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Samaria (2004)
Directed by
Ki-duk Kim
Writing credits
Ki-duk Kim
Genre: Drama
Plot Summary: Jae-Young is an amateur prostitute who sleeps with men while her best friend Yeo-Jin "manages" her, fixing dates, taking care of the money and making sure the coast is clear. When Jae-Young falls in love with one of those man she surpresses her feelings towards him in respect of her friend who's jealous. One Day Yeo-Jin fails in doing her job overlooking police officers looking for underaged porstitutes. In order to not get caught Jae-Young jumps out of a window almost killing herself. On her deathbed, she wishes to see the man again whom she fell in love with and turned away from. But the man only agrees if Yeo-Jin sleeps with him. She does but as they arrive in the hospital Jae-Young is already dead. Trying to understand her best friend, Yeo-Jin tracks down every man she slept with and does the same. As her father learns about this he gets on revenge with fatal consequences...
User Comments: Berlinale 2004
Cast overview, first billed only:
Lee Uhl .... Young-Q
Ji-min Kwak .... Yeo-Jin
Min-jeong Seo .... Jae-yeong
Eol Lee .... Yeong-ki
Min-jung Seo .... Jae-Young
Kwon Hyun-Min .... Salesman
Oh Young .... Musician
Im Gyun-Ho .... Tidily Guy
Lee-Jong Gil .... Happy Guy
Shin Taek-Ki .... Suicide
Jung-gi Park .... Murder Victim
Gul-seon Kim .... Second Salesman
Seung-won Seo .... Man in his 30s
Yoo Jae-Ik .... Pedestrian
Jung In-Gi .... Ki-Su
(more)
Also Known As:
Samaritan Girl (2004) (International: English title)
Runtime: East Germany:95 min
Country: South Korea
Language: Korean
Color: Color
Certification: South Korea:18
SAMARIA
--------------------------------------------------------------------------------
User Comments:
Stefan Werner
Berlin, Germany
Date: 16 February 2004
Summary: Berlinale 2004
Kim Ki-Duk has won the Silver Bear for Best Directing at the 2004 Berlinale, the International Filmfestival Berlin. I've seen "Samaria" at the Berlinale and was overwhelmed. It's so intense... The actress Kwak Ji-Min is really great, even it's been her first movie ever... But there was one thing that was irritating: the sound effects. Well, they were too bizarre. But, nevertheless, Samaria is a great movie from a country not well known. |
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Slave Love
cast: Kim JAe Won, Ha Ji Won
rating: ***1/2
cerita ni oklah kelakr juga tapi lagi best My Sassy Girl and My Tutor Friend..but not badlah ceritanya
tengok pun sebab ada Kim Jae Won..rupa-rupanya Ha Ji Won ni ada berlakon dalam The Phone dan Bih Mil dengan Kim Min Jung... |
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OLD BOY: Korean Film at Cannes
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News update: TAE GUK GI
5/17/04 - Movie "Tae Guk Gi" will be debuted in 60 cinemas in USA in September. On 5/16, the representative of the distributor Showbox states that Columbia Pictures just signs the contract to import the film into USA. In "The 57th Cannes Film Festival", this movie also attracts European buyers. The debut of this movie in Japan is scheduled in June and 320 cinemas will show the movie. Also, the movie will be debuted in Taiwan, Singapore, and Southeast Asia around July-August.
Credit to CindyW88 of soompi.com |
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POSTER: Everyone Has a Secret
Today in Photos english.chosun.com
The movie "Everyone has secrets" is catching attention for releasing a teasing poster. Starring Lee Byung-hun, Choi Ji-woo, Choo Sang-mee, and Kim Hyo-jin, the movie is being filmed with the utmost secrecy.
Source: http://english.chosun.com/w21dat ... 5/200405210036.html |
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News update
Korean-made Films Gain Growing Int'l Recognition
The latest honor of "Old Boy" winning the Grand Prize of the Jury at the Cannes Film Festival highlights how far Korean movies have come since the country's first moving pictures were produced more than 80 years ago. It also shows that Korea, which remains one of the few countries in the world where homegrown cinema outpaces Hollywood blockbusters, is starting to win the acclaim of moviegoers abroad.
