By Vijian Paramasivam
PHNOM PENH, Aug 6 (Bernama) — The vibrant spirit of Myanmar’s cinemas in 1920 still echoes in Yangon today.
In June, as rains flooded Yangon streets, theatres premiered Mingala Pwe (The Wedding) and Just a Bazaar Seller, But So Haughty.
Two Nights and Three Days and The Boat are set for release in August.
These comedies and romances offer more than just escapism – they are a testament to the resilience of Myanmar’s film industry, which continues to adapt and thrive against all odds.
“Myanmar audiences like going to cinemas to watch or spend their leisure time more than in other Southeast Asian countries, despite being in a digital age.
“It may be due to the country having fewer activities or exhibitions for people to enjoy as well. The majority of the movie goers are also people from the rural areas, and the only form of content seems to be going to cinemas in those areas,” Yangon-based television series director Min Thant Maung Maung told Bernama.
He is the son of popular director Zin Yaw Maung Maung and actress May Than Nu.
The flickering silver screens continue to bring joy to a country that has endured multiple hardships through its history – natural disasters, military dictatorship and economic hardship.
Cinemas have survived the most challenging periods in Myanmar’s complex history, including the British colonial era, the socialism of the 1960s to 1980s, democratic governments, and military regimes.
Filmmakers face strict censorship, technological limitations, and financial struggles to produce movies, ranging from love triangles to slapstick comedies and thrilling narratives that captivate loyal audiences.
“After (General) Ne Win’s coup in 1962, ticket sales increased by 40 per cent seven years later. The average Burmese person was attending the movies seven times a year,” Australian National University anthropologist Dr Jane M Ferguson told Bernama.
She said that when censorship was strict during the socialist era, 2,600 feature-length films were produced.
“Even though they would critique the socialist years as being the impoverished ones, they would still have fond memories of these films.
“They would remember the handsome actor, the beautiful actress, the problems of the overplaying mother-in-law, and all sorts of love triangle repetitions you can imagine.
“Those story lines probably fit into the environment then for the local audience,” said Dr M Ferguson, who authored Silver Screens and Golden Dreams: A Social History of Burmese Cinema, published last year.
The film journey in Myanmar, then Burma, began in 1920, when the first silent black and white feature film, Metta Hnint Thura (Love and Liquor), was released.
Myanmar’s beauties – its diverse 135 ethnic groups, cuisine, festivals, beaches, music and film – are often eclipsed by political upheavals and natural calamities. They seldom made international headlines.
Cinema remains the hallmark of the country’s entertainment, with about 150 movies produced annually on average.
Today, about 150 movie theatres have survived the gloom and doom. Power outages, censorship and security issues have not prevented local films from attracting audiences.
Regardless of its milestones and resilience throughout the rough years, the industry – boasting a wealth of talented filmmakers and actors – failed to shine outside its borders.
Chief editor of Yangon-based Popular Journal, Khing My, told this news agency that Burmese cinema cannot progress due to financial constraints and screening restrictions.
“Myanmar’s film market is not booming yet. The international community is not interested in Myanmar’s film market. This is the reason why Myanmar films cannot penetrate the international market.
“Successive governments have tried to push for subtitles to be shown internationally but have failed,” said Khing My.
Meanwhile, Dr M Ferguson opined that contemporary Myanmar film-makers have tremendous creative talents in storytelling to define the country’s social and political settings.
“I still firmly believe that filmmakers are making films that are worth watching, and they should get more attention internationally. I mean, it’s an ethical obligation of international audiences to take an interest in things beyond the places that are economically powerful,” said Dr M Ferguson.
— BERNAMA
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