IMDb > Legend of King Naresuan: Hostage of Hongsawadi (2007)

Legend of King Naresuan: Hostage of Hongsawadi (2007) More at IMDbPro »Naresuan (original title)

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Overview

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Release Date:
18 January 2007 (Thailand) See more »
Genre:
Plot:
The film concerns the life of King Naresuan, who liberated the Siamese from the control of Burma. Born in 1555... See more » | Add synopsis »
NewsDesk:
(14 articles)
Epic King Naresuan series reaches number 5!?
 (From 24FramesPerSecond. 7 December 2013, 6:08 AM, PST)

Yamada: The Samurai on U.S DVD
 (From 24FramesPerSecond. 3 January 2013, 12:20 PM, PST)

Yamada: The Samurai on U.S DVD
 (From 24FramesPerSecond. 3 January 2013, 12:20 PM, PST)

User Reviews:
Almost impossible to review out of a Thai context See more (6 total) »

Cast

  (in credits order)
Sarunyu Wongkrachang ... King Mahachakraphat
Sorapong Chatree ... Mahathera Kanchong
rest of cast listed alphabetically:
Jukrit Ammarat ... Nandabayin
Manop Aswathep

Russell Geoffrey Banks ... Portuguese Solder
Sompob Benjathikul ... Bayinnaung

Nopachai Chaiyanam (as Nopporn Chaiyanam)
Inthira Charoenpura (as Intira Jaroenpura)
Suchada Chekly ... Young Maneechan
Jirayu La-ongmanee ... Young Boonthing

Lex Luther ... Pra Ya Ram (as Lex de Groot)
Grace Mahadamrongkul ... Phra Supankalaya
Taksaorn Paksukcharern ... Maneechan

Chatchai Plengpanich ... King Mahathammaracha
Pratcha Sananwatananont ... Young Naresuan
Wanchana Sawatdee ... King Naresuan
Winthai Suvaree

Directed by
Chatrichalerm Yukol 
 
Writing credits
(in alphabetical order)
Sunait Chutintaranond 
Chatrichalerm Yukol 

Produced by
Kunakorn Sethi .... producer
 
Original Music by
Richard Harvey 
Sandy McLelland 
 
Second Unit Director or Assistant Director
Guy Norris .... second unit director
 
Sound Department
Nakorn Kositpaisain .... sound designer
Conrad Slater .... sound mixer
 
Special Effects by
Leo Henry .... pyrotechnician
 
Visual Effects by
Alex Bicknell .... visual effects consultant
 
Stunts
Mick Corrigan .... stunt performer
Vladimir 'Furdo' Furdik .... stunts
Peter Hric .... stunt coordinator
Vladislavas Jacukevicius .... stunt double
Vladislavas Jacukevicius .... stunt double: horse stunts
Chukamon Khammat .... stunt player
Branislav Martinak .... utility stunts
Lubomir Misak .... stunt advisor
Guy Norris .... supervising stunt coordinator
Richard Norton .... fight choreographer
Slava Samuchov .... stunts
Glenn Suter .... stunts
Philippe Zone .... stunts
 
Camera and Electrical Department
Phasin Saranate .... first assistant camera
 
Other crew
Craig Emerton .... horse master
Peter Hric .... horse master
Sean Steinmuller .... pre-visualization artist
Antony Szeto .... co-fight choreographer
 

Production CompaniesDistributors

Additional Details

Also Known As:
"Naresuan" - Thailand (original title)
"King Naresuan" - Thailand (English title)
See more »
Runtime:
163 min | Thailand:90 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »

Did You Know?

Trivia:
30 horses which were trained for movie stunts were imported from Australia.See more »
Movie Connections:
Followed by King Naresuan: Part Three (2011)See more »

FAQ

This FAQ is empty. Add the first question.
16 out of 17 people found the following review useful.
Almost impossible to review out of a Thai context, 28 January 2007
Author: paulbangkok from Bangkok

"Suriyothai" told the story of Thailand's greatest ever heroine - a Queen who rode into battle on an elephant.

When "Suriyothai" was released, it quickly broke all box office records in Thailand. However, internationally the film did not make much impact. Even after Francis Ford Coppola re-edited and re-released it, it did not attract significant attention.