Director Park Chan-wook is among a growing list of Korean filmmakers who are starting to win international acclaim. The emergence of Korean cinema at such renowned film festivals as Cannes, Venice and Berlin is prompting big-name distributors and producers to take notice of what used to be an irrelevant market.
Park's violent thriller Old Boy is a prime example of how homegrown flicks are appealing to many, especially those seeking new approaches to moviemaking. Described as the most creative work among 19 movies in competition by Cannes jury president Quentin Tarantino, Old Boy which was a domestic box office hit last year proved that Korean films can win over audiences on a broader platform.
Case in point, Korea's megablockbuster "Taeguekgi." The Korean War epic attracted more than 10 million moviegoers earlier this year and now, it's looking to hit silver screens in Japan and Southeast Asian countries in the summer, before making its debut on some 60 U.S. theaters this fall.
As international demand for Korean cinema grows, it's helping to boost contracts for films which have yet to crank in. Sales for movies in pre-production shot up to US$24 million so far this year, up a stellar 40 percent compared to the same period last year.
A scene from "Old Boy"
Arirang TV
Source:http://english.chosun.com/w21dat ... 5/200405240017.html |
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THREE, MONSTER
 
^ Park Chan Wook & Lee Byung Hun
Original Korean Article by Lee Kyun Seong (email: gslee@inews)
Translation by: Splash
******************
THREE, MONSTER
Year of Production: 2004
Directors: Fruit Chan, Takashi Mike, and Park Chan Wook
Genre: (Not Indicated)
Produced by: Korea, Japan, and Hong Kong
Production Company: Bom (Spring) Movie Company, Applause Pictures, and Kadogawa-Daiei
Rated: (Not Indicated)
Home Page: (Not Indicated)
Date of Release: To be Advised
Cast:
---------------------
Lee Byung Hun
Kang Hye Jeong
Im Won Hee
*Lee Byung Hun Stars as Park Chan Wook ... "Three, Monster"*
Director Park Chan Wook, the recipient of the Grand Prix award at the Cannes Film Festival, leaves a permanent mark of himself in real life on screen through Top Star Lee Byung Hun. Through his autobiographical work "Three, Monster," Director Park Chan Wook delivers a realistic portrayal of himself through Lee Byung Hun in the role of movie director.
Lee Byung Hun's leading role as movie director reminds one of Director Park Chan Wook who has earned a well-deserved place as the director representing Korea to the rest of the world through the success of "Old Boy" and his Cannes Film Festival Grand Prix award.
Besides the societal setting, the details of Lee Byung Hun's personal life in the movie are extremely similar to Director Park's, especially in the depiction of him as the movie director who always puts his family first and thus maintains a happy marriage, just like Director Park in real life. Moreover, qualities such as consideration towards his staff, kindness, warmth, and popularity, make him undeniably the good guy in the movie.
In the movie, there is a scene when the movie director played by Lee Byung Hun adjusts the filming schedule according to the needs of his staff, rather than his own, and questions whether it is better to have 60 people losing sleep or just one person losing sleep, which was what Director Park Chan wook was believed to have actually said during the filming of "Old Boy".
When asked about his role to portray Park Chan Wook realistically as a cool and popular director in the movie, Lee Byung Hun revealed that he did not feel the need to do research on it. Not only did he simply base his character on Director Park Chan Wook, he also executed such an outstanding performance that one could not help getting confused who the director in the movie really was i.e. Director Park Chan Wook or Lee Byung Hun. On the set of the movie where the crew of "Old Boy" got together again to work on "Three, Monster," everyone was overwhelmed by the similarity between the movie director in the movie and Director Park Chan Wook; like everyone else, Director Park Chan Wook was so overwhelmed by Lee Byung Hun's realistical portrayal of Park Chan Wook (himself)that he remarked that Lee Byung Hun could now become a director.
"Three, Monster," a movie where internationally-renowned director Park Chan Wook and Korea's top actor Lee Byung Hun meet and deliver a horror style unique to themselves, is a omnibus movie that sees the collaboration of 3 countries in Asia. The movie, which relates what happens when a popular movie director is abducted by supernatural forces one day and has his life turned upside down, is scheduled to be released to audiences in August 2004.
