When Art-house Director Enters Commercial Film Industry:

A Case Study of the Film "Heart Attack"

Abstract

This paper is a research on the film Heart Attack (aka Freelance Ham Puay...
Ham Phak... Ham Rak Mor) (2015) by Nawapol Thamrongrattanarit, which has
attained success in the box-office with its alternative style to the mainstream.
Using textual analysis and intertextuality to study how the art-house director
placed himself in the commercial industry by creating a film that demonstrates
both art-house and commercial elements, as a result, it shows that the key to
success is understanding the demand of the audience and embody the art-house
spirit underneath the commercial contents in a tricky way.

Keywords: Thai Cinema, Commercial Cinema, Art-house Cinema, Nawapol

Thamrongrattanarit, Heart Attack
 1

Introduction

As an industry that highly relies on consumer demands, entertaining commercial

films are not surprised to attain box-office success. Yet, the film Heart Attack (aka
Freelance Ham Puay... Ham Phak... Ham Rak Mor) (2015) directed by an art-
house film director, Nawapol Thamrongrattanarit, has been a rare case which
topped the national box-office for two weeks and recorded as the second-highest-
grossing Thai film of 2015. 1 Meanwhile, Heart Attack was the film that have
received most awards in the Thailand National Film Association Awards 2016
(The major film award in Thailand) with eight awards in total and it has
participated in various film festivals. 2 Therefore, this paper will be discussing how
Heart Attack attained commercial success with its alternative style and how
Nawapol remained his artistic style in commercial cinema.

In order to figure out the underneath factors of a box-office success, analysing the
characteristics and demands of the contemporary film industry along with their
consumers could undoubtedly provide a significant reference. A brief
understanding of it is essential as well. Therefore, this task will first start with a
brief history of Thai film industry along with some notable successful cases in
recent years. By analysing the features of successful cases, it could help figuring
out the specific demand and major characteristics of the Thai film market. Besides
of Heart Attack in particular, attention will be paying on Nawapol
Thamrongrattanarit"s previous work for analysing his filmmaking style as well, so
as to discuss the uniqueness of Nawapol's work and his role as a art-house director
. Furthermore, comparing Heart Attack with both other work by Nawapol and the
typical commercially successful cases, it could be a hint to examine whether the
film industry has affected Nawapol's filmmaking style in Heart Attack and how
Heart Attack contrasts the general commercial films accordingly.

1 Richard James Harvis, "Thai Blockbuster Heart Attack Is an Unclassifiable Gem of a Film," South China
Morning Post, July 20, 2018, , accessed April 30, 2019, https://www.scmp.com/magazines/post-
magazine/arts-music/article/2075407/thai-blockbuster-heart-attack-merges-deadpan.
2 Nawapol Thamrongrattanarit. "HEART ATTACK." NAWAPOL THAMRONGRATTANARIT นวพล ธำรง

ร ัตนฤทธิ ์ เต๋อ นวพล OFFICIAL WEBSITE. Accessed February 17, 2019.

http://nawapolnawapol.com/index.php/post/work/heart-attack-working-title.

1
The latter part of this paper will be looking deeper into the social and cultural
influence behind the drama of Heart Attack, for instance, the worldview of main
characters, the society depicted in the film. Thus, to explore the potential
relationship between audience and the film for examining the possibility of it being
a factor towards the success of Heart Attack.

2
Literature Review

Most of the research on contemporary Thai cinema could be divided into three
main categories: The "New Wave" Cinema, the Independent cinema and
International influence on mainstream Thai cinema in the 2000s.

Thai cinema has a significant change since the "New Wave" period, which started
from the late 1990s with notable directors like Pen-ek Ratanaruang and Nonzee
Nimibutr. These former advertisement directors have become jobless under the
influence of the 1997 Asia Crisis and therefore, it has provided opportunities for
them to pursue artistic goals. 3 Although during the "New wave" period, films
could be both commercially and artistically successful, 4 it was often mentioned as
part of the independent cinema in publications like Thai Cinema and Southeast
Asian independent cinema : essays, documents, interviews . But in the article “
Working practices in Thai independent film production and distribution”, the
author has regarded them as "semi-independent" since they have co-produced with
the industry. It has somehow reflected the blurry bounder between art-house and
commercial in the earlier days but after all, these directors are less active in
commercial cinema nowadays.

Still, the "New Wave" directors did not earn as much focus as Apichatpong
Weerasethakul, the most internationally notable Thai director who have numerous
achievements in major international film festivals, including the "Palme d’Or"
Prize at the 2010 Cannes Film Festival 5 for his film Uncle Boonmee Who Can
Recall His Past Lives (2010) , needless to say other growing directors. Often, there
are even articles or single chapters that solely focused on him. For instance, the
article “Primitive Gazing: Apichatpong Weerasethakul "s Sensational Inaction
Cinema” is a case study on the unusual storytelling style of Apichatpong.

However, due to restrictions in language and culture with local-dominated

contents, the early mainstream Thai films have hardly faced international 6 until the

3 Tilman Baumgärtel. "Imagined Communities, Imagined Worlds: Independent Film from Southeast Asia
in the Global Mediascape." In Southeast Asian Independent Cinema: Essays, Documents, Interviews, 22-
32. Hong Kong: Hong Kong University Press, 2012.
4 Glen Lewis. Virtual Thailand : The Media and Cultural Politics in Thailand, Malaysia and Singapore,

146-148. Rethinking Southeast Asia ; 8. London: Routledge, 2006.

