Expectations exceeded
Before a series starts, I usually keep my expectations low, so I won’t be too disappointed if it isn’t good. When “The Edge of Horizon“ was announced. I did expect...
Expectations exceeded
Before a series starts, I usually keep my expectations low, so I won’t be too disappointed if it isn’t good. When “The Edge of Horizon“ was announced. I did expect something special, though, and for two reasons. First, I like BL series in lakorn style, and second I’ve loved Ongsa Theethuch for his fine acting as a lead in “The Cursed Love“. My expectations were exceeded, as “Horizon“ turned out to be one of the best Thai BL series ever made, keeping me glued to the screen from the first to the last minute.
In contrast to most lakorns, which are usually fictitious, albeit with many subtle allusions to historical or recent political and social events, “Horizon“ depicts the revolution of 1932, which put an end to feudal Siam and was the foundation of modern Thailand. The military coup executed by the Khana Ratsadon Party went largely without bloodshed, whereas the rebellion of a minority of royals and military units, led by Prince Borowadet, almost took on the dimension of civil war.
The plot of “Horizon“ displays the political turmoil using the example of the noble Varakulvatin family, whose patriarch, Prince Vasin (Chai Chatayodom) obviously represents Borowadet. While the historical storyline quite accurately relates the events leading to the 1932 revolution, the revolution itself, and the 1933 rebellion, the BL plot revolves around the love of Prince Tinnakorn Varakulvatin (Ongsa Theethuch) and his childhood friend, servant Phob Manghongphak (Inn Jakkrasin).
The writing of this series is fantastic, because it succeeds in having many social groups of the 1932 Siam represented by characters, who all play important parts in the development of the story. So instead of retelling the whole story, I’ll focus on the characters and the social groups they stand for.
Prince Vasin doesn’t accept the results of the revolution and leads a group of military leaders and members of the royal family, who prepare resistance against the revolutionaries once they have noticed that a coup is being planned. Whether he does so because he really believes that the traditional system is for the better of the country, or merely out of fear of losing privileges, remains open to the judgment of the viewer. Vasin (like Borowadet) also becomes the commander of the troops trying to restore the old order.
Vasin’s son Tinnakorn, while rather apolitical, loyal to his family, and always hoping for harmony, is rebellious on the personal level, when his friendship with Phob turns into mutual sexual attraction and love as they grow up. Their relationship is discovered by Prince Vasin, who is strictly against it for fear of his family losing face, and by Phob’s mother Nual (Mam Kathaleeya), who also turns against her son.
Tinnakorn’s brother Chat (Pond Ponlawit) stands for those members of royal families who don’t care for the country and its people, but steal state money for a dubious mining business. Chat isn’t the most intelligent of all people, he’s selfish and always whining once his shenanigans lead to disaster. He also feels treated unjust by his father who keeps praising Tinnakorn.
Prince Vasin’s mother (Eed Duangiai) represents those royals who accept the change. She doesn’t complain about having to leave the palace and live in a small house, unlike her grandson Chat, and she even tries to make ends meet for her family by selling homemade food at the market. In contrast to Prince Vasin, she not only appreciates Phob, but also supports his and Tin’s relationship.
Her closest servant Ueam (Berm Patchanok), follows Grandma’s every step, although she suffers from the changes. She loves Tinnakorn dearly and accepts his relationship with Phob. When Prince Vasin dismisses all the other servants when the family has to leave the palace, she remains loyal to Grandma and stays with her.
Phob’s mother Nual is so ashamed of her son’s sexual orientation that she leaves the Varakulvatin household, and she also represents those Thai citizens who do not support the revolution, because they are afraid of losing their living as servants in royal or wealthy families. So she is in strict, if not aggressive opposition to her son, both for his love of Tinnakorn and the role he plays in the revolution.
Phob, after leaving the palace, becomes a decorated officer and a leading figure in Khana Ratsadon. After a time of separation, he gets back together with Tin, finding himself caught in a deep conflict. He loves Tin from all his heart, but he betrays him by stealing documents about the whereabouts of the royal family at the time of the coup. Tin turns against him, while Phob keeps protecting his lover from afar, and he is the one who saves him, when Tin is caught in the crossfire of the counterrebellion.
