The Next Action Hero

The Next Action Hero
Sunday, Jan. 30, 2005
By RICHARD CORLISS

Bunch of villains chases the hero through back streets clogged with human traffic. Nothing new there. But watch the way Thailand's Tony Jaa uses his daredevil energy and grace to obliterate action-movie clichés in the pummeling, exhilarating Ong-Bak: The Thai Warrior. With a spring in his sneakers, he vaults over a pyramid of tires, a flotilla of cars and a class of children while being pursued by a gang of thugs. He dives through a ring of barbed wire, glides under moving vehicles. He jogs up pedestrians' backs and tiptoes on their heads. In this thrilling 5 1/2-min. scene, Jaa defies gravity, death, logic and all those out-of-breath bad guys.

Action-movie stars have become geriatric lately. Arnold is Governor, Sly is about to become a reality-show host, Jean-Claude Van Damme toils in direct-to-video. Jackie Chan is almost a creaky 50, and Jet Li doesn't work much anymore. The genre needs another hero, and Jaa (Thai name: Phanom Yeerum) is the fellow to fill the void. He's young--28--and good-looking, with a quiet élan to match his athletic skill. He's also a throwback to kung-fu film's early days, when stars and stunt men alike took a licking and kept on kicking. Ong-Bak has no crouching, no hiding, no wires, no pixel-perfected stunts. Like Chan's early epics, it convinces you that the mayhem is real, that the star is enduring the pain for your pleasure.

"Jackie Chan, Jet Li and Bruce Lee are my masters--they're the inspiration for my work," says Jaa, speaking through an interpreter. "Bruce Lee was a heavy fighter who threw hard punches. Jackie moves very fast and uses a lot of comedy, and Jet Li is very fluid. I've tried to combine all of their styles and added some things of my own."

With its primitive action premise (a sacred MacGuffin has been stolen; you go get it back), Ong-Bak needs the things Jaa can add. And there are plenty. As Ting, a country-boy studying to be a monk who has been taught Muay Thai martial arts and goes to Bangkok to retrieve a missing Buddha head, Jaa battles a series of Asian and Caucasian bruisers with fists, feet, elbows, head--he uses them all in his full-body barrage--with a sleek intensity and jaw-swiveling impact unique in movie martial arts. He also knows how to take a fall. In one match, he gets on the wrong end of a killer kick and executes a triple twist before hitting the canvas, as if Greg Louganis were doing a gold-medal dive from a curb into a puddle. And stick around for Jaa's higher, higher, pants-on-fire stunt, in which he twirls and kicks while swathed in flames.


Like most other martial-arts stars, Jaa has been preparing since childhood. Born to elephant trainers in the hard-luck northeast province of Surin, the boy watched kung-fu movies on outdoor screens during temple festivals. Soon he was aping his heroes and studying gymnastics as well as Muay Thai, an ancient Siamese boxing discipline that is a kind of combination of karate and kickboxing. He worked as a stunt man, doubling Robin Shou in Mortal Kombat, before director Prachya Pinkaew saw a reel of Jaa's best stunts and built Ong-Bak around him.

from :www.time.com

Hitting the Big Time

Monday, Oct. 18, 2004
By ANDREW PERRIN

When Tony Jaa's film producer met him for the first time, she thought he was "ugly" and "couldn't act." His image consultant now says Jaa is "uncool" and is urging him to get a new haircut. His English teacher despairs that two years of lessons have yielded little more than a rudimentary grasp of the language. Listen to his minders long enough, and you may start doubting the buzz that Jaa is Southeast Asia's long-overdue answer to Bruce Lee and Jackie Chan.

Until you see Jaa in action. In a cavernous room on the third floor of a stunt training center in Bangkok, Jaa bobs on the mat like a gymnast lining up a run to the vaulting horse. At the end of the room, a crew member holds aloft a cushion that stands in for a human head. Jaa hurtles down the runway, launches himself like a missile, flips in midair and brings his right foot crashing down on the cushion. The kick sends the cushion?and the unfortunate guy holding it?flying across the room. Jaa lands on his feet and smiles.

