Movie-khmer Drama

[Meinard Hartmann]

TheKilling Fields is a 1984 British biographical drama film about the Khmer Rouge regime in Cambodia, which is based on the experiences of two journalists: Cambodian Dith Pran and American Sydney Schanberg. It was directed by Roland Joff and produced by David Puttnam for his company Goldcrest Films. Sam Waterston stars as Schanberg, Haing S. Ngor as Pran, and John Malkovich as Al Rockoff. The adaptation for the screen was written by Bruce Robinson; the musical score was written by Mike Oldfield and orchestrated by David Bedford.

The film was a success at the box office and an instant hit with critics. At the 57th Academy Awards it received seven Oscar nominations, including Best Picture; it won three, most notably Best Supporting Actor for Haing S. Ngor, who had no previous acting experience, as well as Best Cinematography and Best Editing. At the 38th British Academy Film Awards, it won eight BAFTAs, including Best Film and Best Actor in a Leading Role for Ngor.

In 1999, the British Film Institute voted The Killing Fields the 100th greatest British film of the 20th century. In 2016, British film magazine Empire ranked it number 86 in their list of the 100 best British films.[3]

In 1973 Phnom Penh, the Cambodian national army wages a civil war with the communist Khmer Rouge group. Dith Pran, a Cambodian journalist and interpreter for The New York Times, awaits the arrival of reporter Sydney Schanberg at the city's airport, but leaves suddenly. Schanberg takes a cab to his hotel where he meets up with photographer Al Rockoff. Pran meets Schanberg later and tells him that an American B-52 has allegedly bombed Neak Leung. After Schanberg and Pran go to the town and confirm the allegation, they are arrested when they try to photograph the execution of two Khmer Rouge operatives. They are eventually released and Schanberg is furious when the international press corps arrives with the U.S. Army.

Two years later, in 1975, the Phnom Penh embassies are evacuated in anticipation of the Khmer Rouge's arrival. Schanberg secures evacuation for Pran's family, but Pran insists on staying behind to help Schanberg. The Khmer Rouge move into the capital, ostensibly in peace. During a parade through the city, Schanberg and Rockoff are met by a detachment of the Khmer Rouge, who immediately arrest them. The group is taken to a back alley where prisoners are being held and executed. Pran, unharmed because he is a Cambodian civilian, negotiates to spare his friends' lives, and the group retreats to the French embassy. The Khmer Rouge orders all Cambodian citizens in the embassy to be handed over, to which the fearful ambassador complies. Knowing that Pran will be imprisoned or killed, Rockoff and fellow photographer Jon Swain try to forge a British passport for Pran, but the deception fails when Pran's image on the passport photo disappears, as they lack adequate photographic fixer. Pran is turned over to the Khmer Rouge and forced to live under their totalitarian regime.

The film has been criticized by some who lived through the actual events. Al Rockoff expressed dissatisfaction at the portrayals of himself and Schanberg,[9] while Denis Cameron sought to have his consultative credit removed upon watching the completed film.[10]

Besides its place as 100th on the BFI Top 100 British films list, The Killing Fields is also 30th on Channel 4's list of the 100 Greatest Tearjerkers,[24] and 60th on the AFI's 100 Years...100 Cheers list.

The Killing Fields was released on DVD by Umbrella Entertainment in Australia in March 2010. The DVD includes special features such as the theatrical trailer, audio commentary with Roland Joff, an interview with David Puttnam and a BBC documentary titled The Making of The Killing Fields.[25] In April 2013 Umbrella Entertainment released the film on Blu-ray in Australia.[26]

In the UK, the film was released on DVD and Blu-ray by Optimum Releasing and was released in North America on DVD twice by Warner Brothers, both as a regular release and later as part of their Warner Archive Collection.

Haing S. Ngor, who plays Pran, was himself a survivor of the Khmer Rouge regime and the labour camps.[27] Prior to the Khmer Rouge's 'Year Zero' he was a doctor based in Phnom Penh. In 1975, Ngor was one of millions who were moved from the city to forced labour camps in the countryside. He spent four years there before fleeing to Thailand.[28]

Of his role in the film, he told People magazine in 1985: "I wanted to show the world how deep starvation is in Cambodia, how many people die under Communist regime. My heart is satisfied. I have done something perfect."[30]

Cinema in Cambodia began in the 1950s, and many films were being screened in theaters throughout the country by the 1960s, which are regarded as the "golden age". After a near-disappearance during the Khmer Rouge regime, competition from video and television has meant that the Cambodian film industry is a small one.