Credit to LBH.SG, thanks to Lucy & Splash. |
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Film Musa (review)
Musa (2001)
AKA: Musa: The Warrior
Premise: In the late 14th century a diplomatic envoy escorted by soldiers from the Koryu Empire are thrown into exile. While attempting to journey home, they save a Ming princess (Zhang Ziyi) from Mongols and fight many battles to see her safely returned to the Ming Emperor.
Story: It is the year of 1375, a large group of diplomats sent from Korea are traveling to China in order to make peace with the new government in the times of the warring Ming and Yuan Dynasties. Because of isunderstandings and complications, they are charged as spies and exiled. On what seemed like a road to perdition, through and endless sea of sand, they are soon attacked by the Yuan. Smaller in numbers now and almost surviving their travels, they come upon a Ming Princess in the possession of the Yuan and attempt to flee her in order to be blessed and favored by the Ming for their heroic deeds, thus in turn, restoring the relationship between the Ming and Korea.
Review: Epic, bloody, and thrilling are three adjectives that best describe this romantic, historical feature from Korea. With exquisite cinematography, rich characters, and fierce action, Musa is a feast for the eyes.
To appreciate the scope of the film, a little background information is necessary. The year is 1375 and a time of historical significance for Asia as three kingdoms vie for dominance. The Yuan Empire, made up of the Mongol people are losing ground after the successes made by Genghis Khan nearly 300 years prior. Meanwhile the Ming Dynasty, made up of the Han people have come to power and a new ruler now reigns over the Koryu, who are the ancestors of present day Koreans.
An envoy of Koryu diplomats and escorting soldiers fail in their mission to meet with the Ming Emperor and are sent into exile. An attack on their Ming captors by a Mongol raiding party leaves the Koryu minus their diplomats and hundreds of miles from home. As they begin their journey back, they seize an opportunity to rescue a Ming Princess (Zhang Ziyi) from the clutches of a Mongol general (Yu Rong Guang) in hopes that they will be able to resume their efforts to meet with the Emperor. But, their troubles have only begun as the general vows to reclaim the princess or lose his life. After picking up a group of refugees, the Koryu make for a Ming fortress that turns out to be abandoned. There, the remaining handful of Koryu make their last stand against the Mongol attackers.
Despite all of this historical backdrop and gorgeous production standards to rival any David Lean epic, this film should not be mistaken for anything more than a rousing action film that gleefully depicts disembodied limbs and arrow shafts penetrating just about every part of the body. Director Kim Sung-Su had already established his finely polished, Hong Kong inspired action in contemporary films Beat (1997) and City of the Rising Sun (1998). In Musa, he's taken a large scale martial arts film that usually trades depth for excitement and given it a dose of dramatic realism that should make any Ridley Scott or Mel Gibson jealous. Why? It is because the film lacks nothing as a historical epic and yet has better action sequences than most Hollywood productions of a similar scale and scope without resorting to the use of CGI characters.
In Musa, the chaotic nature of battle is filmed with a combination of jerky camera movements, slow motion, and lots of gadgets such as trick arrows and pedals that vault actors into the air. (I only know about the gadgets after watching the excellent behind-the-scenes footage on the 2-disc DVD). CGI is in place for a few minor effects such as long building shots and arrows impacting with bodies, but its hardly noticeable. On the surface the gritty way in which the action is filmed could lead you to believe that what you're seeing is possible. But, this veneer cleverly masks highly romanticized action that genre fans relish. Case in point is Jung Woo-Sung's character who appears to be a warrior of unmatched skill capable of tossing a massive spear into the skull of a Mongol while missing Zhang Ziyi who is being used as a shield.
While the combat definitely dominates the film, Musa is made so much better by the characters and performances of the actors who play them. In addition to the physical conflict between Koryu and Mongol, the film depicts a number of other interpersonal struggles between allies that enriches the characters and endears them to the viewer. The Koryu themselves are divided by a rigid class system as evidenced by a clear distinction between a dominate and more educated caste led by an inexperienced general (Joo Jin-Mo) and the lesser led by a seasoned fighter (Ahn Sung-Ki). At the bottom of the rung is a slave turned free (Jung Woo-Sung) who happens to be the group's best fighter. He develops a subtle rivalry with Jin-Mo for the very subtle attention of Zhang Ziyi. On a side note, its always refreshing to see suppressed sexual tension, an aspect of Asian cinema that generally reflects their society at that time in history. Then you have the snobby princess at odds with the soldiers and her own people, even while she learns first hand what sacrifices they will have to make on behalf of her. Another mildly comical rivalry between a Buddhist monk and the group's translator, a student of Confucius leads to one of the film's more poignant relationships. The film does go overboard a bit by over-dramatizing some of the relationships. The worst is the unstated love affair between Ziyi and Woo-Sung. Their desperate efforts to sacrifice or help one another for this love constantly leads the group to disaster and was a source of constant frustration for this reviewer.