5 The “Palme d’Or” prize is a symbol of the Cannes Film Festival, awarded to the director of the Best

Feature Film of the Official Competition. ( “Festival De Cannes”, , accessed March 15, 2019,
https://www.festival-cannes.com/en/69-editions/palme/a-brief-history-of-the-palme-d-or.)
6 Tanyatorn Panyasopon.. "The Characteristics of Thai Movies and Factors Contributing to Becoming

Widely Known in International Markets". World Academy of Science, Engineering and Technology,

3
success of Nang-Nak (1999) and Ong-Bak (2003). Therefore, there started to be
research focusing on how Thai movies could sell in international markets 7 and
studies on the horror and action movies in the early 2000s like Asian Horror and
“Towards a Southeast Asian Model of Horror: Thai Horror Cinema in Malaysia,
Urbanization, and Cultural Proximity” . Nevertheless, a researcher Thagrith
Takizou Wachiradetsakul suggested, "These two genres, action and horror, are not
the merely genres that Thai movies embody on. There a variety of genres where we
can categorise Thai movies into, romance, young-adult, comedies, and Thai art
film" (3). 8

In fact, In the recent ten years, the film industry of Thailand has been rapidly
evolving. When Ong-Bak has been one of the icons of Thai cinema in the eyes of
the international audience, now it has almost gone in the domestic market. Instead,
as Pattana Kitiarsa suggested in her study of two Thai comedies produced in 2005-
2006 with a social science perspective: “Although scholars have examined the
different generations of Thai cinema, none so far has focused on Thai comedy film
of any period despite the fact that the comedy genre has remained in the
mainstream for far longer than the so-called "New Wave" and other generations.” 9
Mary J. Ainslie pointed out a similar view as well, “Comedy and romantic comedy
draws largest crowds nationally and the biggest box office takings, it is highly
popular in domestic market while under explored on both a popular and academic
level” (169-170). 10 However, since the book Thai cinema: the complete guide is
ambitious in creating an overview of the whole history by using film reviews as
main method, it is believed that there could be more in-depth research on the recent
Thai film industry.

Yet Heart Attack, which falls into the “Comedy /Romantic Comedy” chapter
under Thai cinema: the complete guide, has combined art-house spirit and
achieved successful results in both sides. 11Unfortunately, besides simple
International Science Index 70, International Journal of Social, Behavioral, Educational, Economic,
Business and Industrial Engineering (2012), 6(10), 2632 - 2637.
7 Ibid
8 Thagrith Takizou Wachiradetsakul. "Characteristics of Thai Film: History, Genres, and the Exotic

Thainess." Academia.edu - Share Research. Accessed March 14, 2019.

https://www.academia.edu/37457427/Characteristics_of_Thai_Film_History_Genres_and_the_exotic_Th
ainess.
9 Pattana Kitiarsa . "Nostalgic Parodies and Migrant Ironies in Two Thai Comedy Films." In Film in

Contemporary Southeast Asia: Cultural Interpretation and Social Intervention, by David C. L. Lim and
Hiroyuki Yamamoto. Abingdon, Oxon: Routledge, 2012.
10 Mary J. Ainslie, "Comedy / Romantic Comedy," in Thai Cinema: The Complete Guide, by Mary J.

Ainslie and Katarzyna Ancuta (London: I.B. Tauris, 2018).

11 Anchalee Chaiworaporn, "Comedy / Romantic Comedy," in Thai Cinema: The Complete Guide, by

Mary J. Ainslie and Katarzyna Ancuta (London: I.B. Tauris, 2018).

4
explanation in the book, there are seldom existing detailed discussion for the film.
Currently one has focused on the young adults’ lifestyle reflected in the film 12 and
another used Heart Attack as one of the case for analysing film genre of social
alienation 13 but both of them are conducted in Thai language. As for the director,
Nawapol Thamrongrattanarit, currently, part of “ “Why So Wong”: Transnational
Asian Cinema Through the Lens of Cinephiles and Transmedia Fans ” is the only
study on Nawapol and the main discussion is on how his earlier independent work
Mary is happy, Mary is happy (2013) paid homage to director Wong Kar Wai. 14

When director Pen-ek says he has often been "complaining" by the local audiences,
saying his recent films are difficult, 15 the most significant film Uncle Boonmee
Who Can Recall His Past Lives of Apichatpong struggled to find audience as well,
“With only a handful of theaters that were willing to show it. On the international
scale, the movie has been shown in twenty-five countries worldwide, including the
US, England,Turkey, Germany, Italy, South Korea, Spain and France. But there
were just five theaters showing it in Thailand, with a total domestic gross of only
$184,2921” (15-16). 16 This has reflected how independent films could hardly
survive in its domestic market.

Therefore, Nawapol and Heart Attack definitely worth a compelling discussion on

how could he take the balance in-between art-house and commercial, and attained
success in both sides with the film as a unique mixture.

Methodology

Textual analysis with supplementary reference and intertextuality will be the main
method for conducting this study.

12 Anongnat Rusmeeviengchai. "Construction of Young Adults" Lifestyle in Film: A Case Study of the Film
Heart Attack." Journal of Journalism, Thammasat University 11, no. 3 (November 2, 2018): 103-04.
Accessed March 16, 2019. https://www.tci-thaijo.org/index.php/jcmag/article/view/156034.
13 Maythaya Lomwong, "Analysis of Film Genre of Social Alienation (2007-2016)," 2016, , accessed April

30, 2019, http://ethesisarchive.library.tu.ac.th/thesis/2016/TU_2016_5707010053_7055_5104.pdf.

14 Wikanda Promkhuntong. "“Why So Wong”: Transnational Asian Cinema Through the Lens of

Cinephiles and Transmedia Fans." In The Palgrave Handbook of Asian Cinema, by Aaron Han Joon
Magnan-Park, Gina Marchetti, and See Kam Tan, London, United Kingdom: Palgrave Macmillan,
2018.427-46.
15 Tilman Baumgärtel. ""I Love Making Films, but Not Getting Films Made" Interview with Pen-ek

Ratanaruang." In Southeast Asian Independent Cinema: Essays, Documents, Interviews, by Tilman

Baumgärtel, Hong Kong: Hong Kong University Press, 2012. 191-200.
16 Piboon Thongtanyong. ” Global Versus Local: The Transformation of Thai Cinema”. New York: Long

Island University, The Brooklyn Center, 2016. 15-16

5
In order to understand more on the evolving commercial film industry, the paper
will first briefly analyze the main characteristics of the box-office hits in the recent
10 years. Then, other text related to the modern consumer habits, culture and
lifestyle will also be taken as reference for constructing a picture on habits of Thai
audience, so as to examine the relationship between audience and the box-office
hits.
Next, Nawapol’s notable feature films 36 (2012) , Mary is Happy, Mary is Happy
(2013) and Die Tomorrow (2017) will be in focus for textual analysis in terms of
both its content and film making techniques, so as to look into Nawapol's art-house
spirit. (Despite Die Tomorrow is produced later than Heart Attack, it has somehow
presented similar concepts to Heart Attack and therefore, so it will be discussed).
Although Nawapol has also written several screenplays for commercial films, as
this study stress on his role as director, it will not lead to an in-depth discussion in
terms of characteristics in his scripts.

