Bussaba Lui Fai

This is both a love story between artists - poet and painter - and a love story to Thailand's rich cultural and artistic history. It's a very gentle lakorn. There's some family drama, a friendship between kindred spirits which grows into more, and a colourful, well-realised world of supportive friends. Poetry, temple paintings, Laotian traditional music and dance, Thai classical dance, music and theatre are all given ample time, both in explanation and in performance. They are integral to the story and characters, far more than mere window dressing or historical 'colour'.

The screenplay is excellent in how it handles this, giving enough explanation for a beginner to follow while also incorporating greater depth and resonance for those who know the poems referred to. At least this is how it seems to me, new to much of this but willing to look up what I can.

It is set primarily in 1836 - halfway through the 22 years Sunthorn Phu wrote, and wrote, and continued to write his epic web-novel, I mean his renowned 600,000+ word, 48,686 couplet literary poem "Phra Apai Mani." Both the poem and Phu are recurring characters. A story from King Rama II's own dramatic verse "Inao" is also integral to the lakorn.

It's not all arts and performance of course. Discrimination - both of women and of Chinese labourers - is central to the story. Lamjuan, the feisty, smart and independent-minded FL who will do nearly anything to learn how to read and write, stands up for Hoon, the Chinese ML, and he in turn understands her fight against the limitations society and the other men in her life put on her because of her gender. They become steadfast friends.

It's Thai, and Thai PBS, so neither are alone in their struggles. Both have strong, supportive networks of friends and mentors, family and found family. It really is a gentle, lovely lakorn and a very welcome respite from everything going on in the world these days.

There aren't really villains here, more like petty, less capable men who think nothing of using women for their own gain because that's what society has taught them. The primary antagonist has morals and principles, but he is also a wealthy, privileged man in a position of power who always prioritises his own desires over women's and doesn't realise what he is doing.

The combination of these three elements - the pursuit of creativity, the struggles against prejudices, and their supportive friendship - makes for a fantastic story. The writing and story-craft is excellent, as is the acting, production and everything else. I have one small quibble which I'll put in a comment so it can hide under a spoiler. It's the *only* reason why I marked Story down from a 10.

Casting of the two leads, and another minor character, is very much What is age anyway. Cherprang Areekul was 27 when this aired and somewhere around 10 years older than her character. Toni Rakkaen was 41. Which made for a bit of a shock when they gave his age as 22 in 1836 - and after a time skip of 6 years. Hoon was SIXTEEN at the beginning! The impact of what Hoon was going through at such a young age was lessened for me in a few scenes, but Toni was so good at inhabiting the character it wasn't long before he seemed just right for it. More importantly, despite a significant age gap between the leads their characters are only around 6 years apart in age. It's also chastely Thai PBS.

Commendations also for screenwriter Pranpramoon; Pijika Jittaputta as Lamjuan's mother Jampa; Pattarasuda Anumanrajadhon as her rather magnificent mentor Poom, Bussaba of the Ferry; and Molywon Phantarak (so loved the relationship between her character and Lamjuan). Plus we get Rudklao Amradit in a minor role as well? Go on, spoil us some more with the quality of their acting.

Everyone involved - every actor, everyone behind the scenes including set, costumes, writing and everything else - created a fascinating and richly realised world. If I may make this recommendation - don't rush through it. It's a lovely respite to come back to again and again.

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