The linchpin in the cast is the star, Ahn Sung-Ki, a longtime actor playing the wiser veteran among the Koryu, who is constantly at odds with Jin-Mo over how to proceed. Not only does he look extremely convincing as a hardened warrior with killer bowman skills, but his subdued charisma is undeniable. While the flashier Woo-Sung is running about at his own whim with his mighty spear and mighty flowing hair, Sung-Ki becomes the film's real hero as he keeps the group together and pulls them out of one jam after another with his tactical experience and deadly accurate archery. I couldn't help but compare his action scenes to the archery of Legolas in The Two Towers. They could have made a film just about Sung_ki's character and I would have loved it. In fact, the film probably spreads itself too thin with the focus on so many characters, including one of Yu Rong Guang's best dramatic roles to date. Thankfully, they are all well developed and appropriately cast. I think for this reason Musa is one of those films that is even more fun to watch the second time to soak up all of the sub-text.
All said, Musa is a great period film with incredible action, splendid visuals, and excellent performances. It would have been nice if the musical score had used orchestration in place of synthesizers and pop music or if the last twenty minutes contained less melodrama mixed in with the action. But these are minor gripes for a film that delivers such an entertaining experience.
Distributor: Modern Audio/Tai Seng
Format: Region 0 DVD, NTSC
Length: 130 min
Aspect Ratio: Widescreen (2.35:1) anamorphic
Audio Tracks: Korean (Dolby Digital 5.1, DTS), Cantonese (Dolby Digital 5.1, DTS)
Subtitles: English, Chinese
Extras: None.
Notes: Excellent image quality with superb sound.
Genre(s): Period Drama, Martial Arts
Origin: Korea
Length: 155 min
Studio(s): CJ Entertainment
Director(s): Kim Sung-su
Producer(s): Cho Min-Hwan, Zhang Xia
Action Director(s): Chung Doo-hong
Writer(s): Kim Sung-su (script)
Cinematographer(s): Kim Hyung-ku
Music: Sagisu Shiro
Rated: III (HK) - intense violence & some gore, some profanity
Cast:: Ahn Sung-ki ... Jin-lib
Jung Woo-sung ... Yeo-sol
Joo Jin-mo ... Choi Jung
Zhang Ziyi ... Ming Princess Bu-yong
Yu Rong-guang ... Yuan General Rambulhua
Lee Doo-Il ... Ji-san
Park Yong-woo ... Ju-myeong
Park Jun-hak ...
You Hae-jin ... Du-chung
Jung Suk-yong ... Ha-Il
Han Young-mok ... Dan-saeng
Song Jae-ho
Here's the review yg Katt minta ..... ;) ;)
review by Mark Pollard
source: www.kungfucinema.com
source: www.kfccinema.com |
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"Oseam" Selected Best Animated Film
Originally posted by Takki_Aniki at 2004-3-13 04:04 PM:
OSEAM
Source: http://www.koreanfilms.host.sk/
A personal review by Takki is available on page 2 of this thread 
The Korean animated film "Oseam," produced by Mago 21, was awarded the Cristal for Best Feature (Grand Prix Annecy) in the Feature Films Competition at the 2004 International Festival of Animated Film at Annecy, which ended on Saturday (local time) in France. With this, Korea has received yet another splendid international award this year, following the movie Old Boy's Grand Prize of the Jury at the 57th Cannes Film Festival.
Mago 21 staff said Sunday that during the animation festival, "Oseam" was a sensation and gained high popularity as this year’s most notable film animation. Annecy Animation Festival, also known as the "Cannes of Animation," is a prestigious animation awarding festival. Celebrated Japanese animation director Hayao Miyazaki of " orco Rosso" also gained world recognition through Annecy.
