Thai PBS chooses to “review” the story around a YouTube animated film that is said to be “controversial.”
The film’s “creator” is Wivat Jirotgul. He provides an interpretation of the 1932 revolution that reproduces the long-held royalist reading of that event, as expressed by numerous princes and other royals since 1932.
Wivat “lists him as the managing director of Nakraphiwat Co Ltd, a creative production house, and president of Pegasus Creative, a marketing and branding consultancy.” The report states that Nakraphiwat Co “was involved in the production of a music video for the song ‘Duay Rak Lae Phakdi’ (With Love and Loyalty) in honor of His Majesty King Maha Vajiralongkorn on his 70th birthday in 2022.” It adds that that “video was made in collaboration with the Royal Thai Army Band and numerous Thai corporations.” It also observes that the company “was paid almost 4 million baht by the Army between 2020 and 2022.”
The royalist filmmaker makes it clear that he is the latest in a line of royalist propagandists when he says “his animation aims to present a picture that is fair to all sides involved, particularly King Rama VII, who he says has been unfairly portrayed in Thai history despite his attempts to avert a bloody revolution and ensure a smooth transition from absolute to constitutional monarchy.”
This view has been, especially during the 9th reign, the standard view of 1932. It is also a perspective that is seen in many texts and some schoolbooks from the second half of the 20th century.
That Wiwat thinks “[m]any history books belittle the sacrifices King Rama VII made,” seems to reflect royalist anger at revisionist historians who have done the research that challenges the previously hegemonic royalist tale.
Repeating the royalist’s account, the “film portrays King Rama VII as the driving force behind Thailand’s political reform, with plans for a constitution to prepare the mostly uneducated population for democratic rule.” That is the standard view and one long held and promoted by the military and the establishment. Just think of the King Prajadhipok Institute, established in royalist celebration of exactly this political position.
Royalists are worried that their perspective is now under challenge.
Wiwat then reproduces a royalist narrative that began around 1932,, that depicts Pridi Banomyong “often … with an octopus in the background – a metaphor for the spread of Soviet communism.” At the time, Prajadhipok, royalists and restorationist princes referred to Pridi’s “Bolshevism.”
The good news is that the “need” royalists feel for reinforcing their narrative is that it reflects a broader rejection of that ideology.