The slow moving pace could be a problem for some, but I feel it works. No matter how slow it gets, it's still suspenseful.
my housemate summarised this very aptly: how the tiger becomes the hunted. a very convincing story of getting trapped in the feeling one thinks s/he is in control of. a delight of absorbing and atmospheric cinematography. the humour and diversity of the everyday life and the frightening, uncanny metaphoric tale of intense feelings and emotions: perfect juxaposition that makes the impact of the two pasrts oh so strong
It’s taken some viewings to realise the dichotomy of Tropical Malady: the warmth of its first half’s urban portrait - fleeting connections; quotidian, like Tsai, or Ozu - and its second: descent into naturalist euphoria, dialogue-free, of man finding his bestiality. Intact is the juxtaposition of old and new: folklore tale appended with game show anecdote, singing deity statue as makeshift shrine in ancient cave, relaxed social norms. A snug canonical entry, between its heady predecessor, Syndromes’ cities and Boonmee’s myth; rich, plentiful bounty.
I think that to understand it, it requires multiple viewings. To like it, however, only one is necessary. There is something magical and yet simple in Weerasethakul's narrative. Something manufactured but natural. In this sense, I see similarities to Tarkovsky. In more contemporary terms, his work is very similar to Julian Hernandez'; both share many techniques, obsessions, and stories.
Spooky action at close quarters. As in Blissfully Yours before it and Uncle Boonmee (to which it is closely related) later on, in Tropical Malady Weerasthakul gives us an enigmatic tale of tenderness and terror that unfolds within more than one version of wilderness. An extraordinary pitch of emotional intensity is achieved via rigorously minimal means. "Every drop of my blood sings our song. Do you hear it?"
In the commentary, Weerasethakul says that the corpse soldiers are taking pictures with is supposed to be the guy whose motorcycle gets stolen in Blissfully yours... Now we only need to find something that connects syndromes and a century to the stories of these other films. (I haven't watched it yet.)
Hmmm... The second part of the film, did not see that one coming. Did I understand it, no. Did I like it, yes. Read some of the reviews and others seems as puzzled as I am. Is that a bad thing, no I don´t think so. Go, see for yourself. Watch and enjoy in quiet surroundings and let the film just take you. Will definitely watch again, hopefully in big screen someday...
I leave others to tell you the story. But a word to the viewer pay close attention to the beginning and the end of the film. There are many versions of what the meaning behind the story. It would be interesting to hear or read Apichatpong's version of the tale and what his meaning were or what was met to be. The removal of a key piece of the film would have made it more understandable. 5 out of 5 Excellent
Tropical Malady is one of the best films from the past decade, and no wonder, Apichatpong Weerasethakul's film won the 2004 Cannes Jury Prize. This ghost story, unlike many Thai films, defies the genre with its late summer palette brushed with cinema verite, magical realism, mystery, and a quiet desire lingering in the afternoon heat. A soldier's seduction of a young man eerily leads him on an obsessive hunt.
Me gustó más que la de Uncle Boonmee, pero sigo sin entender el mundo interior de este director por mucho que la cahiers le ponga por las nubes. Me da la sensación de que en 10 años sus pelis habrán envejecido un montón y no serán más que un "hype"
The beauty of the film for me is how an enigma is created out of the everyday. The narrative offers up multiple interpretations and readings that can be equally valid. Spiritual 'undercurrents' seen in subtle gestures in the early half of the film could be translated to the later half, or visa versa. Is it cyclical? Are there two different films? The film is a real pleasure to watch and one I revisit often.
The film is deceptively beautiful where its psychological core engulfs the realistic overtones of lust, love, and loneliness of the first part. Most of the scenes are shot in amateurish fashion while they are edited in contrived desperation. Needs repeated viewing to experience the feel of 'being there', but for now Im giving it a modest remark.
It's amazing how Apichatpong seems to make a masterpiece each time when you know he'll only build on his ideas further with the next film. Tropical Malady feels complete even though so much of the film sows seeds for Syndromes and Uncle Boonmee. It also contains his most interesting diptych, the first half a realistic counterpoint to the poetic and magical second half. Gorgeous.
In this film, we can feel it how the story of a APICHATPONG WEERASETHAKUL packaged in the form of myths and stories are also shades are so thick about things unseen [about a ghost , public trust , etc]. I really liked the second part in this movie because in this section is the core of this film in the story.
Loved it, loved it, loved it! Finally did I see this masterpiece. Portuguese indie-auteurs Gabriel Abrantes and João Pedro Rodrigues must have seen this film for sure. I loved it so much. I'm speechless, Loved the second story as much as the first one. Loved the way he shot the girl smiling at the boy, the little fable of the monk and the farmers....the tiger, the rain, the tree with all those fireflies. L-O-V-E!
Si existiera alguna clase de mapa para entrar en ese mundo que Apichatpong Weerasethakul construye en cada una de sus películas no serviría para nada. Acá todo lo que parece ser cierto es derrumbado en el plano siguiente, porque lo único que importa es comprender que se está llevando a cabo una batalla entre dualidades varias: el realismo vs. la mitología, la razón vs. la pasión, lo primitivo vs. lo domesticado. Así, con una estructura que tiene su centro en la bifurcación y con una anatomía bicéfala, “Tropical Malady” se convierte en una gran obra porque permite eso para lo que el cine fue inventado: la invitación al viaje, el festejo de la magia.
the first was very beautiful , I loved it ......the second part was too boring and a kind of strange , I didn't like it ........ I loved the narrating style of the second part though .......... anyway a new cinematic experience not so good for me however its great to see and know the different types and schools of cinema whether you like it or not.
I have deep respect that Weerasethakul's shape-shifting film is one of the strangest and perhaps most original that I watched in years - from the real, the film transformed into allegory. But I must admit the film is not my kind of cinema: too abstract and undecipherable. Although strange and hypnotic, this is not the kind that will make me excited again watching it.
A strange union of two stories adjoined and left unclear whether they are linearly related or not. I read a review that said the man turns into a tiger, but is still the lover from before. So the ending reads as a lover's ultimate sacrifice then. I like this interpretation (or truth?) of the film.