Customer Reviews

Last Life in the Universe

5 star:		(25)
4 star:		(13)
3 star:		(3)
2 star:		(3)
1 star:		(1)

 

 

Pen-Ek Ratanaruang's 2003 film, Last Life in the Universe, is an intelligently crafted drama of two polar opposites who meet under unusual circumstances. Kenji, Japanese, is living in Bangkok, and is a suicide-obsessed neat freak librarian whose brother is a yakuza. The brother, played by none other than Mr. Intensity himself, prolific Japanese director Takashi Miike, comes to the librarian's apartment to hide out for a short time but while there, tragedy ensues and Kenji has to leave, fast.

Noi, a native Thai (the director is Thai) is arguing with her younger sister in the middle of traffic. When they stop in the middle of a busy thoroughfare, yelling at each other, Noi telling her sister to leave, tragedy of a different kind occurs and Noi is left completely numb.

Noi, as it happens, is a total slob. When these two meet--both in their 20s--there's a halting, push-pull back and forth that is underscored by lack of familiarity with the other's language. They speak to each other in hesitant English that gives their attempts at connecting to each other a much greater poignance and heartfelt feeling than if they'd been both Thai or both Japanese.

The subtlety of this connection is so sensitively created that it is a real pleasure to watch this film, to see two mismatched people try to converge emotionally. In one brilliant scene, Noi lies with her head in Kenji's lap and for a brief moment, we see not Noi lying there, but her younger sister, now gone.

Interestingly enough, this film was submitted to the Cannes Film Festival at the same time as Lost in Translation with similar thematic elements and is, in my opinion, a far better film. Unfortunately it did not win anything. The director's previous work, which has garnered strong praise from various sources, is, alas, not available domestically; it definitely should be.

UPDATE: Good news! The comedy 6ixtyNin9 by the same director will be out domestically in January 2005.

A beautifully made film that should be seen by those tired of American cinematic cliches and want something fresh, original, and unique.

Very highly recommended.

Originally concieved as an excuse for four cinematic talents to combine forces and make a film together (i.e. "to have some fun"), *Last Life in the Universe (Ruang rak noi nid mahasan)* has moved above and beyond its humble genesis to become an art-house watermark for the burgeoning Thai film industry, the splendid result of multi-cultural synergistic craft. The first mature outing for writer/director Pen-Ek Ratanaruang, *Last Life in the Universe* concerns itself with two disconnected spheres, slowly orbiting the other, seeking solace against the grief of the past.

Kenji, a Japanese ex-pat living in Bangkok, spends his days working in a library, reading voraciously and constantly daydreaming about suicide. "They say death is relaxing," he reflects in the beginning, "no pressure...no responsibilities." Kenji makes several efforts to fulfill his daydreams, to no avail: either his obsessive-compulsive tendencies interfere (he cannot resist the buzzing of a doorbell, or the ring of a telephone), or else outside events interrupt, one of which brings him into contact with Noi, a wildfire Thai escort and the polar opposite of Kenji's ultra-neat introvert. Due to circumstances which I will not reveal, the two end up at Noi's huge, filthy house in the rural outskirts of Bangkok, haltingly communicating in Thai, Japanese and English, slowly overcoming the barriers of language and temperament to engage in a languid, touching relationship. In the background, dangerous elements begin to emerge and threaten this tenuous connection; but Kenji and Noi, oblivious, continue to drift toward a hazily-imagined horizon of love and contentment.

Ace cinematographer Christopher Doyle (*Hero*) adds his usual brilliant touch, capturing the integral element of ~space~ within Noi and Kenji's divergent domains, framing the characters so that all that unsaid speaks volumes. This is necessary to the film, in that, by the director's own admission, the script is "thin." Certain clues as to the man beneath inscrutable, closed-mouthed Kenji are represented in this manner (a mere moment of revelation - physically - in turn exposes a great deal of the ex-pat's backstory), as is the development of the relationship proper. Tadanobu Asano (*Ichi the Killer*) is almost unrecognizable as the stiff, emotionally-repressed Kenji, and Sinitta Boonyasak as Noi is simply a delight, playing well off Asano and exhibiting some real talent. Prolific 'shock n' drang' film-maestro Takashi Miike makes a brief cameo as a Yakuza, along with a couple of stock thugs (Yoji Tanaka and Sakichi Sato) who have graced any number of Nihon-noir flicks and even Quentin Tarantino's *Kill Bill* metahomage.

