Memoir of Rati (2025)

Delicado, mas inesquecível

Esse BL tem um ritmo bem próprio, é mais lento, mas te prende nos detalhes, no olhar, em cada suspiro dado. A história gira em torno de amor, perda e reencontros, trazendo um tom melancólico que não é pesado demais, mas o suficiente pra cutucar onde dói. E olha, vou ser sincera, essa sutileza pode ser tanto o charme quanto o ponto fraco da série, dependendo do humor de quem assiste.

O casal Rati e Thee foi o coração mais doce da trama. Eles têm uma química que não precisa de exagero, tudo funciona na delicadeza: um toque de mão, um olhar prolongado, uma conversa dita quase em sussurros. A relação deles é construída num compasso calmo, cheio de carinho, e é justamente isso que traz o peso emocional. Eles são leves, mas carregam uma intensidade silenciosa que me deixou suspirando em várias cenas.

Já Mek e Dech foram o meu ponto de maior interesse. O contraste da personalidade deles trouxe uma energia diferente, mais densa e carregada de tensão. O jeito como eles orbitam um ao outro, cheio de faíscas e não-ditos, foi viciante de assistir. Só que justamente por terem esse ar mais explosivo, eles pediam mais intensidade física, mais entrega. Fiquei com a sensação de que a série deixou passar a oportunidade de explorar o quanto esse casal poderia incendiar a tela.

Apesar de toda a beleza na sutileza dos gestos e olhares, confesso que senti falta de um pouco mais de contato íntimo entre os casais. Principalmente no Mek e Dech porque, sinceramente, esse casal gritava por intensidade física, por aquela fagulha que pede beijo roubado no calor da briga ou abraço desesperado depois de uma confissão. Já o Rati e o Thee funcionaram muito bem na delicadeza, na coisa quase poética de amar em silêncio, mas o Mek e o Dech pediam mais entrega nesse sentido, e ficou uma vontadezinha não saciada.

Agora, se tem algo que pesou foram os tropeços do roteiro. Alguns episódios se arrastaram sem necessidade, repetindo situações que já estavam claras, enquanto outros personagens foram jogados de lado sem muito desenvolvimento. Teve também escolhas de direção, e conveniências de roteiro, que não ajudaram a narrativa a fluir, principalmente em momentos que pediam mais impacto. Nada que torne a série ruim, mas o suficiente pra perceber que, com alguns ajustes, poderia ter sido ainda mais grandiosa.

No fim das contas, Memories of Rati foi uma experiência agridoce. Tem uma beleza poética que conquista, mas também escorregões que atrapalham um pouco a imersão. Eu recomendo sim, especialmente se você gosta de BLs que se apoiam mais na emoção contida do que na paixão escancarada. O que mais me marcou foi essa mistura de delicadeza com dor, e como até na falta de intensidade física os personagens conseguiram me passar tanto sentimento. É uma série que pode não ser para todo mundo, mas com certeza você vai se encantar se der uma chance a ela.

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Standing on the precise centerline of the standard measure.

This is a standard film by every standard, and I mean that as a compliment. It feels like watching characters step out of a novel, with a complete script, well-embodied characters, pitch-perfect emotions, and visually evocative scenes. Everything exists within a standard framework that met my expectations exactly. And as it happens, that was everything I needed from a period film like this.

If you are looking for a romance in the vein of "Romeo and Juliet," with family feuds, tragic partings, and high drama, "Memoir of Rati" is not that film. If you are seeking something emotionally heavier, or a deep dive into history, that is also not the prominent color in this palette. But if you are like me—searching for a breath of fresh air, a palate cleanser, a romantic and poetic love song that is gentle and lilting—stable, following a classic path, delivering visual splendor and telling its story through imagery, then "Memoir of Rati" is precisely the memoir for us.

The love between Thee and Rati blossoms from their very first encounters—if not from the very first moment Thee sees Rati from afar on the pier, his gaze already captured by the young Frenchman. Their love unfolds as gently as sunlight on a river, troubled by little more than small misunderstandings resolved in a moment, or a few situations that allow them to understand each other more deeply.

