Song lang

This is the Vietnamese excellent movie, mentioned about the traditional performance (cai luong) and the moment of boys love

"Song Lang" stands as a shining example amidst the often tumultuous landscape of Vietnamese cinema. It distinguishes itself with a compelling storyline that gracefully navigates character development, a rarity in a country where such nuance is often overlooked. In stark contrast to the discomfort one might find in many Vietnamese films, "Song Lang" manages to evoke a sense of ease and authenticity that is a breath of fresh air.

The film's careful inclusion of traditional Vietnamese performances and folksongs is a testament to the filmmakers' dedication to preserving cultural heritage. These elements are not mere adornments but are seamlessly woven into the narrative, contributing to the film's beauty and emotional resonance.

In a cinematic landscape that sometimes leans towards the formulaic and superficial, "Song Lang" stands out as a true gem. It defies the trend of mediocrity that plagues the Vietnamese movie industry, offering a rare and invaluable experience for those who appreciate well-crafted storytelling and the rich tapestry of Vietnamese culture. This film is a testament to the potential for excellence in Vietnamese cinema when passion, talent, and a commitment to cultural authenticity converge.

The heart of this story is the cai-luong theatrical style which is a Vietnamese style of folk opera very similar to Chinese opera in the 12 tone scale. The singer/actors have gone to great lengths to provide a perfect as possible recreation of the sound and story of the opera. The surrounding story is also operatic in nature, with two young men who have similar backgrounds but have taken different paths meeting and getting to know each other through coincidental meetings with each helping the other in some fashion. Linh, the singer, believes in time travel which is the core of the surrounding story as each character revisits particular moments in the path that shaped their future direction.

There are many things to love about this movie: the believably written and acted dialogues that come out of both the main and supporting cast, the wonderful Cai Luong performances that portray the characters' unspoken yearnings, and the immaculate set design that pays attention to the smallest thing to make this world feel lived-in.

"Song Lang" takes inspiration from some of Wong Kar-Wai's works in its tonality, but everything else feels authentic and carefully crafted as a Vietnamese story, both in its world of retro Saigon and its people. While i personally feel that the movie holds itself together better in the first half, overall it is an intimate piece of cinema that would delight a chance-watcher with its earnest filmmaking.

The film is permeated by the vibes of cai-luong (reformed theater), a kind of traditional Southern Vietnamese folk opera. Here features a young guy who appears quite violent in action, quite muscular and rugged in build, and quite terse and monotonous in words. There features another young guy who appears meek and slim and naive and nice. They have the same childhood studded with memories of cai-luong troupes and activities. Yet as courses of their lives roll on, one strolls toward his fulfillment, and one along his perilous path and keeps that until the very end. Of course, on their ways, they have a brief pause to have a chance encounter followed by another chance one, extended by some spell of a prolonged conversation around art, life and even time travel. That's where the promising opening of the film is faded into hackneyed verbal patterns typical of ordinary situations in Vietnam. It's quite clichéd yet real.

Above all, I find the film most charming in its decent presentation of Southern Vietnamese ambience, mostly vividly expressed via minor characters, which feels so dear to me, who is also a native Southern. And it's the only big plus in my view of this film. Perhaps some people would mention its shots of beauty or exquisiteness or splendor, you name it, as an unignorable outstanding aspect, for good reason of their own. That is so exaggerated and not the case in my mind, as they are nothing more than some kind of mimicked and framed creation rather than revealing or creative one. I do find them beautiful, and only deem them as the spice of the film just as a variety of people portrayed here of life. After all, setting aside some over-romantic or over-hinted scenes and some faux coincidences, I'm left with a film of moderate caliber with few nonsensical happenings and verbalization which are usually a trademark for Vietnamese films.