talbot12 I vote 10 out of 10. Film was great I enjoyed all of watching time. I have watched more than 5 times and whenever i think of my resemblance with character Dum. He lived alone all his life without love and only thinking Rumpey helped him worth of living. Also I had that feeling in my life that everything hasn't be happy and so this film make me felt so emotions (laughing, a little bit crying) that's for me best film ever. Directors makes films to people so they can really enjoy it and Sasaientag did it to me. Also touching soundtrack helped show the emotions if the characters. So best film ever for me I suggest to watch it at least 1 time very enjoyable!

lotekguy-1 Despite the surprising success of oddball flicks like Napoleon Dynamite or Shaun of the Dead, most weird little films that become "cult" favorites evolve over time. Occasionally, one can spot a candidate from day one, like this bizarre Thai import mixing Spaghetti Westerns with 1950s-style sappy romantic dramas, touches of campy comedy, and hokey, mournful love songs. Non-sequiturs among the clothes and props defy a time-line for the action. As the film careens among its genres, aided by absurdly florid colors and a few surreal stage backdrops, following the story is like watching others play ping-pong.Young love, forbidden by class differences, eventually causes one peasant lad to become the fastest gun in an outlaw gang. The landowner's daughter is engaged to an ambitious police captain, though she still loves the playmate of her youth. Some of the acting is so bad it must have been intentional. The comedy aspects aren't enough to make it special; the romance and drama side won't work up any tears, because there's no way to take the lovers and their travails seriously. But as a cultural novelty, this one's worth a look. How many chances do you think you'll get to watch the Thai equivalent of Jesse James' gang on horseback, racing through rice paddies, and fighting the cops with six-shooters and bazookas?

adrian_stranik Inadvertently starting a riot at the Cannes Film Festival is probably not the best way to make friends and influence people but it certainly makes for an invigorating evening. It was in 2000 when I was there with a group of 'producers' trying to interest wheelers and dealers in a film project when we were suddenly 'adopted' by a television crew who attempted to use us as leverage to get themselves into the celebrity laden MTV party. Push quickly came to shove, the security Gestapo got irate and before we knew it, it was war! The fracas in question had, according to news reports, George Clooney and the All Saints cowering under tables. As chairs began to fly and the gendarmes got busy with the batons we escaped the mayhem and stood and watched it from across the rue unaware that there was another, more constructive, upheaval taking place on the Cote D'azure with the first ever entry from Thailand – Tears of the Black Tiger.'Tiger' was about to herald in the so called 'Thai New Wave' challenging the dominance of Japan and Hong Kong as the prime movers and shakers of Asian cinema – and what an debut! A lysergic western that tells the tale of a young man whose family is murdered and so joins up with a gang of bandits with vengeance on his mind. He soon builds a reputation earning him the name Black Tiger. His gang inevitability come into conflict with the local establishment, but when he discovers his childhood sweetheart is to marry a police captain he struggles to maintain peace between the gangs and the authorities but his efforts (much like our film project bid) quickly spiral into untold chaos. Taking place between parallel dimensions of a colour-saturated Wild West and contemporary Bangkok, Tears of the Black Tiger is a moving 3D postcard of retro-camp kitsch, and because of this, the sudden explosions of (literally) teeth shattering violence are all the more outrageous. The term 'visual feast' seems made for director Wisit Sasanatieng's masterpiece as it takes 50's melodramas, Spaghetti Western's (or should that be Noodle Eastern's?) and Anime action and puts them through the wringer, resulting in a film that embraces as many conventions as it seems to demolish .As my own attempts to storm the Bastille of the film industry have, to date, yielded little fruit, I appreciate all the more a film that appears to have flaunted all the rules and has no agenda but its own. 'Tears of the Black Tiger' is a brilliant example of revolt sans riot.

bob the moo Having been in love since a young age, Dum and Rumpoey are destined to be together and arrange to meet and marry. However Dum (aka The Black Tiger) is held up in a large gunfight and misses her. Tragically her father has her married off to a police chief while Dum remains with his gang, run by boss Fai and including his own blood brother Mahesuan. Dum hopes to still find his true love but suspicion from Tai leads to betrayal by Mahesuan and Dum finds fate stacked against him as he tries to reunite with Rumpoey and keep his word of years ago.Recently I watched Sin City and one of my criticism of that film was that it seem to be a lot of visual style without a great deal of substance and, although I liked this film more, I could not shake the feeling that the style and homage elements were more important to the director than the story and the characters. With Sin City the homage was noir, with this film it was the Thai films of twenty years ago and a form of hyper-homage to westerns in general. In regards the former we have hammy acting, bright colours and imaginative backdrops. These all work and even viewers unfamiliar with the style of the genre will take something from it because it is still recognisable (to a lesser extent) in more modern Bollywood films (and some Thai movies!). In regards a western, the hyper-violent style will certainly appeal to modern audiences with its comic presentation and bloody set pieces.However, as I said, my problem with this film is more that the substance is not quite all it could be. Although the film has some beautifully observed moments, the characters and their emotions are not as well developed as they could have been and I didn't find myself as emotionally involved in the people as I was in the style. The acting is pretty wooden but I think that is deliberate. Specifically Kitsuwon's makeup, facial expressions and hammy laugh all hark back to a different period of making films (like I said – it can still be seen in some Bollywood films) and it is matched by the performances from Ngamsan, Malucchi and Metanee. They are enjoyable in terms of continuing the tone and style set by the director.Overall this is an interesting and engaging film, mostly thanks to the homages, visual style and real experience of watching a rather unique film. The substance in regards characters and stories is not all it could have been but the plot is still good enough to keep you interesting. A strange mix of styles and genres it may be but it works well and is worth trying to find despite the inherent weaknesses.