When the Khmer Rouge captured Phnom Penh in 1975, many thought the killing would end. Instead it started a long nightmare in which three million Cambodians would die in the “killing fields”. A journalist, Sydney Schanberg, is there to cover the war for The New York Times. Sydney develops a friendship with his aide, Dith Pran. Pran is forced into labor camps, enduring starvation and torture.
Blaine: Roland Joffe had been directing a lot of TV shows over the ‘70s and in the early ‘80s, he was offered to direct his first feature. Roland was given a good word to producer David Putnam (Chariots of Fire) and David thought Roland should check out the script for “The Killing Field” written by Bruce Robinson. It was based on a magazine article. The script was 300 pages long and it was so addicting for Roland to read that he couldn’t stop. Roland was lost in another world while reading the script. Roland knew what the Vietnam war was, but “The Killing Fields” was more about survival, partnership, human beings and it had heart. Roland had trouble sleeping because he was imagining how “The Killing Fields” would look like as a film. Roland wrote a letter to David letting him know what his opinion was on the script. Roland hadn’t heard from David in a year. Roland was being honored for a TV movie he directed at a British Award show and he ran into David there. David was pleased to see Roland and asked him what he was planning to make next. Roland had already written a screenplay for a movie and he was hoping it would be his first feature, but David didn’t think anyone would let him make it. Roland met with David the next day in his office telling him that a lot of directors want to make “The Killing Fields”, but Roland was the only one suitable to direct the project. Roland understood the movie more than any of those other directors David interviewed. David even kept the letter Roland wrote to him on what he thought of the script. Roland couldn’t believe the things David was saying to him. He was very flattered, but also nervous because if this meant he got the job then his first film would be major. Roland did know he really wanted to make “The Killing Fields” and David didn’t care if he had any experience in making a film before or not. What mattered was he understood the story.
Roland spoke with a lot of people who had experienced the horrible events that were going to be put into the film. Most of the extras they hired had been veterans during the drastic events that happened in Vietnam. They were brave to do this project and re-create the suffering they went through. Roland would talk to journalists who knew Sydney Schanberg. Sydney sounded like a remarkable, honest, warm hearted guy to Roland. Sydney took both himself and The New York Times seriously. A lot of journalists who went to Cambodia wanted to speak out for it because it was the type of country that was being ignored, plus no one else was doing it. Roland learned a lot about Cambodia through people who had been there and they all were in love with the country. It was like an adventure for these journalists, but also dangerous. Roland even got to speak with Sydney Schanberg himself and ask questions about his experience. Roland wanted the audience to get to know Cambodia and see what it’s people and the journalists were going through. Roland had to look through photographs of what the areas looked like in order create an environment that felt real. Roland connected with each scene they shot because he storyboarded every single one of them, even though he’s not an artist, but they were the best way to show everyone how he wanted “The Killing Fields” to look, like camera position for one. The camera is always on the move because so much is happening with these journalists and civilians running around trying to survive bomb explosions and gun fires.
It was too dangerous to shoot in Cambodia for “The Killing Fields”, so they shot in Thailand instead. There was one day where two different scenes had to be shot in the same day. It was a challenge for Roland and he didn’t know how he was going to do it, but he managed to pull it off. The two scenes were for when Pran has become a forced laborer. One scene was supposed to show day light and the other it was suppose to rain. “The Killing Fields” shot for more than a year and a lot of preparation went into it, but Roland was also rushed through the making of it. Of course that didn’t bother Roland because he was prepared. Roland spent so much time working out everything for how “The Killing Fields” was going to look and this being his first film, he was already a professional director.
Roland loved the relationship between Sydney Schanberg and Dith Pran. Sydney Schanberg was very dedicated to his job while being in Cambodia. He knew he had to get what was going on in Cambodia out there. Sydney was also a teacher to Pran because he was teaching Pran how to be a good journalist and not let your emotions get in the way of the work you are doing in order to get a story out there. Sam Waterston had a lot of respect for Sydney Schanberg while learning so much about him. Sam was able to show Sydney’s personality and his edginess through his performance. Sydney thought of “The Killing Fields” as more of Pran’s story because he went through a lot more then Sydney.
