Trinh Xuan Chinh turns actress Diem Chau into a ghost in Chet luc nua dem (Die at midnight)

Artist Trinh Xuan Chinh hopes to bring more attention, training and professionalism to the art of theatrical and special effects makeup in Vietnam.

With an ability to transform a beautiful actress into a grotesque, deformed monster or convincingly depict an unfortunate burn victim of napalm bombs, this artist has a way with theatrical magic.

Nicknamed the “wizard” of all makeup artists in Vietnam, Chinh, 68, relishes on taking on the seemingly impossible. From politicians to historical characters or even religious icons, he’s managed to astonish his audience with identical versions of Ho Chi Minh, Lenin and Ton Duc Thang.

Recognized as a leading special effects makeup artist in Vietnam, his work has featured successfully in several television and horror films, including Ben song trang (The moon river wharf) and Hon ma (The Ghost).

Chinh also left his imprint as a makeup specialist for the award-winning film Ba mua (Three Seasons), the first Vietnamese-American film made in Vietnam that won several international awards, including at The Golden Satellite Awards, The Portland International Film Festival and the Sundance Film Festival.

The forgotten work

His forty years of experience and innovations in makeup went into a 300-page research project that garnered the highest praise from the judges of the ministerial evaluating council in 2005.

“His discoveries, innovations and proposals are practical, valuable and they can absolutely be implemented in Vietnam on a large scale,” wrote Professor Tran Trong Dang Dan, a renowned Vietnamese scholar of arts, in his assessment paper as a judge member.

In the paper, Chinh explained the techniques of special effects makeup and revealed his secrets in making non-toxic prosthetic burns, scars and blood for theater, television and film at a lower cost by using local materials.

He also drafted a university-level training program for makeup students and helped establish the first standardized makeup studio in Vietnam.

However, Chinh told Thanh Nien Daily his lifetime research – the greatest piece he ever created – has been shelved for nearly five years.

“Nothing has ever been done,” he said. “It’s still there in the archives of the Planning Department [of the Ministry of Culture, Sports and Tourism].”

So far, nothing from his research has been implemented or printed by the Ministry of Culture, Sports and Tourism (formerly known as the Ministry of Culture and Information). They still retain the copyrights to the research.

“The old cabinet of the ministry didn’t transfer it to the new cabinet,” said Chinh. “I have written to them several times, but I’ve received no responses. I believe my research will be forgotten forever if they continue to neglect it.”

Seeking professionalism

Chinh’s embedded his artistic talent in more than 270 movies, plays and television films in Vietnam, while his research experiences from France, America and Russia have given him insights into the outlook of special effects makeup in Vietnam.

“We do not compare to the world’s professionalism in this area,” he said. “We are still far behind our neighboring countries in Southeast Asia such as Thailand and Singapore.”

He said stages have existed in Vietnam for more than 70 years and filming has been through half a century. But special effects makeup, which plays a significant role in any film or play, is still at the starting point.

“We don’t have any training programs for makeup students, nor do we have any makeup studios in Vietnam,” said Chinh, who spent three years studying at The Krakoow Institute of Stage Arts and worked at the Studio Theater in Poland.

Although not seeking an award for himself, Chinh remained troubled by the lack of awards or recognition for special effects makeup artists in the country.

“I can’t believe that even a prestigious award organization like Canh Dieu Vang (The Golden Kite) doesn’t have any awards for makeup artists,” he said. “It’s about respect and appreciation for those who work silently backstage. Who cares about working hard, if they work for nothing?”

Director Hai Ninh, who recently received the Canh Dieu Vang Lifetime Achievement Award from, said the Association of Cinematography is still unable to grant awards for makeup artists because of budget costs. If the association created an award for makeup artists, they would also have to create one for other departments, including costume, sound or special effects.

However, he said the budget shouldn’t be an issue for the National Bureau of Cinematography.

Chinh said directors and actors, along with those who manage cultural and entertainment activities, need to be more supportive.

“Who could believe an actress playing a poor Vietnamese farmer with a diamond ring still on her finger?” he said. “This is unacceptable!” Chinh added that most award-winning Vietnamese films are still pedestrian as far as makeup goes.

Ninh agreed. “It’s time we understand that a film is not just all about directing and acting,” he said. “It is a cinematographic work which involves many arts. Special effects makeup is an essential aspect of it.”

Hoping

The first twelve students who received full of theatrical and special effects makeup training celebrated their graduation last Friday at the HCMC College of Stage Arts and Cinematography where Chinh has been a make-up lecturer for 21 years.

“I do believe in the youth,” he said. “This is the first class with only twelve students but I hope those are the seeds that will grow and contribute much more than my generation did. It’s better late than never.”

Reported by Mai The