Published via Ecency

(source: tmdb.org)

Cambodian Genocide, one of the darkest chapters of 20th Century, was mostly ignored by Hollywood and other major film industries. This could be explained by dimensions and character of carnage that is too uncomfortable to any except the toughest segments of the audience, as well as complicated Cold War background that is sometimes difficult to comprehend and almost impossible to reconcile with dark-and-white characterisation. When Cambodian Genocide was actually depicted by major film, this was achieved due thanks to extraordinary real life story. It was told in The Death and Life of Dith Pran, 1980 book by American Pulitzer Prize-winning journalist Sydney Schanberg, which in 1984 was adapted into The Killing Fields, epic drama film directed by Roland Joffee.

The plot begins in 1973 Cambodia. The country had tried to remain neutral in Cold War, but the devastating war in neighbouring Vietnam began to spill over the borders, resulting in a coup that few years earlier brought pro-American regime of Lon Nol. Various factions wage guerilla campaign against the government and Sydney Schanberg (played by Sam Waterston), New York Times correspondent for Southeast Asia, arrives in capital Pnohm Penh in order to cover the conflict. He is joined by Dith Pran (played by Haing S. Ngor), local journalist who serves as his interpreter and guide. Two of them travel to remote town which was accidentally bombed by US Air Force and see enormous destruction, human toll and attempts by authorities and US advisors to cover up the incident. Events like that increasingly turn Cambodians against the government and in Spring 1975 regime begins to crumble. As rebels, led by radical Communist faction known as Khmer Rouge, approach the capital, Pran manages to bring his family to safety during the chaotic evacuation from US Embassy. Schanberg, however, wants to report on the new regime and insists on Pran remaining with him. Pran agrees but Schanberg soon regrets that decision. Khmer Rouge turn hostile on all foreigners and Schanberg is forced to take shelter in French Embassy from which he gets evacuated to Thailand. Pran as Cambodian stays and he must try to survive under regime which begins implementing radical transformation of society. All city inhabitants are forcibly evacuated and brought to labour camps in the countryside where they are about to create new agrarian utopia. Those connected with old regime or suspected of being corrupted by Western education are brutally killed. Pran survives by pretending to be illiterate peasant and through the years witnesses countless atrocities. After few years, opportunity for escape comes when Khmer Rouge turn against their former Communist allies and provoke Vietnamese invasion that would end their regime. In the ensuing chaos Pran begins long and perilous journey in order to find safety across the Thai border.

The main force behind The Killing Fields was David Puttnam, British producer known for his left-wing views but also for the ability to reconcile them with the epic style of top Hollywood productions. The story, set in the Third World country that was wrecked due to Western meddling into its affairs, seemed perfect for one such projects. Although the film clearly shows Khmer Rouge as genocidal monsters, it is very explicit in pointing finger at US administration as the responsible for conditions that made the genocide possible. Puttnam made a good choice by picking Roland Joffé, relatively unknown television director for whom The Killing Fields represented first feature film. Joffé handled his task very well, putting large budget, Thai locations and hundreds of extras to good use and created memorable mass scenes that show horrors of war and its genocidal aftermath. He was also aided by good cinematography of Chris Menges and very effective soundtrack by Mike Oldfield. The best example of the latter might be found in a theme used for the US Embassy evacuation scene, which makes it one of the most exciting in the history of cinema.

The greatest asset at film’s disposal was, however, the cast. Haing S. Ngor, Cambodian physician without any professional acting experience, won the Oscar for Best Supporting Actor. Few who see this film would see anything wrong with Academy decision, except for his role actually not being supporting. Ngor who, like the character of Pran, had escaped Cambodia after surviving years under Khmer Rouge brutal rule, had little problems in using terrible personal experiences (including death of his wife who, unlike Pran’s, didn’t leave Cambodia) for enormously convincing and moving portrayal of a man who, despite being surrounded by endless and senseless killings, torture, hunger and inhumaity, wants to remain a decent human being. Ngor’s performance is even more moving in light of the fact that a decade later he met tragic end due to petty street crime in his adopted homeland.

Ngor is greatest asset of the film, but he also points to the film’s major flaw. While its plot clearly points to Pran as true protagonist, Hollywood conventions and cliches mandate that the emphasis is given to Schanberg instead. Waterston, actor specialised in playing noble well-intentioned aristocratic characters, does what he can with the role which seems unjustifiably inflated and the plot simply dwells too much on his work in Cambodia with Pran before Khmer Rouge takeover. This makes the film simply overlong and impression is even worse when some of the scenes stray from the real life in order to increase dramatic tension. One such example can be found in the scene in French Embassy when Schanberg and his friends improvise desperate and ultimately unsuccessful plan to bring Pran to safety by forging British passport. Al Rockoff, photographer that actually took part in the scheme (played by John Malkovich), later publicly distanced himself from the film for that very reason. Critics at the time, however, mostly complained about choice of song being used for the scene depicting reuonion of Schanberg and Pran, which made The Killing Fields sound utterly unimaginative. Although not great, this is still a very good film that would be made even more enjoyable after knowing that Cambodia after many turbulent decades found some sort of peace. On the other hand, certain scenes, very much like those recently seen in Afghanistan, reminds us that the world still haven’t learned certain hard lessons.

RATING: 7/10 (++)