Others have remarked on the similarity of this film to *Lost in Translation*, and I find it interesting that both were submitted to Cannes at the same time. Both films contain characters in transition-phase, struggling with language-confusion and inner trauma; both are slowly paced and scored to dreamy ambience. I consider *Last Light in the Universe* to be the better film, preferring the contrast of Noi and Kenji to that of bored, spoiled Westerns bouncing around the teflon glamour of Tokyo, sulking and sighing in the plight of their apathy; moreover, *Last Light* contains brief moments of violence, exploitation and surreal visual inspiration that startle the viewer from the languid mood of the pacing, giving the occasionally-cloudy atmosphere a much-needed grounding in reality.

DVD comes with an interview of Pen-Ek Ratanaruang about the making of the film, an insightful commentary track and photo gallery courtesy of Christopher Doyle, and trailers for several art-house flicks. Happily, the ambiguous, multi-interpretive nature of the ending is not set in concrete by either Pen-Ek or Doyle. I am content to reflect on the parable of the lizard:

"...Without family, friends, even enemies...what was there to live for?"

Kenji's emergence from a soul-crushing despondency to answer this vital question, be it 'real' or simply hopeful fantasy, is enough. Five Stars.

Kenji, Asano Tadanobu, is a quiet man who is not only fastidiously clean, he labels which shoes he will wear for Monday, Tuesday, etc. and even has labeled his slippers for everyday use, but he also harbors a deep desire to commit suicide. However, before he has the chance to hang himself, slit his wrist, or blow his brains out something always seems to interrupt him. Near the beginning of the film, Kenji attempt at suicide is foiled when his older brother, a member of the yakuza, has unexpectedly come to hide out at his younger brother's place because he was caught having sex with the boss's daughter. Of a meek nature, Kenji allows his brother to stay at his book-filled apartment.

To pay the bills, Kenji works at The Japan Foundation's library where he is the target of the attempted seductions by the head librarian. However, Kenji's eyes are focused on a young Thai girl who works as a hostess, dressed in a sailor uniform, who comes to the library to read Japanese children's books.

Kenji's life might have remained unremarkable, but after his brother is gunned down by a yakuza and Kenji kills the yakuza with his brother's gun, Kenji leaves his hermetically sealed and sterile apartment. Standing on top of a bridge and daydreaming about drowning to death. Kenji encounters the young bargirl who has just been ordered to get out of her sister's car because she had intercourse with the boyfriend of the former. However, before they utter a word to each other a passing car hits the young girl. What follows is an odd relationship shared between Kenji and Noi, the bargirl's sister.

I picked up Last Life in the Universe on a whim a few months ago because its stars my favorites Japanese actor Asano Tadanobu. However, as the months went by I heard a number of good things about the film, including that Christopher Doyle was the cinematographer. The dialogue between Kenji and Noi is quite interesting because it consists of a mixture of Thai, Japanese, and English and although they are unable to fully communicate with each other fully through words, the chemistry between Asano and Sinitta Boonyasak is amazing.

Although the film consists of little more than dialogue between two characters, I found myself deeply drawn into it because of Kenji's taciturn nature and Noi's energetic but sad demeanor. The film is set primarily within Noi's family home which while ramshackle gives off a warm, comforting quality. If you have the chance to check out this film, please do.

Believe it or not, this movie is sort of an atmospheric love story/comedy, but it will take you a couple of hours to figure it out. I thought that the French film CACHE had the most leisurely pace of any film I had seen in years, but LAST LIFE IN THE UNIVERSE is the current title-holder.

This is not a criticism of the film; its long takes enable us to appreciate the elegant screen compositions that director Pen-Ek Ratanaruang has created. And for the curious and the patient, we are rewarded by an intelligent and thought-provoking film that surprises us with a "magic realism" take on things about midway through.

For those of you interested in the actual plot, I'll refer you to other reviews on this site. I will say that as a Westerner who has never been to either Japan or Thailand, I can't help but wonder if there is a cultural subtext to the movie's depictions of the controlled, cold Japanese man (Kenji) and the freer, more chaotic Thai woman (Noi).

