BLISS RATING: ★★★
“Every meeting leads to a parting.” – Quote from Khemjira
There are only two reasons to watch this series. One is for the metaplot to the story itself. The horror fantasy theme of it is simply engrossing. As long as that portion was involved, this story was most extraordinarily entertaining. The second reason is for the antagonists; as they far outshined the protagonists. They were more engaging in terms of depth of quintessential personifications, acting, emotional impact, and frankly just the spirit of the story (no pun intended).
Who really S.T.O.L.E. this series? It is exceptionally rare for me to begin a review with this subtopic but candidly, without the antagonists, what else is there interesting to watch? There is nothing further to capture your imagination except for the evilness and dastardly deeds of Rampheung and her army of ghostly minions as well as the other transcendental occurrences. Green Ausadaporn as Rampheung deserves our utmost respect for taking an iconoclastic role and turning it into an instant classic performance. She went from an ingenue to literally a goddess of the underworld. I was completely mesmerized by her performance and captivated by her acting. Her acting also personified the exact definition of what evil incarnate looks like. Yet we could still see a sliver of humanity in her every once in a while. No one came even close to matching her skills in displaying emotional depth to the character she played. She did so with complete focus. Her performance always had me guessing what and how she would try and end the life of Khemjira since that was her main thrust in all her endeavors. And admittedly for good reasons. She was wronged, maliciously and with forethought. So, she cursed them upon her death. But her revenge, as she found out, did not and could not satisfy what was really at the root cause of her malevolent actions. This story belongs to Green Ausadaporn and kudos for some of the finest acting I have seen in a Thai drama in a long time. This role could have been so diminutive, but she elevated it and made evil actions frankly understandable. This role could have easily become a parody, but she dignified it by giving us an understanding of why Rampheung’s actions were so purposeful and thus satisfying for her. In a weirdly ironic sense, we could almost relate to her pain or at least sympathize with it. That is some fine acting when such an evil character can do that – when we can loathe her and yet identify with her pain. At the end, we do hope she is able to reunite with her son again. Somehow, Green made this part feel so real that I began to believe that perhaps if there is a Rampheung, her Karma will allow her to have inner peace and kindred transitions. Kudos for some exceptional acting. A special shoutout needs to go to the make-up artists who kept her looking sinister and malefic throughout. In fact, the make-up artists and special effects units for this production deserve special kudos for maintaining a high sense of scariness and evilness throughout the series. Well done!
The story rapt you with its supernatural elements, including magic, mystic incantations, and frequent exorcisms. Since a lot of this is foreign to me as a Westerner, I am enthralled and captivated by the spiritualism of it all. As I stated, the story is very entertaining and its production value and special effects are some of the best I have seen in a Thai series.
Rampheung placed a curse on the offspring of a family that spurned and lied about her. All males before they reach their 21st birthday must die. Therefore, the last in the line to be born is Khemjira, a female name given to him by his mother in the hopes that the curse would bypass him. Unfortunately, Khem (Namping Napataskorn) is not so lucky. It is a ruse that does not work. Even Khem’s good friend, Jet (FirstOne Wannakorn) who does have special abilities and insights can only forgo so much before Khem’s 21st birthday. However, he knows of an expert Shaman named Peem (Keng Harit) who reluctantly agrees to help Khem. Peem is a strikingly handsome man who is a Master in the mystic practices. Being somewhat laconic and very aloof, his breathtaking beauty in and of itself is almost overwhelming. In the complex web of trying to help him, Peem falls deeply in love with Khem and Khem with him. As part of the summer training program, Chan (Tle Mantimum), a psychology student spending the summer as in intern at the retreat, realizes that he too does also have some precognition abilities as well. Although he and Jet initially do not get along when they first meet, a bond between them forms when helping to protect Khem. As Jet and Chan draw closer to each other, a gentleness occurs and both begin to see one another differently. An affinity develops with intimacy ensuing, forming, by what they described, as a love that becomes directional to a life-long commitment to being together.