Putting findings from the above methods together with Heart Attack for further
analysis and examination, it would give a clue on how art-house director could
place themselves in the film industry when facing a difficulty in finding domestic
audience. Or conversely, the possibilities of redefining the border between
commercial and art-house cinema, like a return to the "New Wave Cinema" in late
1990s to early 2000s.

6
 2

The Commercial Industry

Major Characteristics
According to the highest-grossing Thai films in recent years (See Appendix A) ,
comedy and romance play a significant role in the domestic box-office. Pee Mak
(2013) which falls into the category of horror by adapting the story of a well-
known folk "Mae Nak Phra Kanong" in the country has topped the list of the all-
time box-office record. In fact, the folk has been adapted for over 24 film
versions, 17 but none of them were presented in a focus of the romantic story
between the protagonists like Pee Mak. Instead of paying attention to “Mae Nak”,
the ghost wife which other films that adapted story does, the film used "Pee Mak" ,
the name of the husband, as its tile, implying that it is an alternative presentation of
the folk as well. The success of the King Naresuan series is although remarkable,
other historical films does not seem to have such outstanding performance. As for
Nakee 2 (2018)’s record, it is believed that being a successor of the TV drama
Nakee (2016) has more or less contributed to it.

Apart from the genre, a number of these box-office hits has also shared several
basic characteristics:

A. Film Content

a. Realistic settings

No matter in Atm Er-Rak Error (2012) , One Day (2016) , I Fine..

Thank You Love You (2014) , Bangkok Traffic (Love) Story (2009)
or Brother of the Year (2018), the characters in these films are office
workers from the middle-class and the plots have always reflected the
concerns of the urban workers.

b. Fantasy of protagonist
Reflection of social reality is a tool for audience to get themselves
involved in the fantasy in films. For instance, in the plot of One Day ,
the female protagonist will be losing her memory for the current day

17 Ibid, p23

7
 due to an accident, so the male protagonist who loves her secretly
decided to pretend as her boyfriend and enjoy this fantasy for one day.
Such kind of fantasy under a rather realistic setting could undoubtedly
make the incident "possible" in real life, thus, looks appealing for the
audience.

c. International outlook
It is common to see scenes filmed outside the country, like Hello
Stranger (2010) has presented a story that happened in South Korea
while the female protagonist in Brother of the Year has married a
Japanese-Thai male, building her family in Japan. In addition, the plot
in I Fine.. Thank You Love You has reflected the concern of urban
Thai workers in English learning by depicting how the protagonist
tried to improve his poor English for getting more chances in the
workplace instead of merely a romantic story between the English
teacher and him.

d. Local elements
As a medium of reflecting its culture, these films have included local
jokes, habits and character images for comical effects. For instance,
the habit of taking public transports like BTS, the skytrain in the
Greater Bangkok Metropolis, and Motorcycle Taxi from Bangkok
Traffic (Love) Story ; the feminized male character in Atm Er-Rak
Error. In addition, sometimes films would also include other local
cultural elements as it theme, like the Karma belief in Homestay
(2018) and Pee Mak ; a plot about monks in Joking Jazz 4G (2018).

B. Filmmaking technique

a. Narrative

Overall, these films used a chronological narrative order such that the
audience could easily follow the pace of the film. Besides, voice overs
or first-person perspective is often used, at the beginning of the film in
particular, like demonstrated in Atm Er-Rak Error, One Day and
Homestay. Then it could allow the audience to feel involved in the
film and understand the plot in a direct way.

b. The use of silence

8
 The comedy does not merely created through actions or dialogues, but
also a moment of silence with static shot. For instance, in a scene of
Atm Er-Rak Error, the workers were gossiping about their boss. Then
when their boss came out from the room, there was immediately an
awkward silence moment with the embarrassing yet calm faces.

Another main characteristic revealed in the list is that most of the box-office hits
are produced by the leader in the film industry, GTH studio, (GDH559 by GMM
Grammy and Hub Ho Hin is the successor of the GTH studio dissolved in 2015,
which was a joint venture of GMM Grammy, Tai Entertainment and Hub Ho Hin).
18

18 Kong Rithdee, "Breakup of GTH Studio Changed Thailand's Film Landscape," Variety, May 11, 2016,
accessed April 30, 2019, https://variety.com/2016/biz/asia/breakup-of-gth-studio-changed-thailands-film-
landscape-1201770711/

9
The film market and its audience

When the recent hit Bad Genius (2017) has surprised the international audience
and even broke box-office records in a number of foreign countries, it did not show
up a particular stunning performance in the domestic box-office. Meanwhile, the
international icon of Thai Cinema, Tony Jaa and his films Ong-Bak 3 (2010) and
Tom-Yum-Goong 2 (2013) has no longer successful in the domestic market as
well. Apparently, it has reflected that the domestic audience has a totally different
demand in the film market.

Since the early history in Thai films, international modernity is significant due to
urbanisation proceeded only in Bangkok which there are often depiction of
foreigners and the metropolis in films 19. Nowadays, as the country is developing
rapidly, metropolis seems not to be such a great desire like in the old days, but
affected by globalisation, the appetite of international modernity never fade out
which still affect the viewers’ tastes and gets foreign films involved in the
competition of film market. Like suggested by Ubonrat Siriyuvasak (2008), exotic
popular culture could make the middle-class, youths in particular, feel fashionable
and modern.
Nevertheless, there is still a strong demand for local content in order to take care of
the rural residence, a huge group of audience outside Bangkok. 20 When the
realistic middle-class and workplace settings win the urban workers’ heart, it is a
reachable goal and desire for the rurals as well. Therefore, currently, contents that
could satisfy both local and the globe would surely be an advantage.