There are some support characters who also play important parts in the development of the story. Princess Ruethaisiri (Prim Prinda), who her father wants to marry Tin, accepts Tin’s love of Phob, and also sympathizes with the aims of the revolution. Journalist Janthorn (Plengkwan Nattaya) is a supporter of the revolution, but soon doubts some of the rules the new government introduces, e.g. restrictions of the press, so she represents the disappointment of some factions of the country’s new leaders.
Both in the leaderships of Khana Ratsadon and Prince Vasin’s group of counter-rebels, frictions become evident very soon. In Khana Ratsadon, civilians and members of the military struggle for dominance, and Prince Vasin faces some opposition by members of his group who do not want to start civil war.
All in all, the series draws quite a precise picture of the Thai society in the 1930s, and it is thus more realistic than most lakorns.
The writing (Nueng Chanawon of “To Sir, with Love“ and “Love in the Moonlight“ fame, and Oh Wantawil, “Love in the Moonlight“, “Laws of Attraction) is superb, not only in the development of the plot, but also in the characterization of main and support roles.
Let me say some words in defense of the writers, for there are some aspects that have been heavily criticized by some viewers.
Some BL fans scolded Prince Vasin, Chat, and Nual for their homophobia. We have to keep in mind, however, that the story is set almost a hundred years ago, and it has taken a long time for Thai society to accept same-sex relations, and almost a century for Thailand to introduce same-sex marriage, which is still not legal in any other Southeast Asian country. Their “homophobia“ is thus simply what society was like back then – ignoring it would have been sugarcoating.
Phob has also drawn a lot of hatred upon himself, when he stole Tin’s documents. But his inner conflict between loyalty to his lover and to his political conviction is typical of revolutionary times, which more often than not divide societies, families, and friendships. So again, as wrong as some viewers may have seen Phob’s action, it illustrates the struggle people in his shoes have to go through.
The production quality and the cinematography are good. Only in some combat scenes, the special effects do not look very realistic. There are some ahistorical issues, such as medical equipment that wasn’t invented before WWII, and the military vehicles also look post-war. Things like that tend to happen in historical series, probably due to budget restrictions or the availability of a hundred-year-old vehicles. Those minor matters do not disturb the authenticity of the series as a whole.
Oh Kathadeb is an experienced director, and under his direction all the actors display their very best performances.
The acting in this series is as brilliant as in other similar BL-lakorns, such as “To Sir, with Love“, which paved the way for this BL subgenre, “Love in the Moonlight“, or “I Feel you Linger in the Air“.
While Inn Jakkrasin’s acting appears stiff in some scenes, this is clearly due to Phob’s personality and living conditions as a soldier. Chai Chatayodom’s acting seemed a little OTT in some scenes, but that is what Thai viewers expect in a lakorn. All the support actors were absolutely up to their jobs, too.
Two actors, however, stole this series for me. Ongsa Theethuch is only 21, but his acting is already complete. I compare his talent and skills with his (almost) peers Fourth Nattwat (21) and Poom Nuttapart (23). What makes him stand out is the gift of a pair of eyes that have hypnotic powers.
And then there’s Pond Ponlawit. Whoever he is paired with – it works (well, it didn’t quite work with Earth in “Fourever you“, but that wasn’t Pond’s fault). Whatever role he plays – he can do it. The way he personifies the selfish, stupid, and arrogant Chat, and at the same time triggering viewers’ pity is just brilliant.
I need to comment on the music, because it’s an important contribution to the overall atmosphere of the series. In many scenes, Amp Achariya’s background music is as bombastic as Thai viewers are used to in lakorns. BTW Amp is an experienced composer of soundtracks for series and movies. Ongsa’s OST song “First Light“ is one of the most beautiful OST songs I’ve ever heard, and playing “The Blue Danube“ in Tin and Phob’s kissing scenes feels like the cherry on top.
There really isn’t much I have to complain about – only this: I think Phob’s alleged death in the final episode wasn’t necessary. It felt a little like the producer told the writer “Make viewers cry once again before the happy ending“. I do appreciate, though, that Vasin and Chat were sentenced to life imprisonment, but it would have done justice to the Khana Ratsadon government, if it had been made clear that all the rebels were released from prison after 3 – 5 years. BTW the real Prince Borowadet fled the country, but returned in 1949 and remained unharmed.
I do not usually review series that I don’t like. Hence almost all the series reviewed in this book are “good“ in my subjective view. But there’s only a handful of series I liked as much as I liked “The Edge of Horizon“, and imho it truly deserves to be called a masterpiece, which exceeded my expectations by far.
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