Precisely what its title implies, the stuff of national myth, The Legend of Suriyothai retells quasi-history "based on" the career of the titular sixteenth-century princess-queen. Covering a half-century that begins in peace but degenerates into internecine wars among often corrupt kings and princelings, the story is at best confusing and urgently in need of tightening -- as it stands, footage has been culled from over 500,000 feet -- for audiences outside Thailand-Siam and Myanmar-Burma (and perhaps even there, too).

Villainess Lady Macbeth -- "based on" history, Holinshed's colored account of eleventh-century Scotland -- anticipates the film's villainous high concubine-queen Sri Sudachan (Mai Charoenpura), and the former's dramatist-creator would have done yeoman service on this present project. Shakespeare knew that art must select from and simplify the convolutions of history, often by embodying issues in two or three large protagonists. Our nation's history and legend are short and straightforward alongside the intrigues, rulers, regents, viceroys, families and parties, ambitions and coups of most others, and if few Americans can sort out European dynasties and factions, how impossible it is in this film, subtitled, with unpronounceable multiple/shortened names and (understandably but true) faces difficult to differentiate.

As in many areas, even warring royalty is of branches of the same families. Though not directly related, young rebellious Princess Suriyothai (M.L. Piyapas Bhirombhakdi) has eyes for childhood companion "brother" Prince Piren (Chatchai Plengpanich). Policy, however, dictates that she marry Prince Thien (Sarunyoo Wongkrchang), the king's elder son but -- it's complicated -- not first heir to the throne.

While stoic warrior Piren is rising to second in command during constant warfare within the now unstable country and on its border with envious Burma, Suriyothai becomes a loving wife and the mother of several children. Counter to audience expectation, Thien shows himself throughout a noble man fully worthy of her love that began in sacrifice. Later, greater, legend-making selflessness will be required of her in defense of husband and homeland, but meanwhile she even diplomatically places in Lord Piren's way a more than suitable mate.

But marital bliss takes a decided second seat to the chaos that reigns in the kingdom (and in our minds). Wars, invasions, migrations, plots and poisoning, mannish women and womanish men, adultery, torture and beheadings, smallpox, conquistador-helmeted foreign mercenaries, treachery and cruelty, with stability only uneasily found in Buddhist monasteries.

Sadly, against all this, the heroine recedes -- disappears -- as the film comes to longish standstill. Not that a lot is not happening; on the contrary, too much is going on, in quick switches back-and-forth-here-and-there, often at torch-lit night, so comprehension and interest cannot be maintained.

The opening exposition is skilled and exotic, and the final military confrontation truly rousing, an Eastern Star Wars  minus the medals ceremony though Thien and Piren's exchanged glance may recall that of Han and Luke. It is what happens in between that should be snipped. The production values and obviously costly execution deserve such editing. Otherwise, too much of this 142-minute movie remains static, like the interminable family sagas that spellbind Indian audiences but cannot be exported. 

(Released by Sony Pictures Classics and rated "R" for violence and some nudity.)