In Ong Bak: Muay Thai Warrior, the stunt man-turned-actor leaps across boiling oil, ballets above an array of tuk tuks and beats up anyone foolish enough to challenge him. The insane inventiveness of the stunts?done without special effects, wirework or apparent concern for Jaa's life and limb?has turned into box-office gold in Thailand, Hong Kong, Japan, Singapore, South Korea and even France, where the film found a fan and international distributor in action auteur Luc Besson. Besson recut the film and secured a U.S. distribution deal with Magnolia Pictures. Expectations are high that Ong Bak and Jaa will break big in North America when the movie is released in February.

Jaa, whose real name is Phanom Yeeram, grew up in Thailand's rural northeast, a region most notable for its poverty and, in the early 1980s, the occasional mortar round fired across the Cambodian border by the Khmer Rouge. "Some days we'd be sitting down to dinner and the mortars would explode in the village, blowing out our windows and doors," Jaa says. He escaped these grim realities by viewing the films of Chan and Lee on outdoor screens at temple fairs. "It was powerful for me to watch," he says. "What they did was so beautiful, so heroic. I wanted to do it, too." Jaa practiced in his father's rice paddy or, when bathing the family's elephants, by somersaulting off their backs into the river. "I practiced," he says, "until I could do the move exactly as I had seen the masters do it."

At 15, Jaa sought out the Thai stunt coordinator and low-budget action director Panna Ritthikrai, who took him on as a prot駩. He went to a gymnastics college and soon found work as a stunt man in local and international films, including 1997's Mortal Kombat 2. Then he and Ritthikrai started devising their own stunts inspired by muay boran, a more elegant and traditional form of Thai boxing that resembles kung fu. Jaa traveled the countryside talking to the few remaining old masters of muay boran, rediscovering more than 100 long-abandoned moves. Ritthikrai and Jaa filmed the actor's best stunts and showed them to Bangkok director Prachya Pinkaew. The filmmaker was dazzled but had problems getting backing for a film with Jaa in the lead role. "Thai audiences are not used to seeing people from the northeast in the lead," says Sita Vosbein, managing director of Pinkaew's production house, Baa Ram Ewe. "They think people with dark skin are uneducated and ugly. They are always cast as bad guys." When the film was a hit, Jaa felt accepted at last. "I have never been so proud," he says. "I've been fighting discrimination since I was very young. For people to appreciate the beauty of the ancient art of boxing, instead of focusing on what I look like or where I come from, was what I had always dreamed."

Now Jaa is so busy filming his second movie, Tom Yum Goong, in Thailand and Australia, that he has no time to improve his wardrobe, his hairstyle or his English. "Bruce Lee couldn't speak Thai," Jaa says. "And I loved him, anyway."

from :www.time.com

History of Muay Thai or Thai Boxing

The Siamese developed their own writing system in the early 1200s which makes it difficult to obtain information on the early history of Thailand as well as Muay Thai. It is known that martial arts resembling Muay Thai have long been practiced throughout much of Southeast Asia. The origin of the Muay Thai can be traced back to the older Muay Boran ("ancient boxing"). This was the form of unarmed combat probably used by Siamese soldiers in conjunction with Krabi Krabong, the weapon-based style[1]. Since Thai culture was based on that of India, China and Cambodia, they would have had an influence on local martial arts. Indian boxing arts such as Adithada remarkably resemble both Muay Boran and Muay Thai and it has been said that every move in Muay Thai has a similar equivalent in Shaolin kung fu. Muay Boran was divided to:

Muay Korat (Northeast) emphasized strength. A technique like "Throwing Buffalo Punch" was used. It could supposedly defeat a buffalo in one blow.
Muay Lopburi (Center region) emphasized movements. Its strong points were straight and counter punches.
Muay Chaiya (South) emphasized posture and defense, as well as elbows and knees.
Muay Pra Nakorn (North) emphasized speed, particularly in kicking. Because of its faster speed, it was called as well "Ling Lom" (windy monkey or Loris).
There is a phrase about Muay Boran that states, "Punch Korat, Wit Lopburi, Posture Chaiya, Faster Thasao. (หมัดหนักโคราช ฉลาดลพบุรี ท่าดีไชยา ไวกว่าท่าเสา)". It was from all these regional styles that the more general term Muay Thai (Thai boxing) was developed.

