Nang Nak Film Response
Is Nang Nak ultimately a ghost story or a story about the efficacy of Thai Buddhism?
Nonzee Nimibutr’s Nang Nak (1999) tells a compelling story of Nak, a ghost whose strong longing desires kept her within the human realm. Desperately trying to live a normal life with Mak, her husband, Nak kills any characters that try to inform the unsuspecting Mak of her death. Eventually Nak goes on a rampage when Mak finally realizes the truth. With the central plot being based mainly on the ghost of Nak and her often brutal interactions with other characters, the film could generally be regarded as a horror story. However, the evident focus on the concepts of Buddhism, achieved through the director’s choice of presentation, essentially set aside the horror elements to reveal a film that ultimately highlights the efficacy of Buddhism.
Nang Nak is heavily embedded with references to Buddhist beliefs. Nak clinging onto the human realm as a ghost correlates directly with the Buddhist concept of reincarnation, which states that all beings are entrapped in a cycle of birth, death, and rebirth. The concept of karma, another key Buddhist concept, is also portrayed through Nak’s lamentations; she mourns that dying in childbirth and being parted from Mak are due to her bad karma. Somdej Toh, the High Dignitary, chiseling out a piece of Nak’s skull to take with him and Mak ordaining after Nak’s proper burial are all related to the concept of reincarnation and karma. While Nak travels with Somdej Toh to pay off her bad karma from the murder she committed as a ghost, Mak ordains as a monk to give Nak some good karma for her next life. In addition, during Nak’s final departure from Mak, she wishes to be reunited with Mak and her child in the next life. Many of the incorporations of Buddhist concepts ultimately outshine the film’s tamed horror aspects and geared the viewers’ attention towards the depiction of Buddhism.
Various scenes with incorporated Buddhist beliefs clearly establish
Nonzee Nimibutr’s Nang Nak (1999) tells a compelling story of Nak, a ghost whose strong longing desires kept her within the human realm. Desperately trying to live a normal life with Mak, her husband, Nak kills any characters that try to inform the unsuspecting Mak of her death. Eventually Nak goes on a rampage when Mak finally realizes the truth. With the central plot being based mainly on the ghost of Nak and her often brutal interactions with other characters, the film could generally be regarded as a horror story. However, the evident focus on the concepts of Buddhism, achieved through the director’s choice of presentation, essentially set aside the horror elements to reveal a film that ultimately highlights the efficacy of Buddhism.
Nang Nak is heavily embedded with references to Buddhist beliefs. Nak clinging onto the human realm as a ghost correlates directly with the Buddhist concept of reincarnation, which states that all beings are entrapped in a cycle of birth, death, and rebirth. The concept of karma, another key Buddhist concept, is also portrayed through Nak’s lamentations; she mourns that dying in childbirth and being parted from Mak are due to her bad karma. Somdej Toh, the High Dignitary, chiseling out a piece of Nak’s skull to take with him and Mak ordaining after Nak’s proper burial are all related to the concept of reincarnation and karma. While Nak travels with Somdej Toh to pay off her bad karma from the murder she committed as a ghost, Mak ordains as a monk to give Nak some good karma for her next life. In addition, during Nak’s final departure from Mak, she wishes to be reunited with Mak and her child in the next life. Many of the incorporations of Buddhist concepts ultimately outshine the film’s tamed horror aspects and geared the viewers’ attention towards the depiction of Buddhism.
Various scenes with incorporated Buddhist beliefs clearly establish