Perhaps I should be grateful, for the film arrived at the perfect time, after I had sat through a series of rather heavy-hitting dramas and was in need of just such a gentle touch. It strikes the exact chord of my taste for Thai period pieces. I adore the dreamy, poetic feeling of that era; for some reason, the hesitation, the shyness, and the touch of formality from that time easily make my heart flutter. The love between Thee and Rati is one of such romantic stirrings. It is certainly not thrilling, dramatic, or passionately fiery; "romantic" is the only keyword I can think of to describe their love, and it is also the primary atmosphere that envelops the entire film. Every trial or obstacle they face is crafted from the most classic of clichés, and it is this very old-fashioned quality that so deeply satisfied my expectations for a film set in a bygone era.

Speaking of the film's polished craftsmanship, the light, the colors, the flowers and the rivers, the fireworks during the festival, the architecture and the costumes—in short, the entire visual landscape—testify to the filmmakers' dedicated investment. Everything reaches a necessary maturity, and there is no room for debate: the acting is skillful enough for me to perceive the delicate inner stirrings of the characters. This subtlety, fitting for people of that time, bearing their responsibilities with romantic hearts, is a key element in creating such a sincere love story.

Within its nostalgic and vintage palette, the film weaves progressive ideas from a century ago, asserting its humanistic values in a way that feels appropriate for the time it was made, yet not anachronistic to the time it depicts (women have always been strong, regardless of the era's constraints). Although the characters' mindsets felt more "modern" than I anticipated—particularly in their easy acceptance of a same-sex romance—perhaps that issue was never the film's focus. As I mentioned, the romantic element is what takes precedence. And of course, aesthetics and aesthetic pleasure have never been unimportant in cinema. In this case, I see nothing wrong with prioritizing the beauty of nature, of people, and of a historical era above all else. The film may not push the viewer's emotions to their absolute limit, it may not make you weep in sorrow or tremble in fear, but the sublime beauty, with its poetic and romantic qualities, was more than enough for me to feel that aesthetic bliss.

Perhaps that is all that is needed for the "standard" of a good film—everything is measured, just complete enough, perfectly timed, and expertly balanced. Although there are a few regrettable shortcomings that may not fully satisfy every viewer, when the film ends, the feeling that rises above all else—the final impression it left on me—is one of happiness and wistfulness. It is a feeling of being both filled up and having something taken away, that necessary, beautiful emptiness one feels after watching a truly good film.

To speak on what it lacks: the ending follows a well-trodden path of separation and reunion. I can understand why some might have hoped for a tragic conclusion and disagree with the "happily ever after" endings often seen in GMM films. While I won't comment on the five-year separation, I think the happy ending is justifiable. From start to finish, the film's dominant theme has always been one of optimism, a look toward the future. It’s only natural that the ending would open a door to that future, to hope, to a new world. Furthermore, my personal taste doesn't usually lean towards love stories that become sweet too quickly; I prefer hardship and drama, so some parts were less compelling for me. Yet, on the other hand, even though the film is brimming with romance—with the two leads falling in love early on and barely a moment of conflict lasting more than half an episode—it still held my attention. It satisfied me aesthetically, and it still managed to excite me and make my heart flutter. In that, the film has done its job wonderfully.

And so, it is the chemistry and the aesthetic impression that I value most in this film. They delivered the necessary romance, in just the right measure for everything. And that is all that is needed for a good film.

***

(P.S. Besides Great-Inn, whose acting needs no further praise, Aou-Boom also made me understand a part of their popularity. Whatever the reason, I am certain that between them, there is that tension, and also a very lovely spark. They inhabit their roles so well that I never felt disconnected. Their secondary couple storyline doesn't feel forced, it doesn't crowd the main couple, and it serves as an interesting, colorful contrast to the central romance—playful, cat-and-mouse, humorous, and goofy. In short, utterly charming. I have much more faith in Aou-Boom's future series now.)

A final compliment for Inn - suay mak!

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