeratedly Westernised ways, the young Nhu Y, crowned Miss Elegance for three years running, is an aspiring fashion designer. Despite her affectations, including the ridiculous use of French terms like “oh la la!”, Nhu Y is actually the heir to the prestigious tailors Thanh Nu, which for nine generations has been making prestigious Ao Dai, the refined traditional Vietnamese dresses. Nhu Y’s mother does not approve of her daughter’s ambitions – she wants to open a boutique selling Western-style clothing – and she despairs of her snobbery towards Ao Dai and the art of their tailoring, which she refuses point blank to learn. After one of their many arguments, thanks to a splendid jade family heirloom which has magical powers, Nhu Y finds herself projected into the future, to 2017, where she meets the older version of herself – she has aged badly and is even on the verge of suicide. Obviously, Nhu Y’s journey into her future will lead her to moderate her arrogance and learn that, in the highly superficial and competitive world of fashion, only hard work can lead to success. And to do this, it is vital to study traditions and learn the art of Ao Dai.
The debut in co-directing for a producer (the Udine public saw his Tam Cam: The Untold Story last year), Tran Buu Loc (whose pen name is Loc Tran), and for a script doctor who founded a writing laboratory (A Type Machine, which produced the film’s screenplay), Kay Nguyen (Nguyen Le Phong Khanh), The Tailor is a colourful fable, full of showy dresses and catchy songs. The moral of the tale examines the conflict that tradition and modernity are currently experiencing in Vietnam. The clash of Western fashion and the traditions of Ao Dai tailoring is the perfect metaphor for the thousands of contradictions present in today’s Vietnam. And Nhu Y’s parable teaches us a lesson about how, in order to achieve true success, you should never forget who you are and where you came from (“You tried to run before learning how to crawl” is the key reprimand Nhu Y receives). And it seems to be a lesson of life given directly by Veronica Ngo herself who, besides producing, also stars as the mother. Born in Vietnam before her family immigrated and brought her up in Norway, she returned to her home nation where she found success – she undoubtedly knows a thing or two about clashes of identity.
A perfect melange of a vintage feel – contributed to by a local fashion house Thuy Design House – and a contemporary pop feel – helped by the casting of local pop stars and celebrities and a soundtrack peppered with brilliant ear-catching original songs – The Tailor has the potential to be a hit well beyond the young Vietnamese public. It would be no surprise if, after seeing the film, FEFF spectators decided to purchase themselves a wonderful Ao Dai!
Loc Tran
Loc Tran (Tran Buu Loc) is a renowned Vietnamese producer, who has been working in commercial cinema for around ten years. Amongst other things, he produced Tam Cam: The Untold Story, seen at FEFF 2017. The Tailor is his first feature film.