Song lang

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

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.

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.

Song Lang (2018) is a Vietnamese film co-written and directed by Leon Le.

The premise of this film is that an emotional connection is possible between two men of very different outward temperaments.

Isaac plays Linh Phung, a performer in Vietnamese traditional opera. Lien Binh Phat portrays Dung "Thunderbolt," an enforcer for a vicious lone shark.

Thunderbolt goes about his job with impassive, brutal efficiency. He says that when people borrow money, they have to pay it back. If they can't, or won't, he sees to it that they do.

The two men meet when Dung Thunderbolt is about to burn the costumes when he's unable to collect a debt at Linh Fung's opera. Linh offers him enough to keep the match unlit, although Dung won't accept it.

The two men are attracted to each other. No one ever mentions the word "gay." It's probably not acceptable in Vietnam, where all culture is controlled by the state. My sense is that Cai-Luong opera male stars are thought to be gay, even though they portray excessively masculine characters onstage.

Their relationship changes their lives, in unusual and surprising ways. The plot of the film is complex and subtle, and keeps you thinking about it after the movie is over.

A real bonus is the scenes from the opera performances themselves. The opera music sounds strange to our western ears, but that doesn't mean we can't enjoy it as a true art form.

Both men are fine actors. However, for me, the best acting was done by Phuong Minh as Auntie Nga, the loan shark. I can't remember someone portraying a person with no soul so well. When tragedy strikes, her comment is, "No one is forced to borrow from me." She clearly has no guilt at all about her actions.

We saw this movie at the Little Theatre, as part of Rochester's wonderful ImageOut Film Festival. The opera scenes probably work better on the large screen, but the film is worth seeing on a small screen if that's your only option.

This movie has an extremely high IMDb rating of 8.0, with over 200 raters. That's amazingly high for a foreign film about gay men. I consider this a must-see film if you're interested in the music or in a relationship that grows between two very different men. I highly recommend it.

Good plot, dramatic, moving, great threater music, subtle to display LGBT love, cinographic.