"Oseam" is about a five year old boy going on a journey with his blind sister to find their mother. It debuted in Korea last April, but was unable to secure enough theaters for screening. As a result, "Oseam" was only able to attract 100,000 people into the theaters in Korea, but was appraised for its heart-warming storyline and beautiful animation.
([email protected] )
Source: http://english.chosun.com/w21dat ... 6/200406130032.html |
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My Little Bride
cast: Kim Rae Won, Moon Geun Young
rating: ***
cerita ni ok lah..kelakar tengok masa Kim Rae Won kena kahwin dengan budak umur 16 tahun..then dia kena pula pergi mengajar di sekolah "wife" dia..
banyak juga scene yang kelakar cuma cerita ni tak de lah sekelakar My sassy Girl..yang menarik hati cerita ni ialah Kim Rae Won dan dan the girl Moon Geun Young.. |
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eh, Kim Rae Won pergi mengajar kat sekolah wife dia? hmm, nampak macam plot My Wife Is 18 la pulak, lakonan Ekin Cheng & Charlene Choi...:stp:
[ Last edited by whitedove on 1-7-2004 at 02:51 PM ] |
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pernah tengok citer 'The gingko bed' kat Festival Filem Asia Pasifik masa stadi kat Penang....memang besh citer tu...nasib ada bawak sapu tangan...sedih giler...I nih jrg tengok citer yg boleh buat airmata I meluncur kuar kecuali satu filem klasik Inggeris 'Madam X' lakonan Lana Turner...memang basah satu bantal dibuatnya...
Gingko Bed nih rasanya pernah ditayangkan di Astro... |
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Although 1996 was a year which saw impressive debuts by some future giants in Korean cinema, perhaps the biggest debut of all was that of Korea's first international film festival. The launching of PIFF, the Pusan International Film Festival, was an ambitious and daring gamble that has proved to be one of Korean cinema's biggest success stories. Apart from its burgeoning importance to Asian cinema as a whole, the festival also served as the major catalyst in making Korea an active participant in the international film community, rather than just an observer.
The strong international reception of the festival also gave Korean cinema a platform on which to highlight some of its best films from the past and present. PIFF's first edition in 1996 featured debut works by Hong Sang-soo (The Day a Pig Fell Into the Well), Kim Ki-duk (Crocodile), and Yim Soon-rye (Three Friends). Hong Sang-soo has been described by many as Korea's most talented arthouse director; Kim Ki-duk's unique, tortured vision has fascinated international festival audiences, while Yim Soon-rye marks the first major female auteur to debut in contemporary Korea. PIFF was instrumental in launching these three directors onto the world film scene.
One last directorial debut of note was that of Kang Je-gyu with the fantasy romance The Gingko Bed. Although it proved a strong hit at the box-office and contributed to the emergence of actor Han Suk-kyu, it would be Kang's second film Shiri in 1999 that would really make waves in the industry.
Reviewed below: Farewell My Darling -- The Day a Pig Fell Into the Well.
The Best Selling Films of 1996 (Seoul admissions)
Domestic Films Seoul Release
1. "Two Cops 2" 636,047 Apr 27
2. "The Gingko Bed" 452,580 Feb 17
3. "Ghost Mama" 257,688* Dec 21
4. "A Petal" 213,979 Apr 5
5. "The Gate of Destiny" 200,570 Oct 12
6. "Hoodlum Lessons" 176,757* Dec 21
7. "The Adventures of Mrs. Park" 170,328 Sep 21
8. "Born to Kill" 132,261 Apr 19
9. "Corset" 114,777 Jun 8
10. "Boss" 101,078 Jul 6
Overall Figures Seoul Release
1. "Independence Day" (US) 923,223 Jul 27
2. "The Rock" (US) 906,676 Jul 13
3. "Two Cops 2" (Korea) 636,047 Apr 27
4. "Mission: Impossible" (US) 622,237 Jun 15
5. "Jumanji" (US) 540,402 Jan 20
6. "Eraser" (US) 516,721 Jun 29
7. "Romeo + Juliet" (US) 491,435* Dec 28
8. "The Gingko Bed" (Korea) 452,580 Feb 17
9. "Twister" (US) 442,048 Jul 13
10. "Daylight" (US) 434,099* Dec 21
* includes admissions from 1997
Market share: Korean 23.1%, Imports 76.9% (nationwide)
Films released: Korean 65, Imported 382
Total attendance: 42.2m admissions
Number of screens: 511 (nationwide)
Exchange rate (1996): 851 won/US dollar
Average ticket price: 4,828 won (=US$5.67)
Exports to other countries: US$404,000
Average budget: 0.9bn won + 0.1bn p&a costs
Source: Korean Film Council (KOFIC).
