Tony Jaa has exited the film industry. We don't know for how long and can only speculate on the reasons why but yesterday - Friday, May 28 - Jaa rode an elephant to a Buddhist temple in Surin, Thailand, where he shaved his head, took vows, and was officially ordained as a Buddhist monk.
Now, this is not necessarily forever. Joining the monkhood for set periods of time is a fairly common practice in Thailand and the expectations are not that he will remain in the monastery forever. In fact, Jaa's mother has already been quoted saying she hopes her son will find a nice woman and get married once his time as a monk is complete. This does, however, completely eliminate any chance of Jaa being involved in the film industry for the time being and this, I think, is entirely the point. In fact, I actually predicted this move back in August of 2008. Here's what I think is happening:
Following the success of Ong Bak and Tom Yum Goong, Jaa insisted he be allowed to direct his next film himself - a desire largely responsible for destroying his relationship with director Prachya Pinkaew. Jaa got his way, though, and the reins of Ong Bak 2 were handed over to him. The initial footage from that film looked fantastic but it didn't take long for strange stories to emerge from the set - stories of Jaa sacrificing chickens before shooting for the day could commence - and things rapidly fell behind schedule and way over budget. And then, with pressure mounting and debts adding up, Jaa simply crumbled under the pressure and disappeared. He was gone for two solid months - during which time the wilder stories explaining his absence involved black magic in Cambodia - before his mentor Panna Rittikrai managed to track him down and bring the wayward star home. And then, believe it or not, things got even messier.
First Jaa appeared on TV, weeping and vowing to complete the film. Then he publicly issued a set of demands to production house Sahamongkol, threatening to disappear again if they were not met. Among the demands were the insistence that he be released from the long term, exclusive contract that he signed with the production house. Shortly after this Jaa was whisked away in a car full of Sahamongkol 'heavies' prompting speculation that he had been kidnapped. Not true, Jaa said when he reappeared, but whatever happened was unsettling enough to him that he took refuge in a police station, where he later met with Sahamongkol boss Sia Jiang. That meeting resulted in Jaa's demands being dropped, Jaa agreeing to split Ong Bak 2 into two movies to allow the company a chance to recover the cost over runs, the creation of a major new role for Sahamongkol's other star Dan Chupong, and directorial duties for the remaining shoot were handed over to Panna Rittikrai.
Well, the results of those shoots have both been released now. Ong Bak 2 - mostly Jaa's film - is flawed but was a success thanks to the incredible fight work. Ong Bak 3, however - assembled fast and cheap from a quickly revised script by an assembly of Sahamongkol execs and Rittikrai - became the first Jaa film to ever fail to top the Thai box office and, frankly, stinks of contractual obligation. The passion isn't there, the fire is completely gone from Jaa as a performer, he's put on weight - not to Segal levels but he's lost all of his definition - and all of the films best moments belong to the charismatic Chupong, not Jaa. With Ong Bak 3 it seems that Tony just doesn't care any more.
So here's my take on things. Jaa, clearly, meant what he said when he threatened to walk away and disappear again. My guess is Sia Jiang laid down the legal and financial consequences Jaa would face if he failed to fulfill his Ong Bak 2 contract, effectively forcing him back to work on that film, but now that that particular film is done and that particular debt is paid, Jaa has gone to where their contracts couldn't touch him. How long will he remain a monk? My guess is until one day after his original ten year exclusive contract with Sahamongkol expires.