THE ART-HOUSE DIRECTOR

Unlike the prominent directors Pen-ek and Apichatpong, Nawapol's career was
kicked off by working as a screenwriter in commercial films like Bangkok Traffic
(Love) Story (2009) and The Billionaire (2011) before getting to direct feature
films. However, it did not stop him from exploring experimental films, developing
his own style and aesthetic in filmmaking. Like the art-house director Pen-ek has

19 Annette Hamilton, "Family Dramas: Film and Modernity in Thailand," Screen 33, no. 3 (1992): 265,
doi:10.1093/screen/33.3.259.
20 Piboon Thongtanyong. ” Global Versus Local: The Transformation of Thai Cinema”. New York: Long

Island University, The Brooklyn Center. 2016. 12-14

10
once mentioned, his film are a bit slow for commercial, it has left a lot of unsaid
and unsentimental, 21 Nawapol's work has definitely demonstrated such kind of art-
house elements in his film as well. Therefore, instead of independant, “art-house
director” would be a more suitable word for describing Nawapol, when
independent generally refers to financial issues, mode of production, rather than
necessarily linked to artistic film content.

21Tilman Baumgärtel. " "I Love Making Films, but Not Getting Films Made" Interview with Pen-ek
Ratanaruang." In Southeast Asian Independent Cinema: Essays, Documents, Interviews, by Tilman
Baumgärtel. Hong Kong: Hong Kong University Press, 2012. 196.

11
Themes

Through Nawapol's unique insights, ordinary events could always lead deeper
discussions instead of simple incidents. For instance, the plot in 36 (2012) is about
the protagonist losing data in her hard disk, which she used to rely on digital
methods to record what she saw and what she has experienced. Thus, tried to
question the liability of technology as a form of recording memory, then pushed it
forward to the meaning of memory and experience. As for Mary is happy, Mary is
happy (2013) , it comes to the questions on confusions of youths to their lives and
the oppressive of educational system by constructing a story based on the life of
Mary, a final year student in college. The idea of Die Tomorrow (2017) may seem
rather simple than the previous ones, as the title has revealed itself, it is about
death, but in a perspective of how it appears in our daily lives without omen by
depicting the usual day before the protagonists’ death.

From relationship between memory and technology, uncertainty status of youths

and reflection on the education system to the abrupt yet calm of death, it has
demonstrated a kind of “urban realism” as suggested by Wikanda Promkhuntong
(2018) with reflection on people’s daily lives in the city and the concrete scenes. 22

In addition, when Wikanda Promkhuntong (2018) pointed out that Nawapol has
performed self-reflexivity in Mary is happy, Mary is happy by “illustrating the
embodiment of himself as a storyteller and a Wong Kar Wai fan” and
“construction of characters who have a job/hobby as a writer/ content creator or
those occupy their with self-reflection when they are not working” , 23the other
films of Nawapol in fact did so too. Protagonists in 36 are art director and location
scout respectively (film crews) while the view of death shown in Die Tomorrow is
a self-reflection on death from the director and he considered it as his funeral
memorial. 24

The Iconic Style

It could be due to lack of financial support, scenes in the three films were stuck to
limited real world locations. No special effects, No grand art directions, everything

22 Wikanda Promkhuntong. "Comedy / Romantic Comedy," in Thai Cinema: The Complete Guide, by
Mary J. Ainslie and Katarzyna Ancuta. London: I.B. Tauris, 2018. 232.
23 Ibid, p 237-238.
24 Gail Piyanan, "Interview with Nawapol Thamrongrattanarit," Time Out Bangkok, November 17, 2017,

accessed April 30, 2019, https://www.timeout.com/bangkok/movies/q-a-with-nawapol-ter-

thamrongrattanarit.

12
just happened to be as ordinary as our daily lives. However, this is exactly one of
the features of Nawapol’s work which he could always turn the simple pictures to
ultimate imagination and never bored his audience.

Usually, the pictures are fragminitized, without strong storyline, leaving for
audience to fill up the gap by their own interpretations. The indirect film language
has formed a poetic style too. Such kind of experimental narrative style could be
common in other art-house or independent directors, but Nawapol is definitely
more than that. Playful formats has always been an icon of Nawapol. Like its title,
36 is composed by 36 scenes based on the idea of 36 frames in a traditional film
and its theme of questioning the reliability of digital technology, while Mary is
happy, Mary is happy formed the story by strictly connecting 410 feeds of the
Twitter user “Marylony” into a story . As for Die Tomorrow, it is a combination
of documentary and a style of pseudo-documentary with seperated fictional plots
based on real incidents. In addition, there is often a time code and the number of
deaths, recording there is a death in every two seconds.

Another icon of Nawapol is the on-screen citations and captions with white text
and a black background. However, instead of stating information for audience’s
easy-understanding, they are conversations with the pictures. For instance, in Die
Tomorrow, an on-screen caption stating a person’s death will be followed by a
fictional plot reflecting the director’s imagination on what happened before the
person’s death and the on-screen citation of the twitter feeds in Mary is happy,
Mary is happy are intertwined with the pictures.

The Case Study of “Heart Attack”

Heart Attack follows the busy life of a freelance graphic designer, Yoon (Sunny
Suwanmethanont), who has been dedicated in his work wholeheartedly. As a
professional freelancer, not only Yoon has to satisfy all kinds of harsh requests
from the clients, but also take jobs despite the intensive schedule in order to
maintain his prestige position in the competitive industry. Then after once working
for five consecutive days, his body started to alert him by strange rashes spreading
on his body which brings him to a monthly appointment with the young
dermatologist, Dr. Imm (Davika Hoorne). By following the instruction from Dr
Imm to stay a healthier life, Yoon has less time for work and the effect of

13
prescription has affected his working performance. In the end, he lost a chance of
working for a significant project, yet when he finally got the chance for a long
vacation, he has realised the joy of leisure which he used to believe it is a waste of
time in the old days.

“Heart Attack” Vs Commercial Films

Overall, besides the workaholic life of Yoon, the film has also depicted the
ambiguous romantic relationship between Yoon and Dr. Imm, along with its black
comedy features like Yoon was asking for wifi access from monks in a temple
when attending a funeral in order to send his work for submission and Yoon's
answer of “thinking of new projects” in a serious face when discussing what kind
of activities is entertaining with Dr. Imm. It allows the film to be generally
regarded as a romantic comedy, the highly popular genre in the commercial
industry.

Furthermore, Heart Attack has performed some basic characteristics found in the
box-office hits in terms of the film content as well.