Complete List of 1996 Releases with Seoul Box-Office
Notable Films of 1996
This is a list of the features released in 1996 that have generated the most discussion and interest among film critics and/or the general public. They are listed in the order of their release.
Farewell, My Darling
Farewell, My Darling begins and ends with images that strangely allude to future films by Park Chul-soo. We begin with a woman Push-Push-ing a baby into a dream of the patriarch, Mr. Park (Choi Seong). And it ends, (don't worry, this doesn't spoil it), with a snapshot reminiscent of Kazoku Cinema. As much as any director in South Korea, this continuity across films further underscores Park's intent to chronicle the changes that a Modernizing Korea has wrought and gifted.
And what more perfect a venue to explore those changes than the rituals surrounding that which never changes? Death. The family of Mr. Park returns to the village where the family was reared following Mr. Park's death. The cast of characters brings a circus to town of dreams met and deferred. Pal-bong (Kim Il-woo) returns from Seoul with the bling-bling of his new high-rolling status, fancy car, trophy wife, and child as accessory. Chan-sae (Park Jae-hwang) travels across the Pacific from America with his bible in hand and gospel music on tape. Chan-suk (Choo Kwi-jeong) finally makes the funeral only to open up old wounds that desperately need dressing. All the while Mr. Park's brother acts as the village elder who tries to wield an iron voice to force all to perform within his understanding of the proper rituals. His efforts are mostly in vain, however, for each party at this party mourns in their own way, from the calculated hysterics of the Aunties to the sincere gesture of Pa-yoo (Kim Bong-kyu) offering a bottle of pop (Yes, I'm from the Midwest) to deceased Mr. Park.
Although I often mistakenly call this film Farewell My Concubine, the more appropriate films to compare with Farewell, My DARLING are Juzo Itami's The Funeral and Im Kwon-taek's Festival. Itami's film is a comedy that successfully transcended cultures in its display of Modern Japan's forgotten traditions. Several comedic moments also erupt throughout Park's film, such as Pal-bong, placing cashier's checks rather than won in the pot for Mr. Park's trip to the afterlife. Park's film, while showing what's been lost by South Korea's quick Modernization, also shows what traditions remain and what new ones have emerged. Interestingly enough, Im's Festival, about a matriach's passing, was made in the same year as Park's film. Im has said Festival served two purposes for him: to document Korean traditions at risk of extinction and to resolve his guilt around never performing hyodo (children's filial duty to their parents) for his mother. Park documents these same traditions, although not as meticulously as Im, such as feeding rice to the corpse and placing a marble between the corpse's lips. And including a director, Chan-woo, as one of the characters -- acted by Park Chul-soo himself -- we can not help but presume the character is a self-critique, similar to the role Ahn Sung-ki's character seems to play for Im in Festival. Interestingly, Chan-woo is asked to stand aside by his Uncle, allowing his younger brother to assume the role of the eldest son, since Chan-woo has been away from the village for so long, he is less familiar with the necessary rituals required.
Although the intrusion within the frame of disruptive sunlight in some scenes can be explained away as a desired documentary effect, the bad makeup, (or poor lighting of the actors and actresses that reveals the obvious makeup), is not something we can excuse. Such poor production reminds us how the high quality we've come to expect from Korean films had yet to take shape by 1996. Despite these flaws and the plethora of characters that are unnecessarily confusing at times, what Park's film shows most vividly is the community that emerges from moments that signify life's stages. As weddings are often more for the parents than the bride and groom, so are funerals often more for the living than the dead. This funeral is a time to eat, gossip, campaign, and transact business. And it is a time for traditions to be passed on through mimicry, such as the delightful scene where Pa-yoo repeats everything the men say, through repetition, such as the constant preparing and re-preparing of food, flipping of pa jun, pouring of soju, and through assimilation, such as the communal viewing of a Korean soap opera amongst the women, the snapping of gender-segregated photographs, and the very portrayal of all these events within this film. (Adam Hartzell)
The Day a Pig Fell Into the Well
Made while Hong Sang-soo still held a day job at SBS, The Day a Pig Fell Into the Well fell into acclaim at international festivals, winning him dual Tigers, that is, the VPRO Tiger Award at Rotterdam and the Dragons and Tigers Award at Vancouver. It was not without success at home either, for Hong also doubled up on the Dragons by winning the Best Director at Korea's Blue Dragon awards. Although Hong would still keep a second job teaching film at Korean National University of Arts, the critical success of A Day a Pig Fell Into the Well did not prove fleeting, for Hong is still considered one of the primary auteurs of the new Korean Cinema that began to form after 1996.