Now, this is not necessarily forever. Joining the monkhood for set periods of time is a fairly common practice in Thailand and the expectations are not that he will remain in the monastery forever. In fact, Jaa's mother has already been quoted saying she hopes her son will find a nice woman and get married once his time as a monk is complete. This does, however, completely eliminate any chance of Jaa being involved in the film industry for the time being and this, I think, is entirely the point. In fact, I actually predicted this move back in August of 2008. Here's what I think is happening:
Following the success of Ong Bak and Tom Yum Goong, Jaa insisted he be allowed to direct his next film himself - a desire largely responsible for destroying his relationship with director Prachya Pinkaew. Jaa got his way, though, and the reins of Ong Bak 2 were handed over to him. The initial footage from that film looked fantastic but it didn't take long for strange stories to emerge from the set - stories of Jaa sacrificing chickens before shooting for the day could commence - and things rapidly fell behind schedule and way over budget. And then, with pressure mounting and debts adding up, Jaa simply crumbled under the pressure and disappeared. He was gone for two solid months - during which time the wilder stories explaining his absence involved black magic in Cambodia - before his mentor Panna Rittikrai managed to track him down and bring the wayward star home. And then, believe it or not, things got even messier.
First Jaa appeared on TV, weeping and vowing to complete the film. Then he publicly issued a set of demands to production house Sahamongkol, threatening to disappear again if they were not met. Among the demands were the insistence that he be released from the long term, exclusive contract that he signed with the production house. Shortly after this Jaa was whisked away in a car full of Sahamongkol 'heavies' prompting speculation that he had been kidnapped. Not true, Jaa said when he reappeared, but whatever happened was unsettling enough to him that he took refuge in a police station, where he later met with Sahamongkol boss Sia Jiang. That meeting resulted in Jaa's demands being dropped, Jaa agreeing to split Ong Bak 2 into two movies to allow the company a chance to recover the cost over runs, the creation of a major new role for Sahamongkol's other star Dan Chupong, and directorial duties for the remaining shoot were handed over to Panna Rittikrai.
Well, the results of those shoots have both been released now. Ong Bak 2 - mostly Jaa's film - is flawed but was a success thanks to the incredible fight work. Ong Bak 3, however - assembled fast and cheap from a quickly revised script by an assembly of Sahamongkol execs and Rittikrai - became the first Jaa film to ever fail to top the Thai box office and, frankly, stinks of contractual obligation. The passion isn't there, the fire is completely gone from Jaa as a performer, he's put on weight - not to Segal levels but he's lost all of his definition - and all of the films best moments belong to the charismatic Chupong, not Jaa. With Ong Bak 3 it seems that Tony just doesn't care any more.
So here's my take on things. Jaa, clearly, meant what he said when he threatened to walk away and disappear again. My guess is Sia Jiang laid down the legal and financial consequences Jaa would face if he failed to fulfill his Ong Bak 2 contract, effectively forcing him back to work on that film, but now that that particular film is done and that particular debt is paid, Jaa has gone to where their contracts couldn't touch him. How long will he remain a monk? My guess is until one day after his original ten year exclusive contract with Sahamongkol expires.
Suck it up, Jaa!!
If this is what he feels he needs to do, more power to him.
He seems a little strange this man Jaa.
Shouldn't he just be thinking of his movie career and fans all over the world.
We want him to do good movies orelse he need to retire totally, not dissapear as a kid all the time.
Well, Jaa never lived up to his promise in the end. Ong Bak (the first one) took the world by surprise, as much for the punishment willing to be endured by the stunt-team and the novelty of Thai Styles in huge set-pieces.
Jaa himself showed after several films that he has the screen charisma of a wet blanket, and nobody seems willing to throw in a screenplay worthy of the best of Lee, Li, Chan or Yen. In fact with each passing films the screenplays got worse (and considering how thin Ong Bak is storywise, that says something)! The last couple of Jaa films are little better than pornography insofar as they are only worth watching by skipping to 'the good stuff.'
I am not saying that Jaa has not the chops of the worlds best on-screen fighters, clearly the guy is bloody amazing, indeed world-class. But technical prowess still needs to be balanced by some sort of screen presence and selectivity of project. Are not Van Damme and Segal known by their early damn-near A list films or their junky late period DTV crap? It seems that Jaa was at the DTV level by about his third film.