As early as 1899, short documentary films were shot in Cambodia by foreign filmmakers. By the 1930s, King Norodom Sihanouk had a desire for films and dreamed of stardom before the French chose him to be king. Even after his selection, he kept in mind the idea of acting or directing. The first Cambodian-made films were made in the 1950s by filmmakers who had studied overseas. They included Roeum Sophon, Ieu Pannakar and Sun Bun Ly. The United States Information Service held training workshops during this era and provided equipment. One film from this time was Dan Prean Lbas Prich (Footprints of the Hunter), made by off-duty Cambodian military personnel using American equipment and containing footage of Cambodian hill tribes.

Sun Bun Ly's first film was Kar Pear Prumjarei Srei Durakut (Protect Virginity). He also established the first private production company, Ponleu Neak Poan Kampuchea. His success inspired others, such as Ly Bun Yim, to try their hand.[4]

In the 1960s, several production companies were started and more movie theaters were built throughout the country. This was the "golden age" of Cambodian cinema, when more than 300 movies were made.[5] Movie tickets were relatively affordable and Cambodian-made movies were popular with all classes in Cambodia. Movie-lovers favored movies featuring traditional Cambodian legends. At the time, about two-thirds of the films released were boran (films of legends). Among the classic films of this period are Lea Haey Duong Dara (Goodbye Duong Dara) and Pos Keng Kang (The Snake King's Wife) by Tea Lim Kun. Other films followed, such as Crocodile Man, The Snake King's Wife Part 2, The Snake girl and My Mother is Arb. These films found success both in Cambodia and abroad.

During the Golden Age, some Cambodian films were released abroad. and during the 1970s they were well received internationally.[6] Pos Keng Kang, a Khmer Horror period,[clarification needed] was a big hit in Thailand, and Crocodile Man (1974) was screened successfully in Hong Kong. Such successes opened the way for foreign screenings of Khmer films such as Puthisean Neang Kong rey and The Snake Girl. Stars during this era included actress Vichara Dany, who made hundreds of films but lost her life during the Khmer Rouge regime.[4]

The star of Pos Keng Kang, actress Dy Saveth, escaped Cambodia during the Khmer Rouge rule. She has returned to act in films and to teach at Royal University of Phnom Penh. A leading man of the era was action star Chea Yuthon, and his mistress Saom Vansodany was a famous actress of the sixties and seventies. Their son Thorn Tharith made an autobiographical drama, Chheam Anatha (The Blood of An Orphan), about the family's struggles during the Khmer Rouge time. Kong Sam Oeurn and Van Vanak are other famous leading actors of the era. They are believed to have perished under the communist regime.

In the years leading up to the takeover by the Khmer Rouge, refugees crowded the cities and movie-going remained extremely popular. Among the films at this time were the love-triangle melodrama On srey On and The Time to Cry. Both films featured the music of popular Cambodian singer Sinn Sisamouth.

The industry's decline began in late 1974, when the fall of Phnom Penh to the Khmer Rouge was imminent. After the Khmer Rouge takeover, the cities were depopulated and film audiences shrank. The Khmer Rouge itself made some propaganda films to screen at collective meetings, and diplomatic visits were recorded on film.

With the invasion of Cambodia by Vietnam, the fall of the Khmer Rouge and the installation of the Vietnam-backed government of the People's Republic of Kampuchea, movie houses in Phnom Penh were re-opened, but there was no domestic film industry, because many filmmakers and actors from the 1960s and 1970s had been killed by the Khmer Rouge or had fled the country. Negatives and prints of many films were destroyed, stolen, or missing. Many of the films that did survive are in poor condition, as there has been no effort at preservation.

Cinema in Cambodia at this time consisted of films from Vietnam, the Soviet Union, East European socialist countries and Hindi movies from India; films from other nations, such as Hong Kong action cinema, were banned. Audiences soon tired of the socialist realism and class struggle depicted in the films.

Cambodia's film industry began a slow comeback starting with My Mother is Arb (or Krasue Mom), a horror movie based on Khmer folklore and the first movie made in Cambodia after the Khmer Rouge era. Cambodian production companies began to re-emerge and tread the fine line of making films that would entertain people without incurring the wrath of the government. Films from this period, such as Chet Chorng Cham (Reminding the Mind) and Norouk Pramboun Chaon (Nine Levels of Hell), told stories about the miseries endured under the Khmer Rouge, or about lives under the Vietnam-backed regime. Soon there were more than 200 production companies making films that competed for screenings at 30 cinemas in Phnom Penh.

3a8082e126