Peach, Pho and Piano is still a topic of interest to many Vietnamese cinema lovers. On the morning of March 3, musician Duong Thu hosted a meeting with director Phi Tien Son, "father" of the film Peach, Pho and Piano, and director Dang Nhat Minh (film Hanoi Winter 1946) to share about the advantages and difficulties of making historical films.
Currently abroad, director Phi Tien Son did not miss the exchange, he appeared online to share with the audience.
The male director said he made the film Dao, Pho and Piano because of his love for the capital: "I was born and raised in Hanoi, and I always secretly promised myself to do something for Hanoi. I always felt like I owed a debt to this land, so I always had the urge to make a film about Hanoi."
Director Phi Tien Son shares online with Hanoi audience.
He revealed that when the film became a hit in the domestic cinema market, he was abroad so he was quite surprised: "Following the news online and being informed by colleagues, seeing that the film was receiving attention from many audiences, especially young audiences, I was very moved."
In response to praise for the film's "awakening" of the audience's interest in the country's history, director Phi Tien Son modestly said that was "exaggerated".
He believes that he and the film only help "activate" the audience's existing interest and love for history: "It would be an exaggeration to say that the film makes the audience more interested in history and more patriotic.
I think patriotism and interest in history are already in the subconscious of every Vietnamese person. We are just the ones who "turn on the switch" to make everything light up, which is also beyond our expectations.
Surely in the future there will be many film studios and investors interested in historical films even though making films about this topic is very difficult."
Director Phi Tien Son and Tuan Hung (as Mr. Phan) on the set of "Peach, Pho and Piano".
The male director admitted that he himself encountered many difficulties when making a film about history. Phi Tien Son even "trembled" when thinking about making a film about official history: "I am very passionate about historical topics, but I trembled when thinking about making a film about official history, because it would easily cause controversy."
Therefore, the male director decided to build the script for Dao, Pho and Piano in his own direction: "I chose the form of taking the historical context and atmosphere of a historical period to create a story with fictional characters. These characters come from my father's stories, from my memories of Hanoi.
I tried my hand at a script that had no conflict, no characters hating anyone, no love triangles or quadrangles.
Thanks to that, Phi Tien Son received enthusiastic support from his crew when making the film: "With this script, the actors and crew were very excited because they got to try their hand.
I encountered many difficulties but everyone tried to overcome them. I myself was also caught up in the atmosphere that everyone brought, there were scenes where the whole crew was silent after filming. Those were the advantages for me during the filming process."
The male director admitted to encountering many difficulties when making historical films.
The director also admitted that because the historical context is quite far from the present time, he could not avoid making mistakes when showing some details in the film: "I went to meet some veterans to ask about how they defended the ramparts that year.
He told me that to "create a diversion" he used small firecrackers to burn on the ramparts. But when I asked him how he got the small firecrackers up there and what materials he used to store them, he himself could not remember clearly. To recreate this scene, I had to research and create it myself.
There were also details that surprised me when the audience pointed out that I had done wrong. For example, the image of the tank in the film, some viewers said that at that time the French army had not used this type of tank."
However, the director hopes that the audience will sympathize and understand the difficulties and shortcomings of historical filmmakers. Because it is not easy to recreate the film completely in accordance with the historical context, he hopes that the audience will watch the film with an open mind, accepting the conventional and creative details if they are not too big of a mistake.
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