A. Realistic settings
Focusing on Yoon's workaholic life, it could be similar to the situation of the
busy urban workers who might be facing the same problem of work-life
imbalance. Apart from this, some daily practice of Yoon like consuming
food from convenience stores, being social alienated due to heavy work and
queuing up a long time for visiting doctors in public hospitals are realistic
situations for the citizens. Locations are all ordinary, life-related ones
without much fancy art directions too. Therefore, it allows the audience to
have a sense of related with their life through the film.

B. Fantasy of protagonist

Usually, appointments with doctors are short and infrequent. However, in

Heart Attack , the protagonists seem to have tried to develop a relationship
beyond merely doctor and patient, making the fantasy further fascinating
instead of a general fantasy between an ordinary man and a young beauty.

C. International outlook

14
 In Heart Attack, overseas clients and jobs from international companies are
always considered as prime opportunities. For instance, working for a series
of Adidas advertisement placing in Japan’s JR train stations was an awaiting
chance for Yoon and later when Peng wanted to attract Yoon for taking a job
under the insane schedule and requests, he has kept emphasising that Yoon's
work will have a chance to be exhibited in New York.

D. Local content

As for local content, except of scenes in the temple and public hospital
mentioned above, Heart Attack has cameo appearance of celebrities
including famous directors Banjong Pisanthanakun and Adisorn
Trisirikasem, like how other commercial films often did as well. When these
celebrities are playing roles that are in contrast with their personalities, it
then creates a comical impact and make it for “locals only”. Another thing is
the motorcycle taxi driver who always sent Je, a working partner of Yoon, to
Yoon's place for taking completed work to clients. As a major transportation
in metro Thailand, the role of a motorcycle taxi driver is certainly a very
local content. Hence, these could allow the audience to have a stronger sense
of belonging with the film.

Heart Attack Vs the Film Market and Audience

Certainly, beside the content with basic commercial rules, it is believed that there
are also other factors that may lead the film to success.

Reflection on Social Reality

According to Vichit-Vadakan (2003), the heard but never seen experience could
allow audience to alienated experience yet it is not a distanced experience like in
the foreign films is attractive to audience as entertainment. 25 Therefore, it is
believed the freelancer life in Heart Attack could serve as a “eye-opener” to the
audience. On the other hand, Suchat the motorcycle taxi driver in Heart Attack did
not just fulfill the demand of local content, but has also reflected the social reality.
In fact, Suchat has never show his appearance throughout the film which he is
always with the same set of helmet and uniform, but he has been performing an
important duty for Yoon's work. Therefore, Suchat is like people that the Thais

25Juree Vichit-Vadakan, "Thai Movies as Symbolic Representation of Thai Life," Aséanie 12, no. 1
(2003): 165, doi:10.3406/asean.2003.1802.

15
meet almost every day (motorcycle taxi drivers in particular) , but never know
anything deeper beyond their name. 26

Marketing Strategy

Produced by GTH, the leading film studio which its breakup 27 could partly led to
the market share of local productions dropping to just 18% in year-end 2015 , 28
the lowest such recorded rate in two decades, 29 it is believed that the film studio’s
huge fan base has contributed a lot to the box-office. Besides, starring the popular
stars Sunny Suwanmethanont (leading role in I Fine.. Thank You Love You
(2014) as well ) and Davika Hoorne (leading role in Pee Mak (2013) as well) , it
could be helpful in attracting audience. However, the significant part should be the
marketing strategy of the film. Except of usual practice in commercial films like
holding events in shopping malls, cinema and attending TV shows; in the trailer of
Heart Attack , 30 it has been “tricking” audience that it is a typical romantic
comedy with a focus on the interactions between Dr. Imm and Yoon. As for
another promotional video, 31 it has included some black comedy scenes for
depicting the freelancer’s life. In addition, it has also highlighted the unique
personalities of characters in the promotion activities in order to attract the
audience. After all, these have hide the art-house spirits secretly.

Nawapol Vs Nawapol

Indeed, Heart Attack has fulfilled a number of features of the popular commercial
films, but this definitely did not stop Nawapol from remaining the art-house spirit
like composing stylish shots. For instance, in the scene of Yoon keep working for
twelve consecutive days, the camera was following Yoon's action and movements
by staying behind him in order to imitate the situation of his dying body, then a
long shot with Yoon's deadpan face creating a feeling of approaching death. There
are some similarities with Nawapol's previous work as well.
26 ่ ชำติ ตัวตนทีมี
"พีสุ ่ อยู่ แต่เรำมักมองผ่ำนๆ ฟรีแลนซ ์..ห ้ำมป่ วย ห ้ำมพัก ห ้ำมร ักหมอ," Major Cineplex, September 9,
2015, , accessed April 30, 2019, http://www.majorcineplex.com/en/news/suchat-freelance.
27 See p6 of this paper for a brief introduction on ”GTH” studio and its break up
28 Heart Attack was released on 3 September 2015
29 "The Film Industry Focuses on Attracting Further Investment." Oxford Business Group. August 07,

2017. Accessed April 30, 2019. https://oxfordbusinessgroup.com/overview/spotlight-film-industry-focuses-

attracting-further-investment.
30 GTHchannel. "HEART ATTACK Official International Trailer." YouTube. September 02, 2015.

Accessed April 30, 2019. https://www.youtube.com/watch?v=Emth-wTtsNM.

31 GTH Channel. "นี่ หรือคือ "ฟรีแลนซ ์"." YouTube. August 30, 2015. Accessed April 30, 2019.

https://www.youtube.com/watch?v=PDXedua99p0.

16
17
Themes

Nawapol's work is always self-reflective and there is no exception for Heart

Attack. After Nawapol's graduation from undergraduate, he has actually been a
freelancer in making short videos for years before getting the chances to write
scripts for film studio.32 The leading character Yoon has a lot of similarities with
Nawapol himself too (See Appendix B) . Thus, it could say that Heart Attack is
very much based on his personal experience. Moreover, in his previous work, life
and death are always topics that Nawapol would like to explore. Therefore, he has
also included some of his view in the film too, for instance, Yoon imagining his
funeral and Yoon claiming himself know death well and so he did not afraid of it
when he was discussing “death” with Dr. Imm.

