Sompote Sands is one of those figures in cult cinema who casts a long shadow. Granted it’s a shadow that twists around and warps into a demon like Calibos’ shadow […]
He can use this force to pull himself through the air, almost as if, oh, as if swinging from, let’s say some kind of web. Like a man who possesses some of the characteristics of a spider, perhaps.
If there’s one lesson to take away from this lavish Thai swashbuckler, it is this: if you are a dick to whales, don’t go to war against a guy who is nice to whales and can also ask them for favors.
The title Shadow Music of Thailand evokes ideas of ancient and mysterious folk traditions. A CD with such a title, one might assume, could offer the listener a portal to arcane, culturally insular sounds that were never intended for Western ears. The truth, however, is a wee bit different.
To judge the film by its shortcomings would be unfair, because the charms that would mitigate them — all of those things that are wonderful about Insee Thong — are less easy to fully appraise.
Ultraman was very popular in Thailand, and in 1973 Sompote Saengduenchai approached Tsubaraya Productions with the idea of co-producing a series of films that would team their heroes with figures from Thai folklore and mythology.