SIDELIGHT: What a polyglot; this is the first movie I've seen that uses English, Thai, and Japanese in approximately equal measures. (It's also the first film I've seen that lists its main title after 36 minutes!)

This is a very unique film. It is definitely not for everyone because of the slow pace, and the somewhat hard to follow - or believe - storyline. But for people who enjoy slow, dreamy foriegn films, this is certainly a film worth seeing.

This film struck me as more of a character study than a cohesive narrative film. The story is somewhat elliptical, and the narrative turns on some odd coincidences. There are a few parts that are truly jarring, and it kind of messes with the tone of the film, in a good way. I didn't even 'get it' all the first time I watched it, so the film does reward further viewings. The characters are very well-drawn, and their quirks and personalities come accross as much in the quiet moments of the film as they do through story and dialogue. There are a few CGI scenes and hallucinatory sequences that give a somewhat haunting tone to the film, and help the viewer get inside the heads of the characters. I am hesitant to give away anything about the premise or characters, as I was happy to be surprised, and I'm unsure if a description of the story does the film justice or might give a wrong idea about the film. If you want a story synopsis, I will direct you to other reviewers. The story is good, but not really the strongest thing about the film, and that is why I give four out of five stars.

The main actor is very good, quite subdued in this role. I was surprised to learn that he was the same actor from the explosive Takashi Miike film, Ichi the Killer. Based on these two very different performances, I am very impressed with the versatility and risk-taking of this actor, and I now want to see more of his work. The two sisters (played by real-life sisters) are also very good, I'm unsure if they are talented newcomers, or if they are well-known in their native land, but they both seem very natural and believable in their roles. The director seems to have a good rapport with his actors, and lets them inhabit the characters fully and gets very subtle performances from them.

What stands out most in this film is the art dirtection, and the incredible cinematography by Christopher Doyle. Doyle is an Australian ex-pat who has photographed many of the most memorable and gorgeous Asian films in the last 10-15 years. He is best know for collaborating with Hong Kong auteur Wong Kar-Wai. He has also filmed 'Hero' and 'Rabbit-Proof Fence', amongst many other notable films. If this film had been shot by anyone else, I don't know if it would have been so appealing. To be sure, the images are seductive and mesmerizing, and Doyle did much to add to the atmosphere of the film. The commentary on the dvd is by Doyle, and there is an extensive gallery of photographic collages done during the film that are really great, but are reproduced far too small to see the detail on-screen. I'm happy to see that the director views this film as a collaboration with Doyle, rather than treating him as a hired hand, and the film is richer for this. I actually bought this dvd before seeing it based entirely on the fact that he was the cinematographer, something I've never done. I recommend this film just to see the photography. Really, it's a lovely looking film.

Overall, I recommend checking this film out.

It's strange. It's sweet. It's kind of sad.

And it is beautiful.

This would be a little unknown Thai gem. Starring the brilliant Tadanobu Asnao, he plays a lonely suicidal man who finds love in a beautiful young Thai woman. A truly unique and beautiful story about love and loss. Helping the realistic yet dreamy tone of the film is cinematographer Christopher Doyle. This picture is beuatiful to look at and has a small bit role by cult director Takshi Miike. Highly reccomended.

"Last Life in the Universe" is one film that I've always been curious about, but never took a chance in buying (I'm more an action/sci-fi guy). I rented this little offbeat and existential theme movie, and I have to say this film will find a spot in my extensive dvd collection. Directed by Pen-Ek Ratanaruang, a Thai director responsible for "6ixtynin9", this film is beautifully shot, a dreamlike rumination on loneliness, suicide and second chances is definitely a must-see film.

Plot synopsis partially derived from back cover:
A mysterious, obsessive-compulsive, suicidal Japanese man named Kenji (Tadanabu Asano) who lives in Bangkok, Thailand, is thrown together with a Thai woman (Beautiful Sinitta Boonyasak) through a tragic chain of events. The woman is everything he is not. He is a neat freak who keeps his dishes washed and his books neatly stacked and categorized. She dresses like a slob, smokes pot and never picks anything up. It's a match that somehow works, though. Slowly and entertainingly, more is revealed about the Japanese man and why he's suicidal and living in Bangkok.