The Iconic Style

Although there should not be financial difficulties under the support of the film
studio, Heart Attack still stick close to Nawapol's style with limited shooting
locations (mainly in Yoon's home, the hospital and a convenience store) and low
cost production (excluding the cast).

For fulfilling the commercial standard, the film must have a rather strong and clear
storyline, but Heart Attack of course would not be easily compromised. As the
commercial audience would like things to be clearly stated and films often likes to
use voice overs as an introduction to the plot, Nawapol then pushed it to the
extreme - keep using deadpan monologues of Yoon for most of the scenes in the
film. What is more, to create black comedy effects through the monologues like in
a scene, Yoon tried to sleep early as suggested by Dr.Imm so he has submitted his
work even though he noted there is a minor mistake in the last minute. However,
when he went to bed, there was a voice kept reminding him of the minor mistake
which made him could hardly fall asleep. Thus, Nawapol has been using tons of
monologue to create an experimental narrative method.

When commercial films likes to use silence for comedic effects, Nawapol did it as
well, but the difference is such kind of comedic effects are created in a serious
way, a black comedy way. Furthermore, with the silence and a rather slow pace, it
makes a series of poetic pictures and allows audience to observe more on the

32 ่ รมย ์ใจ, "กรอดูหนังชีวต

ไอรดำ รืนภิ ิ ของ เต๋อ-นวพล ธำรงร ัตนฤทธิ ์ ผูก้ ำกับและนักเขียนบททีตั
่ งเป้
้ ำว่ำจะเดินตำมฝันมำเกือบ
20 ปี แล ้ว," A Day Magazine, September 19, 2018, , accessed April 30, 2019,
https://adaymagazine.com/youmade-5/.

18
details. In return, Heart Attack ‘s intensive marching style percussion scores
keeps the general audience motivated, yet it is a creative approach to imitate the
busy pace of Yoon in his work.

Of course, Nawapol would not miss out the on-screen captions and there is
immediately one showing up as the beginning of the film. In the later parts, the
captions has showed up to state the days of overnight working and number of
rashes to indicate the progress of Yoon's condition. Similar approach could be
found in other films like The Pool (2018), but one thing that Nawapol made it
different is, he used date on the appointment slip to indicate the passage of time, as
an alternative way for on-screen captions as well.

When Nawapol's work always carries a playful format, Heart Attack may not seem
to have an obvious one. However, considering that the film is intended for
commercial, in fact, the actual content of exploring the freelancer"s workaholic life
with a “Sugar coat” of typical romantic comedy is really playful. The use of
monologue, on-screen captions and the plot of rashes on Yoon themselves are
strong stylish characteristics as well.

Conclusion

Restricted by word limit, size and resources of the research, this paper serves as a
brief discussion in the film industry of Thailand. Still, it has contributed to the
under-explored film Heart Attack as a mixture of commercial and art-house in
terms of its film content, style, in a deeper view and gives an overview to the
popular Thai film in recent years. Hopefully, more data on the local audience's
view on Heart Attack and their demand in the film market would help the research
for a more accurate analysis and facilitate further development. Certainly, the
success of a film could be sophisticated that could hardly be analysed as well.

Still, to conclude, the success of such a non-mainstream style film in the cinema
could be relied on Nawapol‘s wisdom, knowing the demand of audience and
getting balance in-between to make a film with commercial content in art-house
style. In fact, throughout the film, Nawapol has never clearly state the relationship
between Yoon and Dr.Imm about whether they really have romantic feelings to

19
each other, but he tried to make the relationship uncertain such that the audience
could expect it is about a romantic story. Even, when Yoon noticed that his rashes
has all gone after staying a healthy lifestyle which means he does not need
appointments with Dr. Imm anymore, he said he felt a sense of emptiness, heart-
brokening like breaking up with his girlfriend in the old days, yet there is no actual
answer of whether it is because his love for Dr.Imm, to his work or the unhealthy
lifestyle. Therefore, this tricky approach of Nawapol could be remarkable for the
film’s success.

To other directors, the commercial audience could always be obstacles for their
production, but Nawapol seems understand the game well, compromise to certain
rules will definitely brings opportunities for your own style in return, like Heart
Attack ‘s unclear ending as an alternative for commercial films.

In the Finale chapter of the book Thai Cinema, the author has suggested that,

“At the moment, observers and critics are concerned that there will be no
“Second wave" directors who will arrive on the scene to keep momentum
built by the likes of Nonzee, Apichatpong and Peng-ek going.” 33

However, looking into Heart Attack, it could be a risky investment at the

beginning, but the box-office has proved that is certainly possible to attain success
with such kind of mixture of commercial and art-house. Therefore, if the “Second
Wave” refers to both commercially and artistic success films, undoubtedly,
Nawapol and his method has the ability to do so, which will place him in a
significant position of the brewing “Second Wave” in Thai cinema.

Appendix A

A List of Highest-Grossing Thai Films (2009-2019 April) 34

Year Name of Film Genre Film Studio

33 Kong Rithdee, "FINALE," in Thai Cinema, by Bastian Meiresonne and Sasithorn Ariyavicha (Lyon:
Asiexpo Edition, 2006), 255.
34 Source: https://www.boxofficemojo.com/, except Nakee 2, Pee Nak and Friend Zone from

http://www.thailandboxoffice.com/; Brother of the Year from

https://www.youtube.com/watch?v=dnE5ZmgDGIk (Bangkok Business News Rooms, Nation TV)

20
2013 Pee Mak Comedy/Horror/Romance GTH
2018 Nakee 2 Fantasy/Romance Act Art Generation
2014 I Fine.. Thank You Love Comedy/ Romance GTH
You
2018 Brother of the Year Comedy/Drama/ Romance GDH 559
2019 Friend Zone Comedy/Romance GDH 599
2011 King Naresuan: Part Three History Sahamongkol Film
2014 King Naresuan 5 History Sahamongkol Film
2016 Joking Jazz 4G Comedy Film Guru
2019 Pee Nak Comedy/ Horror MM2 Entertainment
2012 Atm Er-Rak Error Comedy/ Romance GTH
2009 Bangkok Traffic (Love) Comedy/ Romance GTH
Story
2010 Hello Stranger Comedy/ Romance GTH
2011 King Naresuan 4 History Sahamongkol Film
2010 Loser lover Comedy/ Romance M39
(aka Sudkate Salateped)
2018 Homestay Drama/Fantasy/Thriller GDH 559
2011 Ladda land Drama/Horror GTH
2015 King Naresuan 6 History Sahamongkol Film
2017 Bad Genius Comedy/Crime/Drama GDH 559
2009 Phobia 2 Comedy/ Fantasy/Horror GTH
2016 One Day Drama/Romance GDH 559

