Directed by Prachya Pinkaew
Written by Prachya Pinkaew, Panna Rittikrai (story); Suphachai Sittiaumponpan (screenplay)
Starring Tony Jaa, Petchtai Wongkamlao, Wannakit Sirioput, Pumwaree Yodkamol
Genre: Action / Crime / Drama / Thriller
Country: Thailand
Runtime: 105 minutes
MPAA Rating: Rated R for sequences of strong violence, language, some drug use and sexuality

Evaluation: 8/10
by Greg Ferguson





Every now and again those of us more secular people are cautioned by people of varying religious persuasions about the corruptive dangers of living godless lives, and in a sense this is the very ambition behind Ong-bak. Fashioned as a relentlessly awesome display of martial arts ass-kickery by way of Muay Thai expert and former stunt man Tony Jaa, it is easy to regard it as just that - a one-dimensional action vehicle for a showboating star. I certainly didn't expect much in the way of substance going in (who ever does with martial arts movies anyway?), so it was a surprise to discover a meaningful subtext about the prevailing goodness of spiritual belief - especially considering how frequently Jaa's pacifist character Ting gets into fights, and how much we're meant to relish this. Of course, when you've got moral justification for wreaking violent mayhem on society's scoundrels, then you might as well do your job and take pride in seeing it done well.

The source of Ting's righteous indignation is the theft of his rural village's stone idol depicting the god Ong-bak - more accurately, its head. A city ruffian named Don (Wannakit Sirioput) absconds with it after failing to negotiate a legitimate transaction for it with a village elder, and everyone comes to the horrible realization that it's missing with despair for themselves as a community deprived of religious guidance. Ting, being a man of religion and a recently trained student of Muay Thai fighting, volunteers himself to head to Bangkok where he will meet up with a villager's son, Humlae (Petchtai Wongkamlao), in the hopes of finding Don and retrieving the head. Naively well-intentioned and idealistic, Ting arrives in the big city a "hick" with few allies (Humlae, embarrassed by his humble beginnings in the village, has taken on the name George and the persona of street urchin) and bigger challenges than simply tracking down Don. It is by his own fervour and almost divine physical ability that he is able to progress with his quest at all.

Of course, Ting's one-man-army shtick is ludicrous considering the sheer number and strength of his many opponents, so daft in technique and approach that they can't find the wherewithal to send any more than one person at a time to meet him or use more effective weapons in order to stop him. Lesser films invite derision from viewers for this reason, especially when the hero isn't perceived to be in any real peril; however, part of Ong-bak's appeal is its most impressive avowal that all of the stunts were actually performed by its actors without any of the usual tricks of the trade. Each wince-inducing landing and each blunt object hurtled are endured by the film's stars in a winning bid for authenticity, all the more important considering the way we're meant to identify with Ting and his mission. Ting risks it all for his religion just as Jaa does for his role in the film, and the effect is sincere admiration.

Since this is a martial arts movie based on a man who firmly believes against using violence unless it's a last resort (upon completing his Muay Thai training, his master warns him against ever using it), the film's requisite abundance of fight sequences threatens to betray his principle, yet they are branched into the story quite nicely without coming off as vain or exploitative. As Ting investigates the criminal underworld where Don lurks, he has the misfortune of stumbling into a series of tournaments where entrants compete for cash prizes as bystanders place their own bets. Humlae is his unwitting accomplice, trying to score some fast bucks on his muscle, but once Ting proves his worth as a fighter he begins to realize - just as we do - that Ting's fury and energy are extensions of his deeply ingrained belief system. He has a noble cause, and gradually it dawns on Humlae that his aimless existence may be better served by aligning himself with something of value beyond money (which, as it turns out, Ting rejects when he's named champion of the ring).

Regardless of one's religious beliefs, Ong-bak appeals to the drive most of us share to ultimately do good, see justice done, and devote one's life to a purpose as Ting does and Humlae slowly learns to. Among the many eye-catching sequences and set pieces, perhaps the most memorable and essential one is the larger-than-life stone head of another deity which is severed from its rock body and collapses on Humlae and one of Ting's enemies. A spectacular act of God in a very concrete sense, the result is simultaneously rewarding and painful. Each person faced with their mortality, the message seems to be quite clear: we're all bound to be struck down by death, so do we want to go out as someone selfish and corrupt or as someone who tried to live their life with honour and virtue?

(Ong-bak is available on DVD and may be rented from Spin It Video located at 15 Lewis St., Moncton.)