The cinematography is fabulous in this enchanting little film. While it does have overt magical moments, like when Noi's house cleans itself (as a result of her smoking pot), Noi's character transforming, the film's style is more realistic than one would expect. I saw a few subtle use of symbolism, at times, the screenplay felt like an extended dreamscape. I saw 4 very subtle symbolism; Kenji's obsessive, compulsive, "clean freak" I think means that he is trying his best to keep whatever is left in his life in order while Noi's filthy house symbolizes her indifference to what will come next in her life. Kenji's house cleaning means that he brought direction in Noi's life. Noi's transformation to her "younger" self may be an expression of her becoming more optimistic (youngsters are more so) for the future.

Tadanobu Asano (Ichi the killer) radiates pure charisma even if his character is a bit of a nerdy one at first look. I don't want to spoil anything but the way the story made its slow revelations on Kenji's character is very nicely done and kept me interested. The dynamic chemistry between Asano and Thai hottie Sinitta Boonyasak is so strong and energetic that it will draw any viewer into their blossoming relationship. Even with the film's surrealistic tendencies, the lead characters' relationship plays out realistically. They break the language barrier with the use of English, the two leads feel a bond forming between them, not love or lust, but definitely something REAL and undeniable.

"Last Life in the Universe" may have the ability to depress viewers with its subject matter, but thankfully, the director managed to pitch a lot of humorous moments with Asano's deadpan reactions as well as some comical sequences with the trio of Yakuza hitmen.

VIDEO/AUDIO: 1.70 ratio Anamorphic widescreen. Clean transfer, a bit on the softer side with nice colors. 5.1 Dolby Digital English, Thai, Japanese. The subtitles are very good where needed.

Parting Thoughts:
I am an action/sci-fi/fantasy guy, I can barely believe I am getting into " High-minded ART" films myself. Perhaps, I am getting old. The film is not pretentious, it is quite poetic and engrossing. Even though it is marked with a bit of a "sleepy" feel, the film never once failed to captivate me and will definitely not fail to engage an audience. Ponderous, "Last life in the Universe will submerge the viewer into its beautifully-drawn world from the 1st act. It is a beautiful breath of fresh air and is never boring...
Highly recommended! (4 ½ stars)

This is one of those films that you can watch over and over, because it represents what a film should be.

I am in love with Sinitta Boonyasak, who played the character Noi. I thought she did a good job of showing a woman who was wild but yet, still human, as she grieved over the lost of her sister, Nid.

Asano Tadanobu is like a man with many faces, he is probably one of the most underrated actors in any walk. This is a actor who becomes his character as one should, and his performance in this movie as a suicidal anti-social loner name Kenji, is just another notch is his list of credits.

I am hopeless when it comes to love, which these two characters found themselves in. Despite the dilemma's occuring around them.

This film in my opinion is what a film should be, (ART!). The cinematography is incredible, Christopher Doyle, I am a aspiring film maker I hope within the next two yrs we can cross paths.

I must say that I have another favorite director. Pen-Ek Ratanaruang does a good job of letting this movie flow, quite visionary, although, I am one for happy endings when it comes to two people that belong together, most of the time (predictable) is a good thing. Anyway, I look forward to more work by this talented director.


As I will also be a follower of any movie Sinitta is a part of, Im hooked! nuff said!

Last Life in the Universe is a beautiful movie studied in quiet, long glances at blank walls, and breezy afternoons through open windows. If you lack patience and/or appreciation of film as observation it's probably not for you, but if you let yourself be immersed in this movie about people half heartedly escaping from who they turned out to be it's really an experience.

Kenji, the head librarian at The Japan Foundation's library is a quiet hermit. Like many young Japanese, he is lonely. His loneliness and apathy for his own subsistence, has caused him to seek death. Kenji's entire focus is to commit suicide. Fortunately, before he has the chance to hang himself, slit his wrist, shoot himself in the head, he is interrupted by the common happenings of life, i.e., a phone call, a door bell, et cetera. Every scene, you are on the edge of your seat- certain that life is over for him. Kenji is totally doomed, until he meets Noi.

Last Life in the Universe is my favorite movie. My eyes run across this title in my movie collection, and I can't help but think about the raw chemistry that exists between the two characters.