Golden Slumbers (Davy Chou, 2011): Cambodia

Reviewed by Luke Catena, Santa Barbara Film Festival 2012.

Davy Chou’s documentary Golden Slumbers explores the rich history of Cambodian cinema which was subsequently destroyed by the Khmer Rouge in 1975. Chou introduces the few remaining stars of the film industry prior to the takeover of the Communist Party. He goes on to explain how many films, careers, and lives were destroyed throughout the war. Those seen as stars in the cinema were not to be trusted and eventually killed, along with their films.

The documentary has moments of intrigue spaced between drawn out explanations of obscure plot structures and stories of days past. Chou seems to dance between two major themes; the destruction of Cambodia and their people by the Khmer Rouge and the inspiring contribution from today’s youth to recreate lost films. Both themes could have produced movies of their own, but Chou has trouble stepping out of the shadow of former stars still yearning for the “golden days”.

Dy Saveth, the first great Cambodian actress, is shown teaching a dancing and singing class while she talks about how beloved she was during her time. She even meets with people from a village where they filmed one of her movies. It was nice to see how she impacted those people, but most of the scenes drag on for too long.

Huy Vathana, a respected producer and innovator of Cambodian cinema, discussed many of his techniques with the camera and editing. His techniques had never before been seen in Cambodian film, making him a legend.

The most heartfelt moment, however, came when Chou interviews his uncle, Ly Bun Yim about his experience during the war. He explains how his family was taken from Phnom Penh and sent to labor camps. His wife at the time was safe in France having just given birth to a child. Yim tells about the groups of men they would send into the forest to never return. He cannot explain how he was not killed, he was simply one of the last left. His story is heartbreaking and the man breaks down near the end.

Chou does not spend much time on the personal destruction of the war, trying to create hope for the future. Which he shows by filming young filmmakers creating their own films. It would have been interesting to see how these young people felt about their history and their inspiration for filmmaking, however, Chou does not divulge much information about them.

Long, panning shots and little coverage shots make the hour and half documentary drag on. When it seems like the film is finished with a content conclusion, Chou adds an extra twenty minutes mostly consisting of an obscure explanation of a movie about a King and magical seahorse.

The movie as is, seems too long and unclear. There are, however interesting themes and aspects to expand on. Not my favorite movie of the festival, but interesting enough.