It seems that Worrawech “Dan” Danuwong, an ex-member of the pop-trio D2B, is serious about making a name for himself in film circles. Putting his music career on the back-burner, last August saw him make his directorial debut with Kuen Wan Sao Tueng Chao Wan Jan (Sat-Mon) and now he’s back with another rom-com which compares the volatility of love to the changing weather.
Cute hairdresser Daisy (Tony Rakkaen) has recently broken up with his girlfriend and isn’t ready to start over with someone new. Nara (Nara Thepnupa), the pretty young girl next door, has a real crush on Daisy and is willing to get a trim every day just as an excuse to talk to him. But everywhere she goes she’s followed by Kung (Chaleumpol “Jack” Tikumpornteerawong), who tries imitating Daisy to gain her attention—not that Nara even notices. Kung meets Dan (Dan Worravej), a lonely indie artist waiting for his girl to return, who starts advising him on how to win Nara’s heart. Then one rainy night, Daisy welcomes an unexpected guest (Pango Jintanadda) who makes him fall in love once again.
The film is set in the countryside, where exactly we’re not sure, but it could be Japan, judging from the cute little stalls featured throughout, together with the acting which takes some cues from Japanese manga. The result is akin to a fantasy land, where for some reason it seems to be raining 95% of the time. Plot? There’s really no need when the commercial tie-ins are everywhere, plus you’ve got Tony and Pango’s beautiful faces and random jokes from Jack.
Though his comedic abilities are terribly underplayed, Jack’s role is, in fact, the only fun and natural part of the film. The setting and props get a pass mark, too, if only because they’re super-cute. But, really, the total absence of storyline, apart from giving us the background of each character, makes for a tiring ordeal. It gets even worse with the totally forced climax (if you could call it that). In fact, the heavy use throughout the film of three theme songs only reinforces the idea that this is nothing but a two-hour-long music video that’s somehow wormed its way onto the big screen. Given the director’s background, you could argue that this is not a bad film, but that’s only because it’s not a film at all.