It grew in popularity among common people, so much so that it was said that any man worth his salt would practice the art. As well as continuing to function as a practical fighting technique for use in actual warfare, it became a sport in which the exponents fought in front of spectators who went to watch for entertainment. This kind of muay contests gradually became an integral part of local festivals and celebrations, especially those held at temples.It was used as entertainment to kings.

Royal Muay
Muay gradually became a possible means of personal advancement as the nobility increasingly esteemed skillful practitioners of the art and invited selected fighters to come to live in the Royal palace to teach muay to the staff of the royal household, soldiers, princes or the king's personal guards.

Some time during the Ayutthaya Period, a platoon of royal guards was established, whose duty was to protect king and the country. They were known as Grom Nak Muay (Muay Fighters' Regiment). This royal patronage of muay continued through the reigns of Rama V and VII.


The Muay Renaissance
The accession of King Chulalongkorn (Rama V) to the throne in 1868 ushered in a Golden Age not only for muay but for the whole country. Muay progressed greatly during the reign of Rama V as a direct result of the king's personal intrest in the art. The country was in peace and muay functioned as a means of physical exercise, self-defense, recreaction and personal advancement.


Legendary Heros
Nai Khanom Tom was a famous practitioner of Muay Thai. Around 1774, he was captured along with other Thai prisoners, either in a skirmish or at the fall of the ancient capital of Siam of Ayutthaya. He was brought to Rangoon in Burma, where the Burmese King Mangra was holding a religious festival in honor of Buddha's relics. The festivities included many forms of entertainment. King Mangra was reported to be curious to see how the various fighting styles of Burma and other countries would compare. At one point, he wanted to see how Muay Boran would compare to the Burmese art Lethwei. Nai Khanomtom was selected to fight against the Burmese champion. Nai Khanomtom did a Wai Kru pre-fight dance which puzzled all of the Burmese. When the fight began, he charged out and using punches, kicks, elbows, and knees, quickly pummeled the Burmese.

The referee was reported to have stated that the Burmese opponent was distracted by the Wai Kru, so the knockout was invalid. The King then asked if Nai Khanomtom would fight nine other Burmese champions to prove himself. He agreed and fought them all, one after the other with no rest periods between fights. The last Burmese was reputed to be a great boxing teacher. Nai Khanomtom defeated them all in a superior fashion.

King Mangra was so impressed that he remarked, "Every part of the Thai is blessed with venom. Even with his bare hands, he can fell nine or ten opponents. As his lord master was incompetent, the country was lost to the enemy. If his lord had been any good, there was no way the City of Ayutthaya would ever have fallen."

He granted Nai Khanomtom freedom along with either riches or two beautiful Burmese wives. Nai Khanomtom chose the wives as he said that money was easier to find. He then departed with his wives for Siam. Other variations of this story had him also winning the release of his fellow Thai prisoners. His feat is celebrated every March 17 as "Boxer's Day" or "National Muay Thai Day" in his honor and that of Muay Thai's.

Today, some have wrongly attributed the legend of "Nai Khanomtom" to the King Naresuan, who was also once taken by the Burmeses.

References :
Muay Thai The Most Distinguished Art of Fighting (Text-book of Pahuyuth) , Panya Kraitus and Dr. Pitisuk Kraitus, Third Edition, Special Revised, 1992, Panya Kraitus, Phuket, Thailand.
Muay Thai Kickboxing - The Ultimate Guide to Conditioning, Training and Fighting, Chad Boykin, 2002, Paladin Press, Boulder, Colorado.
Thai Kickboxing For Beginners - Peter Belmar, 2006, Lulu Press. Muay Thai: A Living Legacy - Kat Prayukvong, 2006, Spry Publishing Co., Ltd.
From Wikipedia

Thai boxing or Muay Thai

Thai boxing or Muay Thai (IPA: [/muai32 tʰai32/]; Thai: มวยไทย) also known as Thai Boxing or The Art of the Eight Limbs is a form of hard martial art practiced in several Southeast Asian countries including Thailand. In Cambodia it is known as Pradal Serey, in Malaysia Tomoi and a similar style in Myanmar is called Lethwei and in Laos, Muay Lao. The different styles of fighting in mainland Southeast Asia are analogous to the different types of Kung Fu in China or Silat in the South East Asian islands. Thai military uses a modified form of Muay Thai called Lerdrit

Muay Thai has a long history in Thailand and is the country's national sport. Traditional Muay Thai practiced today, varies slightly from the ancient art Muay Boran and uses kicks and punches in a ring with gloves similar to those used in Western boxing. Muay Thai is referred to as "The Science of Eight Limbs", as the hands, shins, elbows, and knees are all used extensively in this art. A master practitioner of Muay Thai thus has the ability to execute strikes using eight "points of contact," as opposed to "two points" (fists) in Western boxing and "four points" (fists, feet) used in the primarily sport-oriented forms of martial arts.