Separated into four narratives, we slowly learn how each character is connected. Hyo-sub (Kim Eui-sung) is a struggling writer who isn't really struggling because of his writing, but because of his impulsive, angry tendencies. He is sexually involved with both Min-jae (Cho Eun-suk) and Po-kyong (Lee Eung-kyung) who each are followed in the final two narratives. Min-jae is a 24 year old woman making due with random jobs, both of which enact surveillance of her movement and voice. She pursues the affections of Hyo-sub even though he treats her like crap. Po-kyung is treated a little better by Hyo-sub because he claims he loves her. Po-kyong appears to walk, as if pulled along, in and out of Po-kyong's embrace. It even appears that she might be leaving her husband for him, however, if this is the case, this effort is thwarted like so many efforts in Hong's films. Her husband Dong-woo (Park Jin-song) is followed in the second narrative and he heads to Chunjoo for business that is never consummated. Instead, he spends the night in a love motel with a prostitute trying to obtain something from her he could never have.
Many of the themes consistent throughout Hong's later films find their origins here in The Day A Pig Fell In The Well. We follow separate narratives, although a greater number of them than we've followed before. Each main character is presented with serious flaws that inhibit their chances of finding fulfillment in their personal and professional lives. And moments that may initially seem irrelevant or represent bad editing choices amount to significant scenes with multiple viewings.
Yet what is most interesting about this film is what Hong chose to portray that he has since stayed away from in his later work. Dong-woo and Hyo-sub are probably the most pathetic men Hong has ever portrayed. The image of Dong-woo with his head down, arms and legs clamped, body shaking vigorously as he sits on the bed of the Love Motel is one of the most harrowing we've seen in Hong's films because this man appears to be losing it right before our eyes. Also, Hyo-sub and one of the side characters in this film are portrayed much more violently than any other character in any of Hong's films to follow. And it is the presence of these two differences, (plus, perhaps, the lesser production quality present here that we find throughout the Korean film industry until 1998), that give this film a feeling of hopelessness that I have not felt in any of the three films to follow this one. In the later films, although each main character traveled in a trajectory of poor choices, I always felt that there were positive trajectories available to them that could help them stray from their unhealthy patterns if they would only simply choose these alternate routes. Here, everyone seems to be trapped in their own personal wells with a rope not long enough to scale their way out, but definitely long enough to hang themselves. (Adam Hartzell)
link http://www.koreanfilm.org/kfilm96.html
THE GINGKO BED
Original title: Eunhangnamu chimdae
Starring: Han Seok-Gyu, Shim Hye-Jin, Jin Hee-Hygeong
Director: Kang Je-Gyu, Park Cheol-Min
Studio: Bitwin
Rating: Up 15
Genre: Drama
Synopsis:
Good Film of 1996/Prize of New Director(Kang Je-Kyu), Photography(Park Hee-Ju), Technology(Lee Dong-Jun) at 17th Chung Ryong Film Award/Prize of Photography at 16th Film Critics Award/Prize of Technology(Park Hee-Ju) at 32nd Baek Sang Art Award/Prize of Leading Actress(Shim Hye-Jin) at 34th Dae Jong Award
Su-Hyeon, a stoneblock artist and college instructor, and Seon-Young, a surgeon, love each other. His daily life looks settled down and ordinary but he falls in confusion as he happened to meet a gingko bed in an open air market. There is his love of the past world that even he doesn't know about. Unattainable love of a royal court musician and the princess becomes two ginko tress in a peaceful field and then becomes soul of ginko bed. And finally the love of soul that wanders looking for him for a thousand years of times makes its appearance. He came to quest for memories of Princess Midan of the past world and is threatened by general Hwang who is a persistent incarnation of love following Midan from the past. Seon-Young, his beloved of present world, decisively takes experiment to prove their existence that can't be explained scientifically while Midan, who can't get back to present world any more, makes the last choice to save Su-Hyeon from general Hwang.