Note: Order by domestic box-office revenue

21
 Appendix B

A Comparison Between Nawapol Thamrongrattanarit and Yoon in “Heart Attack”

35

Nawapol
● 30-31 years old (when producing the
film)
● Generation and age for beginning to
work
● (Once) A freelancer with little
reward
● Try training himself harshly in film
making
● Have an aim of being a director
● Rarely talk to his parents
● Thinks that death is normal
Yoon
● 30 years old
● Generation and age for beginning to
work
● A freelancer with little reward
● Work hard, harshly and dedicated to
his work
● Have an aim of being successful
● Didn’t mention his father but has a
distanced relationship with mother
● Not far from dying and thinks that
everyone will after all die

35 Anongnat Rusmeeviengchai. "Construction of Young Adults" Lifestyle in Film: A Case Study of the
Film Heart Attack." abstract in Thai, Journal of Journalism, Thammasat University 11, no. 3 (November 2,
2018) Accessed April 30, 2019. http://research.jc.tu.ac.th/articles/view/58
(translated by the author of this paper)

22
 References

Box Office Mojo. Accessed April 2019. https://www.boxofficemojo.com/

Festival De Cannes. Accessed March 15, 2019. https://www.festival-

cannes.com/en/69-editions/palme/a-brief-history-of-the-palme-d-or.

Thailand Box Office. Accessed April 30, 2019. http://www.thailandboxoffice.com/

Ainslie, Mary J. "Towards a Southeast Asian Model of Horror: Thai Horror

Cinema in Malaysia, Urbanization, and Cultural Proximity." Transnational Horror
Cinema, 2016, 179-203. doi:10.1057/978-1-137-58417-5_9.

Ainslie, Mary J., and Katarzyna Ancuta. Thai Cinema: The Complete Guide.
London: I.B. Tauris, 2018.

Baumgärtel, Tilman. "Imagined Communities, Imagined Worlds: Independent

Film from Southeast Asia in the Global Mediascape." In Southeast Asian
Independent Cinema: Essays, Documents, Interviews, 22-32. Hong Kong: Hong
Kong University Press, 2012.

Baumgärtel, Tilman. ""I Love Making Films, but Not Getting Films Made"
Interview with Pen-ek Ratanaruang." In Southeast Asian Independent Cinema:
Essays, Documents, Interviews, by Tilman Baumgärtel, 191-200. Hong Kong:
Hong Kong University Press, 2012.

Bohler, Natalie. "Fiction, Interrupted: Discontinuos Illusion and Regional

Performance Traditions in Contemporary Thai Independent Film." In Southeast
Asian Independent Cinema: Essays, Documents, Interviews, by Tilman
Baumgärtel, 59-67. Hong Kong: Hong Kong University Press, 2012.

Ferrari, Matthew P. "Primitive Gazing: Apichatpong Weerasethakul 's Sensational

Inaction Cinema." In Storytelling in World Cinemas, Volume One: Forms, by Lina
Khatib, 165-76. London: Wallflower Press, 2012.

GTH Channel. "นี่หรื อคือ "ฟรี แลนซ์"." YouTube. August 30, 2015. Accessed April 30,
2019. https://www.youtube.com/watch?v=PDXedua99p0.

23
GTHchannel. "HEART ATTACK Official International Trailer." YouTube.
September 02, 2015. Accessed April 30, 2019.
https://www.youtube.com/watch?v=Emth-wTtsNM.
Hamilton, Annette. "Family Dramas: Film and Modernity in Thailand." Screen 33,
no. 3 (1992): 259-73. doi:10.1093/screen/33.3.259.

Kitiarsa, Pattana. "Nostalgic Parodies and Migrant Ironies in Two Thai Comedy
Films." In Film in Contemporary Southeast Asia: Cultural Interpretation and
Social Intervention, by David C. L. Lim and Hiroyuki Yamamoto. Abingdon,
Oxon: Routledge, 2012.

Lewis, Glen. Virtual Thailand : The Media and Cultural Politics in Thailand,
Malaysia and Singapore, 146-148. Rethinking Southeast Asia ; 8. London:
Routledge, 2006.

Lomwong, Maythaya. "Analysis of Film Genre of Social Alienation (2007-2016)."

2016. Accessed April 30, 2019.
http://ethesisarchive.library.tu.ac.th/thesis/2016/TU_2016_5707010053_7055_510
4.pdf.

Meiresonne, Bastian, and Sasithorn Ariyavicha. Thai Cinema. Lyon: Asiexpo

Edition, 2006.

Panyasopon, Tanyatorn .. "The Characteristics of Thai Movies and Factors

Contributing to Becoming Widely Known in International Markets". World
Academy of Science, Engineering and Technology, International Science Index 70,
International Journal of Social, Behavioral, Educational, Economic, Business and
Industrial Engineering (2012), 6(10), 2632 - 2637.

Piyanan, Gail. "Interview with Nawapol Thamrongrattanarit." Time Out Bangkok.

November 17, 2017. Accessed April 30, 2019.
https://www.timeout.com/bangkok/movies/q-a-with-nawapol-ter-
thamrongrattanarit.

Promkhuntong, Wikanda. "“Why So Wong”: Transnational Asian Cinema

Through the Lens of Cinephiles and Transmedia Fans." In The Palgrave Handbook
of Asian Cinema, by Aaron Han Joon Magnan-Park, Gina Marchetti, and See Kam
Tan, 427-46. London, United Kingdom: Palgrave Macmillan, 2018.

Richards, Andy. Asian Horror. 129-138 Harpenden: Oldcastle Books, 2010.

