Rattana Pestonji

Rattana Pestonji (รัตน์ เปสตันยี; ) was a Thai film director, producer, screenwriter and cinematographer and is regarded as the father of contemporary Thai film.

Although his filmography was brief, his films placed Thai cinema on the world stage.

He also pushed for innovations, and was one of the first Thai directors to use 35-mm film.

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.

He was born Rattan Pestonji (also sometimes referred to as R. D. Pestonji or Ratt Pestonji) in Bangkok, to Indian-Parsi parents.

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 1937, Rattana shot his first film, a short called Tang, about a young Thai girl.

Tang won the Amateur Cine Competition in Glasgow, Scotland and Rattana was given the top award by Alfred Hitckcock, who was president of the jury.

He made another short called White Boat in 1939 and it was shown at the New York World Festival.

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.

Rattana continued his work in film sales, but he was given his big break into filmmaking in 1949 when he was asked by Prince Bhanu Yugala to act as a cameraman on the film Phanthaay Norasingh (Oarsman Norasingh).

Rattana showed great talent as a cinematographer.

Around this time, Rattana formed his own studio, Hanuman Films Company.

He directed his first feature film, Dear Dolly in 1951.

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.

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.