References :
Muay Thai The Most Distinguished Art of Fighting (Text-book of Pahuyuth) , Panya Kraitus and Dr. Pitisuk Kraitus, Third Edition, Special Revised, 1992, Panya Kraitus, Phuket, Thailand.
Muay Thai Kickboxing - The Ultimate Guide to Conditioning, Training and Fighting, Chad Boykin, 2002, Paladin Press, Boulder, Colorado.
Thai Kickboxing For Beginners - Peter Belmar, 2006, Lulu Press. Muay Thai: A Living Legacy - Kat Prayukvong, 2006, Spry Publishing Co., Ltd.
From Wikipedia

Pre-fight rituals of Thai Boxing or Muay Thai

Even before entering the ring many fighters perform rituals. Some may kneel before the ring, others might pray with their coach or by themselves or perform a series of repetitive movements, such as touching the ring ropes 3 times. Thai boxers always climb over the top rope when entering the ring, because in Thai culture the head is considered to be more important than the feet, which are thought to be dirty. It is therefore important to always have the head above the feet while entering the ring. Once in the ring, a fighter might go to the center and bow to each side.


Ram Muay before an amateur Muay Thai match

Now begins the Wai Kru ritual or (Wai khru ram muay). The Wai Kru usually starts with the fighter walking around the ring, counter-clockwise. This could be described as "sealing the ring", showing that the match is between only these two combatants. The ritual is both practical and spiritual. In a practical sense, it prepares the body for combat. During the Wai Kru there are many different movements and steps that a fighter might perform before the match, along with stretches. Some motions imitate, for example, a swallow, a hunter, a soldier or an executioner. Some fighters use this ritual to attempt to scare their opponents, commonly by stomping around them. But in a deeper sense, the fighter is expressing religious devotion, humility and gratitude. Transcending both physical and temporal limitations, he opens himself to the divine presence and allows it to infuse his heart and soul. In ancient times, the ritual was intended to show devotion to the King and the fighter's mentor. Today, that devotion is given to the organizer of the match and the fighter's trainer.[1] The ritual also gives the fighter some time alone before the fight to collect his thoughts and concentrate on the task ahead.

After this dance, the fighter walks over to his coach who removes the Mong Kon and the Pong Malai. The match begins after a review of the rules by the judge and a glove shake.

References :
Muay Thai The Most Distinguished Art of Fighting (Text-book of Pahuyuth) , Panya Kraitus and Dr. Pitisuk Kraitus, Third Edition, Special Revised, 1992, Panya Kraitus, Phuket, Thailand.
Muay Thai Kickboxing - The Ultimate Guide to Conditioning, Training and Fighting, Chad Boykin, 2002, Paladin Press, Boulder, Colorado.
Thai Kickboxing For Beginners - Peter Belmar, 2006, Lulu Press. Muay Thai: A Living Legacy - Kat Prayukvong, 2006, Spry Publishing Co., Ltd
From Wikipedia

Pra Jiad

Pra Jiad is a type of armband worn by Muay Thai athletes. In the past, their use was to give confidence and luck to the athletes. Nowadays, some gyms will give Pra Jiad to their athletes to boost their confidence. Some fighters wear one Pra Jiad, some wear two. Some schools also use color coded pra jiads to show rank, similar to belts in karate. Traditionally, pra jiads were kept in high or well reverend places, as it was thought that if someone stepped over it, it would lose its mystical power.
From Wikipedia

Mong Kon

Mong Kon is a type of headgear worn by Muay Thai athletes. The Mong Kon was given after the trainer saw that the student had become an experienced fighter and learned a great deal of knowledge about Muay Thai. Mong Kon was never to be, in any way, close to the ground or else it would lose its magic.
From Wikipedia