There are certain facts one should know in order to understand the popularity of "Suriyothai" in Thailand.

1. The Thai people love the royal family. They don't just respect the royalty, they feel a personal love for the King.

2. The director, known informally as 'Tan Muy' is a cousin of the King, quite high up in the rankings of the royal family. I have heard that when visiting the film set, some people would drop to the floor and lie prostrate in front of him - although I understand he is in fact very friendly, approachable and informal.

3. The story of "Suriyothai" is not only a story that every Thai schoolchild knows - but is an extremely symbolic story - one that touches the hearts of all Thai people.

4. Very few directors would be considered worthy of even attempting this story. A director would have to be very careful not to abbreviate or alter the plot for dramatic value. Retaining period detail and accuracy would be very important.

But for a foreign audience with no appreciation of Thai royalty, Thai history, Thai politics or Thai culture, much of "Suriyothai" simply went over their heads.

When one stripped away the cultural significance, what was left was a rather long film, with a plot sometimes difficult to understand, wooden acting, beautiful to look at, and some epic battle scenes.

When judging "Naresuan" therefore, one has to accept that this film shares a lot in common with "Suriyothai".

1. It takes its plot from a famous episode from Thai history.

2. It is again the true story of a famous Thai royal who waged war against the Burmese (the historical enemy of Thailand)

3. It is directed by the same director.

4. It was produced with the support of the Thai Royal family.

5. Its plot has not been simplified for dramatic value, but contains a lot of characters all entwined in a complex way that might be unfathomable to a non-Thai audience.

In fact, it is probably true to say that in every way it is like "Suriyothai" but more so.

"Suriyothai" was long. 'Naresuan' is longer - in total around nine hours.

"Suriyothai" was the most expensive Thai film ever made. "Naresuan" cost more than twice as much.

"Suriyothai" broke box office records in Thailand. "Naresuan" after one week has already beaten those records.

So, in writing a review of "Naresuan", it is very important to understand the film within its context, as a film that is so particularly 'Thai' that perhaps a Western viewer is incapable of looking at it from the same perspective.

One problem with the depiction of Royal characters is that they must always be depicted with dignity, respect, aplomb. This means that in many scenes, the main characters are adopting stiff, regal poses which greatly limits their acting freedom.

Similarly, many of the shots of throne-rooms are beautifully composed, perfectly lit, wonderfully detailed, but after repeated scenes, tend to feel rather static - like a series of beautiful formal portraits. Even when the camera moves, frequently dollying and craning, it is always with a certain formal grace.

Thus, I think a Western viewer might criticise what could be seen as stilted performances and a very formal shooting style.

One might argue that there are too many characters and that some of the complex royal politics are hard to follow. But of course, if one has set oneself the task of documenting a well-known period of history, it is almost impossible to edit characters and events for dramatic purposes.

So, ultimately while it is perhaps easy to find fault with "Naresuan" from the perspective of Western film-making, I think one has to realise that it stands apart - as a particularly Thai phenomenon.

I have one regret. MC Chatrichalerm Yukol - to use the director's proper name - will be remembered internationally and in Thai film history as the director of these big epic royal chronicles. But I can't help feeling that working within the restrictions of this genre has somewhat masked his true talent as a director. We all remember Sir David Lean for the grand spectacles of "Lawrence of Arabia" and "Dr. Zhivago", but for me an equally important film was "Brief Encounter", the story of an illicit romance between two people in a small town - not epic at all. Or how about Richard Attenborough - whose epic "Gandhi" attracted so much attention - but managed later to make "Shadowlands" - again a much smaller, more personal story. MC Chatrichalerm Yukol has made a number of ground-breaking films in the past tackling controversial subjects such as rural poverty and prostitution. In a way, I would rather swap all the grand spectacle of these royal epics for some of the real compassion and conviction of the earlier, smaller films.

For me, the best scenes in "Naresuan" were not the scenes with thousands of extras and grand sets. They were the informal, playful scenes of the three children. Just as in the film the three children were outside the palace and free from the formal bonds, etiquette and royal protocol and could play, explore and develop, it felt like the director also enjoyed the same freedom in these scenes.

It is important to note that "Naresuan" is a trilogy, and these comments are based on viewing only the first film.

Paul Spurrier

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