Rattana Pestonji

He died just as he was giving a speech to government officials to call for support of a domestic industry he saw as coming under threat from Hollywood films.

• Name — Rattana Pestonji • Native Name — รัตน์ เปสตันยี • Birth Name — Rattan Pestonji • Born — 22 May 1908 • Birthplace — Bangkok, Siam • Died — 17 August 1970 • Place of death — Bangkok, Thailand • Other Names — R. D. Pestonji • Occupation — * Film director • cinematographer • screenwriter • Years Active — 1939–1970 • Spouse — Chuen Thappathat (1937) • Children — 3 • Awards — Asia Pacific Film Festival Best cinematography 1954 Santi-Vina

Centennial of 'father of contemporary Thai cinema' celebrated

He was born Rattan Pestonji (also sometimes referred to as R. D. Pestonji or Ratt Pestonji) in Bangkok, to an Indian Parsi family. At an early age, he showed an avid interest in photography. He was so adept at dismantling and reassembling his camera, that it was decided he should study engineering at the University of London. He spent his early life studying in India and UK. Between studies in London, he was able to take photos and he picked up several awards in photographic competitions. He returned to Thailand with an engineering degree, but continued to pursue his interest in photography and found a job as a film salesman. It was then he began to explore an art form that was still in its infancy – cinematography.

In each of his films, Rattana sought to experiment and raise the standard of production. At a time when post-dubbed 16 mm films were the industry standard in Thailand, Rattana wanted to use 35 mm stock, which was more expensive and technically difficult to work with, but it allowed for the sound to be recorded along with the image. His first 35-mm film was the drama, Santi-Vina, on which he worked as cinematographer only. It was directed by Thavi Na Bangchang (better known as "Kru Marut") with a screenplay by Vichit Kounavudhi. Santi-Vina was among the first Thai films to be sent to an overseas competition, the 1954 Asia Pacific Film Festival in Tokyo. It was a sensation, sweeping the awards for best cinematography, art direction and the Golden Harvest Award for best Asian cultural presentation. Still, Rattana would run afoul of the Thai government, and upon his return from the festival, he was charged $5,000 tax for the $16,000 Mitchell Camera he won, and was fined 1,000 baht for failing to clear his film with the Thai censor.

Undaunted, Rattana continued his work, working as cinematographer on the romantic drama Chuafah Din Salai (Dying Forever) and then taking the director's chair for Rongraem Narok. For Rongraem Narok, (literally hotel hell, but entitled Country Hotel in English), he employed the use of one camera on a single set, similar to Hitchcock's 1948 film, Rope. The film had a bit of everything – rustic comedy, music (including a full ballad by a Filipina singer), rough-and-tumble action and dark, thrilling drama. His first color film was 1958's Sawan Mued (Dark Heaven), which featured songs and some dramatic battlefield scenes. Next was Prae Dum (Black Silk), which is regarded as Thailand’s first film noir (though Country Hotel had film noir elements as well). It is regarded as Rattana's best work. He performed almost all the major tasks himself, acting as writer, producer, director, cinematographer and editor. For his efforts, Prae Dum was included in competition at the 11th Berlin International Film Festival in 1961. His final film was made in 1965, Nahmtaan Mai Waan (Sugar Is Not Sweet). A romantic farce, it is a vibrant film that takes visual cues from the pop-art style of Western films of the time. The film concerns a wealthy Thai aristocrat who owns a hair treatment business and wants to repay a debt to his dear Indian friend.

Whilst Rattana was artistically respected, his films – featuring unhappy endings – were mostly commercial failures. Frustrated, he retired from filmmaking. However, he continued to be involved with the industry and was a tireless lobbyist. He co-founded and headed the Thai Film Producers Association. On the night of August 17, 1970, at the Montien Hotel in Bangkok, Rattana was set to address film producers and Thai government officials in a meeting called to discuss ways of supporting the film industry. Finally, at 9 pm, after an address by Economics Minister Bunchana Atthakorn and speeches by numerous other filmmakers and officials, Rattana's time to speak came. Here is an accounting of his speech: When I first started out in the movie business... Sadet Ong Chai Yai [Prince Bhanu Yugala] had just hired me as a cameraman for a film he wanted to shoot called Phan Thai Norasing (1950 film). I've spent every baht I ever earned on my productions and now I have to make adverts just to survive. The foreign film distributors have been preying on Thai cinemas... Rattana faltered then collapsed to the floor. He was rushed to nearby Chulalongkorn Hospital, but he died three hours later of a massive coronary.

• Tang (short) (1937) – • White Boat (short) (1939) • Phanthaay Norasingh (Oarman Norasingh) (cinematographer) (1949) – • Tukkata Jaa (Dear Dolly) (1951) – • Santi-Vina (cinematographer) (1954) – • Chuafah Din Salai (Forever Yours) (cinematographer) (1955) – • Rongraem Narok (Country Hotel) (1957) – • Sawan Mued (Dark Heaven) (1958) – • Phrae Dum (Black Silk) (1961) – • Namtarn Mai Warn (Sugar Is Not Sweet) (1964) –