Perhaps he will come back from the Monkhood with a fresh take on how to come across onscreen. I hope he overcomes all of his off-screen obstacles.
Great athlete, crappy filmmaker.
Will miss his moves, won´t miss his films,
OMG hope this no for long
Good Riddance.
har, just kiddin. I hope he gets another shot, but he needs to man up and deal with it. Donnie Yen and Jet Li did their time as studio dogs, but now they get top choice projects.
I feel that if Tony Jaa ever got a good director and a good Stunt Team (come up with new shit, man), he could put out something mindblowing like Fist of Legend for Jet Li and Flashpoint for Donnie Yen.
He already has mindblowing films, just tell me what movies Donnie has and Li that have good stories, I mean did ya see some of earlier movies of Donnie Yen, jeez bullshit and the only movie that had something of a story was IpMan, did ya see 14 blades, what the hell was that, we watch those movies because of fights, also fist of legend had a cliche story like any other Jet Li movie, now am not telling or stating here that the scripts for Tony Jaa movies were acceptable, they were worse then anything ever but they were still full of awesomeness.
Also adding on the Kurts post here, please man, Tony Jaa has done something in one movie that Van Dam (only movie worth was JCVD, I never liked his fights in movies, always the same) and Segal (had good fights but they cant even come near Ong Bak or other Tony Jaa movies) dont have in all of theirs out together, of course he will feel pressure did ya see the stuff hes doing, how to come up with more, its nearly impossible.He burned because of the pressure and media it was very bad for him, and as we know almost destroyed him, still he will stay a man that left some awesome fights put on camera.Lets hope he'll get back.
Dude that sucks... Who is going to fill in his shoes??? I haven't seen a good action movie on the big screen since Kick Ass...
Somewhere in Thailand, Dan Chupong is giddily saying, "hello, spotlight, come to papa."
The martial arts movie field is still in pretty bad shape overall. Jaa and his movies brought back a lot of hard hitting action that was missing. But again, things are pretty much dry, it's not because there's new blood lacking, but good directors with actual vision to shoot good MA epics. Dan and Jeejaa can't do much if they are offered more recycled films with no real identity. Jet and Jackie are really more out than in, same for Sammo, Donnie would eventually had to slow down.
So again, where is all the talent the MA movie industry needs? Both infront and behind the camera.
what is wrong with all these trolls?
Tony Jaa doesn't make movies for you.
i hate it when people don't think about film makers feelings, all they care about is that person should be making films for them.
To me, I just think it's ironic, because of the ending in Ong Bak 1 is exactly the same thing he's doing. but I'm proud he became a monk
Y'all are over-reacting. But whatever. Enjoy.
Aw shucks... and I just read that Donnie Yen was possibly teaming up with Jaa for a film. I guess that won't happen too soon. It would have been nice to see him outside of that setting. I feel like he would benefit from that, so I really hope he makes more films and not with sahamongkol.
These Thai martial arts films are just getting weaker. Raging Phoenix had maybe one cool fight between the two women, but everything else about that movie was horrible. So I think the actors just aren't given much to work with. Merantau was decent, but definitely lacked the complexity some proclaimed it had. Beneath the surface it was really just as simple as Ong Bak, and not as good.
I am a bit sad to hear this but it's good sometime to return to the source where we began to recover and find the right way.
I still like his fighting style but at the same time the story lines need to be meaningful and understandable.
I think Ong Bak one is the best and would never be extend to any Ong Bak 2 or 3.
People always do the same mistake.
Todd,
It seems as if your analysis has been picked up in the Japanese media on a site called Cinema Today:
http://www.cinematoday.jp/page/N0024719
The last three graphs coincide with the last three of your story above, without the Chupong comparison but right down to the speculation that Jaa will stay at the temple until his contract with Sahamongkol times out.
I'm sure Jaa's career will continue in the future.
Love Ong BaK. A movie vith great efects!!!!