Things were getting too dangerous in Cambodia and Sydney and all the other foreigners had to leave. Sydney tried to help Pran get out too by making a fake passport for him. They tried to print a black and white photo of him for the passport, but the fixer wasn’t strong enough and the photo ended up fading away. Sydney returns home to New York, but a piece of him is still back in Cambodia. Sydney is like a war veteran because he’s seen a lot of reality like any soldier has, with all the dead bodies or injured souls, having a near death experience when someone points a gun at his head, surviving bombs and gun shots and being surrounded in areas that have been demolished. But the number one thing he can’t get off his mind is Dith Pran. Sydney and Dith Pran were close and Sydney did everything he could to help Pran leave Cambodia, but he failed. Pran’s family was able to leave the country, but he wasn’t. Sydney feels a lot of guilt for not getting him out.
Roland was having a hard time finding the right person to play Dith Pran. He needed a real Cambodian actor, but the thing is a lot of them have been killed. Roland had hired a translator, Dr. Haing S. Ngor, and at the last minute, Roland thought Haing should play Pran. Haing caught the spirit of Pran like his commitment, sensibility and undying affection. Dith Pran thought a lot Sydney because of how good of a man he was. Pran was always risking his life like trying to reason with the gunmen so that his and his friends’ lives could be spared. Haing didn’t want to act because acting in “The Killing Fields” meant it would bring back painful memories of his. Pran became a prisoner after he was left behind. When the Khmer Rouge captured the capital of Phnom Penh, they made everyone in the city leave and they disliked intelligent people. If you admitted you were a journalist or spoke English or French then they would kill you. Pran had to pretend he didn’t speak English or know anything. Haing had gone through the same thing as Dith Pran and Haing’s wife was murdered. Haing explained his story to Roland and Roland was convinced that Haing was the only Cambodian to play Pran, even though Haing was trying to explain to him why he didn’t want the job, but he was so emotional as he was explaining his story. Roland wouldn’t take no for an answer from Haing. Roland was able to convince Haing to play the part by saying it would honor his country. Haing put a lot of thought into it and decided to take the job. Haing and Dith met each other in person and all they would talk about was what they went through. Haing was very brave to act in scenes where Pran is in danger. Dr. Haing S. Ngor won an Oscar for best supporting actor for his performance in “The Killing Fields”, even though he wasn’t an actor. In 1996, Haing S. Ngor was shot to death in California.
Pran was able to escape and he had quite the journey as he was traveling through a landscape to get to a safe distance and he was able to do it with as much strength as he had after being in a camp where he could have starved to death. Pran saw and witnessed things he wished he never had seen through his experience. Pran met a few people along the way and they traveled with him, but then they were both killed from stepping on a land mine. One of them was a little boy and Pran looked after him like he was his own, until the boy and the other guy got blown up. Pran tried to save the boy, but it was too late for him. Losing that boy was heartbreaking for Pran. Pran was alone again after that and then he found sanctuary. Roland was touched that Pran had made it in the end. Having Pran missing made Sydney feel sad and depressed because he had no idea where Pran was or if he was still alive. But when he learns Pran is alive and has made it to Thailand, Sydney looks like he is alive again and is full of joy. I love hearing Mike Oldfield’s music score in the background when Pran finds the Red Cross camp in Thailand and cuts to Sydney running with joy because there’s good news. The music makes it feel like there are fireworks going off. Sydney travels to Thailand to reunite with Pran, bring him to America so he can be with his family. The worst is over for Pran and he can now be at peace. Seeing a friendly and familiar face makes Pran cry. He couldn’t be any happier. It’s a very special moment because Sydney and Pran are buddies and their friendship means a lot to them.
Roland Joffe was very proud with how “The Killing Fields” turned out in the end. His thanks goes to every one who was involved with the project, including Sydney Schanberg and Dith Pran, for sharing their experiences. Producer David Puttnam for giving Roland the job in the first place. And Bruce Robinson for writing a touching screenplay.
My rating on “The Killing Field” is five out five stars