Having said this about Rampheung, we must get to the protagonists’ roles. However, what the director forgot to give both Namping as Khem and Keng as Peem were personalities. And also, any sense of personal growth in them. Almost too handsome, Master Peem from the very beginning, comes across as unapproachable. While willing to help people, there is a lack of warmth about him. Initially with Khem, he is detached and distant. Despite the fact that he slowly seemed to gravitate towards Khem, for him to suddenly say that he loved him, rang hollow to me. He hides behind the mask of ‘Master’, pretending to be aloof and untouchable, yet falls madly in love with Khem in ways that I simply did not see. Honestly, I am not sure how and why their relationship happened, which is disappointing. Are we supposed to presuppose because of a few longing glances that they are in love with one another? And when they finally ‘kiss’ or make attempts to be together, it is always half-hearted or lukewarm. For two young men to be in ‘love’, one would never guess that they were. In some sense, Khem’s personality was even more one-dimensional. He lacked any growth emotionally as well, perhaps partly because he was always trying to fight to stay alive. Still, he has no animus. No gumption. His affect is always so flat even when confessing his ‘love’ for Peem. It just rang hollow as well to me. Time and again, I take issue with performers who cannot cry during emotional scenes and pretend or display ‘crocodile tears’. If you cannot cry on demand and consistently over-and-over for the same scene, you simply cannot act. I lose interest in whatever vested emotional scene that is supposed to be conveyed. These two ironically have no screen chemistry together or at least not enough for me to believe that they are a couple that is deeply in love. Frankly, they were boring. There just is no spark.
While FirstOne Wannakorn as Jet and Tle Mantimum as Chem were a bit more active in the headway of their relationship, they too forgot to turn on deep personality attributes. Realizing that they are a ‘secondary couple, they still had more intimacy and connection as a couple than did Khem and Peem, which is ironic. While they are adorably cute as a couple, it all fell apart, unfortunately, after their big sexual night together. They slide back into a ‘friend-relationship’ rather than elevate their romance to another level of intimacy. As usual, seemingly with Thai BLs as of late, gay relationships belly flop into a comfortable pre-pubescent stage of requisite development as an obligation. It is as if two young men (not boys) are incapable of doing two actions at the same time – maintain a relationship and continuing their education. Remember, gays cannot walk and chew gum at the same time. Everything is presented as an either/or choice; never let us try and do both. I found that all so disheartening, stupid, and another form of infantile thinking about what gay relationships are all about.
This is an intense series for sure. Because the protagonists for the most part have no real personalities, the series dragged on with mundane storylines only carried on by some fine acting and scenes by the support performers. This whole series frankly would have fallen apart without the eclectic array of antagonists and the plethora of tragedians propping up the dullness in who the protagonists were. Mystifying as well, several ‘red herrings’ are also peppered throughout the story to try and solidify and build-up the rather weak development of a relationship between Khem and Peem. I considered that subterfuge extremely distracting and felt that those simple diversions indicated weak storytelling.
The ending is surprising. And pleasantly so. I liked it a lot. Then for some unknown reason, the production decided to bore us to tears with a quixotic conclusion to the ‘love story’ that was completely unnecessary and unwarranted. Without spoiling too much, asking someone to marry you with unemotional detachment in a monotone voice was like listening to a distant relative read a wedding announcement from a newspaper. And the equally profound romantic response of grunting, “Oh, ok. Sure.” It brought me to tears – of laughter. That honestly was downright silly and astonishingly anticlimactic. The relationship with Jet and Chem became even more juvenile. They continue to endure in the infantile mindset that the writers and director want to place them in – by deciding not to decide to marry any time soon when ironically those two made a pledge early on to be with each other forever. That made no sense at all. Should that not have been the other way around?
I loved the story but disliked the superficial execution of the BL portion. Memorable are the antagonists and many of the supporting characters (especially my two little house spirits, Thong (Udon Chayanon) and Ake (Ryuji Nachawakorn, who will steal your heart as well) but despised the way all four of the protagonists were presented as either lacking in personality traits or displaying any serious commitment to a relationship. (Sorry, that homespun Pollyanna ending just did not work – too theatrical, forced, and unrealistic).
Once again, gay relationships are shown as being unserious and are presented as pre-pubescents exercises that never show any real depth to commitment and/or devoid of any desire of physicality to love. Or those acts are too ‘shameful’ even if they are done contextually or innocuously and therefore must be backtracked and made to go down a right (acceptable) path. Or worse than all that, a relationship is presented as to what an idealized version of what a gay couple reside in the Land of Oz, ought to be, devoid of a serious tethering to any reality.
Watch this series only for the occult story, not for any BL. That felt and looked fake.
Leave a Reply