A house, a woman and a child

Published on January 21, 2008

"The 8th Day"

Technology can bring millions of different shades to a movie, imitate natural tones and create new colours that bring magic to the screen. So it seems a little strange that Somchai Leenanulak has turned the clock back by almost a century and reverted to monochrome for the first movie to come out of his ANA production house.

But Somchai is convinced that black-and-white is perfect for "Paed Wan Plaek Khon" ("The 8th Day"), a psychological suspense drama about a strange old woman, Auntie Chub (Watsana Chalakorn), who lives in a decrepit house on her own after losing her husband and only child. Her life takes a turn for the worse when a medical student, Noom (Thanavate Siriwattanagul), witnesses a little girl (Jennis Oprasert) going into the house and assumes that Auntie Chub will harm her.

"Some say that making black-and-white films nowadays is a trendy way of committing suicide. I wanted to try it because if we can make it, then I think it will inspire the new generation of filmmakers to do something different," says the experienced cameraman who has worked with such veteran directors as Cherd Songsri and Euthana Mukdasanit.

"I don't expect to get rich from this film, but it should draw sufficient interest to become a case study for other filmmakers and studios. I don't expect too much from the cinema-going public," adds Somchai, who also acted as cinematographer for his company's cinematic debut.

The decision to film in monochrome was reached early in the project, during discussions with scriptwriter Warisara Puthpavana, who says the story is based on her observations of life, particularly how we tend to judge others on what we see rather than bothering to look below the surface.

"It's a reflection of the selfishness of those who take advantage of others, but it's also a story about morality," says director Chodchai Yoadsaranee. This is Chodchai's first feature film after a 17-year career directing commercials.

The film is edited by ANA's Adam Hussey, a Bangkok-based Briton with experience in documentary-making and advertising.

"There's an enormous difference between editing a feature and a documentary. For a documentary, you select the right moment, while for a feature, it's the right emotion you are looking for. A documentary is much easier," he says.

Chodchai, who's been with ANA since his student days, says he's attempted to create his own style and breakaway from the "advertising director moves to movie-making" mould.

"Commercials have taught me how to make things look perfect on camera. Filmmaking is different. Perfection is not a priority since there are many factors to take into account," he says.

Of the three main protagonists in the thriller, only Watsana is an experienced actress. Her two co-stars are newcomers. Chodchai has enjoyed working with the veteran star, saying that working with a 1970s sex symbol has long been his dream.

"I'd love to see many talented actors from yesteryear appearing in today's movies rather than being forced to stay at home because they can't find character roles. They would make Thai films so much more interesting," he says.

The production house started to promote the film late last month through an attractive animated website complete with gimmicks plus details about the film in both English and Thai.

The film was originally scheduled to open on January 31, a week before Prachya Pinkaew's new action flick "Chocolate", which was likely to have put a damper on its box office chances. Now it's been postponed to February 28, which means it will be competing with "Handle Me With Care", a romantic comedy from GTH, directed by Kongdej Jaturanrasamee ("Midnight My Love"), which opens a week earlier.

Chodchai is philosophical. "Frankly I don't expect box office success. My only hope is that this film will be able to create some uncomfortable feelings in those who see it and that the reviews will be reasonably positive."

"The 8th Day" opens on February 28. For more information, visit 8thdaythemovie.com.

Parinyaporn Pajee

The Nation