24
Rithdee, Kong. "Breakup of GTH Studio Changed Thailand's Film Landscape."
Variety. May 11, 2016. Accessed April 30, 2019.
https://variety.com/2016/biz/asia/breakup-of-gth-studio-changed-thailands-film-
landscape-1201770711/

Rusmeeviengchai, Anongnat. "Construction of Young Adults’ Lifestyle in Film: A

Case Study of the Film Heart Attack." abstract in English. Journal of Journalism
11, no. 3 (November 2, 2018): 103-04. Accessed March 16, 2019. https://www.tci-
thaijo.org/index.php/jcmag/article/view/156034.

Siriyuvasak, Ubonrat. "Consuming and Producing (Post)modernity: Youth and

Popular Culture in Thailand." In Media Consumption and Everyday Life in Asia,
edited by Youna Kim, 176-81. New York: Routledge, 2008.

Thamrongrattanarit, Nawapol. "HEART ATTACK." NAWAPOL

THAMRONGRATTANARIT นวพล ธำรงรัตนฤทธิ์ เต๋ อ นวพล OFFICIAL WEBSITE.
Accessed February 17, 2019.
http://nawapolnawapol.com/index.php/post/work/heart-attack-working-title.

Thongtanyong, Piboon. ” Global Versus Local: The Transformation of Thai

Cinema”. New York: Long Island University, The Brooklyn Center. 2016.

Vichit-Vadakan, Juree. "Thai Movies as Symbolic Representation of Thai Life."

Aséanie 12, no. 1 (2003): 157-69. doi:10.3406/asean.2003.1802.

Wachiradetsakul, Thagrith Takizou. "Characteristics of Thai Film: History,

Genres, and the Exotic Thainess." Academia.edu - Share Research. Accessed
March 14, 2019.
https://www.academia.edu/37457427/Characteristics_of_Thai_Film_History_Genr
es_and_the_exotic_Thainess.

Reference in Thai Language

Musikawong, Sudarat. "Working Practices in Thai Independent Film Production

and Distribution."Inter-Asia Cultural Studies 8, no. 2 (2007): 248-61.
doi:10.1080/14649370701238722.

25
Rusmeeviengchai, Anongnat. "Construction of Young Adults’ Lifestyle in Film: A
Case Study of the Film Heart Attack." abstract in Thai, Journal of Journalism,
Thammasat University 11, no. 3 (November 2, 2018). Accessed April 30, 2019.
http://research.jc.tu.ac.th/articles/view/58

"พี่สุชำติ ตัวตนที่มีอยู่ แต่เรำมักมองผ่ำนๆ ฟรี แลนซ์..ห้ำมป่ วย ห้ำมพัก ห้ำมรักหมอ." Major Cineplex.

September 9, 2015. Accessed April 30, 2019.
http://www.majorcineplex.com/en/news/suchat-freelance.

รื่ นภิรมย์ใจ, ไอรดำ. "กรอดูหนังชีวิตของ เต๋ อ-นวพล ธำรงรัตนฤทธิ์ ผูก้ ำกับและนักเขียนบทที่ต้ งั เป้ ำว่ำจะเดินตำมฝันมำเกือบ
20 ปี แล้ว." A Day Magazine. September 19, 2018. Accessed April 30, 2019.
https://adaymagazine.com/youmade-5/.

ห้องข่ำวกรุ งเทพธุรกิจ. "25 10 61 ห้องข่ำวกรุ งเทพธุรกิจ อำนิสงส์'นำคี 2' ฉุดเอ็ม พิคเจอร์สฯ พ้นขำดทุน."
YouTube. October 25, 2015. Accessed April 30, 2019.
https://www.youtube.com/watch?v=dnE5ZmgDGIk.

Filmography

36. Directed by Nawapol Thamrongrattanarit. Performed by Vajrasthira Koramit,

Wanlop Rungkumjad, Nottapon Boonprakob. Thailand: Pop Pictures, 2012.

ATM: Er Rak Error. Directed by Mez Tharatorn. Performed by Chantavit

Dhanasevi, Preechaya Pongthananikorn, Anna Chuancheun. Thailand: GTH, 2012.

Bangkok Traffic (Love) Story. Directed by Adisorn Tresirikasem. Performed by

Cris Horwang and Theeradej Wongpuapan. Thailand: GTH, 2009.

Brother of the Year. Directed by Witthaya Thongyooyong. Performed by Sunny

Suwanmethanont, Urassaya Sperbund, Nichkhun. Thailand: GDH559, 2018.

Die Tomorrow. Directed by Nawapol Thamrongrattanarit. Performed by Sunny

Suwanmethanont, Patcha Poonpiriya, Sirat Intarachote. Thailand: GDH559
(Distributor only), 2017.

Heart Attack. Directed by Nawapol Thamrongrattanarit. Performed by Sunny

Suwanmethanont and Davika Hoorne. Thailand: GTH, 2015.

26
Hello Stranger. Directed by Banjong Pisanthanakun. Performed by Chantavit
Dhanasevi, Nuengthida Sophon. Thailand: GTH, 2010.

Homestay. Directed by Parkpoom Wongpoom. Performed by Teeradon

Supapunpinyo, Cherprang Areekul, Nopachai Jayanama. Thailand: GDH559,
2018.

I Fine..Thank You Love You. Directed by Mez Tharatorn. Performed by Preechaya

Pongthananikorn, Sunny Suwanmethanont. Thailand: GTH, 2014.

Joking Jazz 4G. Directed by Poj Arnon. Performed by Kunatip Pinpradub, Padung
Songsang. Thailand: Film Guru, 2016.

Mary Is Happy, Mary Is Happy. Directed by Nawapol Thamrongrattanarit.

Performed by Thanapob Leeratanakajorn, Chonnikan Netjui, Patcha Poonpiriya.
Thailand: Pop Pictures, 2013.
Nakee 2. Directed by Pongpat Wachirabunjong. Performed by Nadech Kugimiya,
Urassaya Sperbund, Phuphoom Pongpanu. Thailand: Act-Art Generation, 2018.

One Day. Directed by Banjong Pisanthanakun. Performed by Chantavit Dhanasevi,

Nittha Jirayungyurn, Theerapat Sajakul. Thailand: GDH559, 2016.

Pee Mak. Directed by Banjong Pisanthanakun. Performed by Mario Maurer,

Davika Hoorne, Nattapong Chartpong. Thailand: GTH, 2013.

27