[ Last edited by seribulan on 30-6-2004 at 05:44 PM ] |
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Maaf, mencelah kejap! Lovers' Concerto ni sama ke dengan Crazy First Love? Ergh di mana Asia boleh dapat lagu ...ing selain kat Kota Raya or S&M (macam tak ada kat situ) ? The Classic ni movie tahun berapa? ..ING ni ada special edition ke? Di mana Asia boleh dapat itu?Thanks...:pray::tq:
[ Last edited by Asiafever on 30-6-2004 at 07:51 PM ] |
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Originally posted by Asiafever at 30-6-2004 06:01 PM:
Maaf, mencelah kejap! Lovers' Concerto ni sama ke dengan Crazy First Love? Ergh di mana Asia boleh dapat lagu ...ing selain kat Kota Raya or S&M (macam tak ada kat situ) ? The Classic ni movie ...
Lovers' Concerto adalah citer yg jauh bezanya dari Crazy First Love walaupun kedua2nya ada Cha Tae Hyun & Son Ye Jin, cuma kat Lovers' Concerto heroine yg sebenar2nya ialah Lee Eun Joo...Lovers' Concerto adalah melodrama, Crazy First Love pulak citer comedy...frankly speaking, I think Lovers' Concerto is far better than Crazy First Love...nanti kite akan postkan review untuk Lovers' Concerto kat sini... |
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Malangnya, Asia tak dapat beli VCD untuk kedua-dua movie The Classic dan Lovers' Concerto. Dah lama sangat citer ni dikeluarkan. Apa boleh buat............ |
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1998: CHRISTMAS IN AUGUST
Cast: Suk-kyu Han, Eun-ha Shim, Goo Shin, Ji-hye Oh, Han-wi Lee, Mi-seon Jeon, Hye-won Kwon
Story: Jung-won is stricken with a terminal illness and he doesn't have much time left. As his days become more limited, Jun-won takes it slow and enjoys life in all it's glorious aspects. One day, a parking-meter maid comes in and makes small talk with Jun-won. The small talks slowly become more personal and a relationship flourishes between the two. However, Jung-won, knowing his limited time, refuses to let Darim get too close. He knows that the relationship would take more time than he has left. Through his remaining days, he bonds with his family, friends, and most of all, Darim.
Review: "I don't have much time... I'm beginning a love which may take a long time.."
At a time where sappy romance films that dealt with a terminal illness reigned (like SWEET NOVEMBER), CHRISTMAS IN AUGUST doesn't saturate itself with the "I love you"'s and the "You're everything in the world to me"'s. Instead, it trades the generic and tired Hollywood formula and creates a bitter sweet film with heartache in the things that are never said. Watching Jung-won and Darim is absolutely heart-breaking. These two were made for each other, but you know they will never live happily ever after together.
This film outlines how fragile and precious life really is. On the outside, Jung-won is a carefree and happy-go-lucky man. However, on the inside, the fact that he will soon pass away tears him up. In action films, you have the heroes who can get shot fifteen times, yet, still be able to get up and jab his fingers into his enemy's eye-sockets while shooting an army of gangsters. In horror films, you have the heroes who can survive ghost encounters and placate their souls. But none of these heroes even compare to the might and courage of Jung-won. This is a man, who instead of trying to forget his condition and live life as if nothing had happened, embraces death and at the same time, makes the best of his surroundings. He never dodges from the inevitable. In one of the scenes, he writes down how to run the photo store he owns so that when he passes, his father could take care of it. For the most part, he keeps his condition a secret from his friends and even jokes about it. During the time he spends with Darim, he never tells her of his condition because he wants the most pure relationship while he still can. Watching him carry on with Darim is heart-drenching, but heart-warming at the same time.
With a film like CHRISTMAS IN AUGUST, if the craftsmen of the film can't hit the right notes, the film would've ultimately failed. Luckily, director Jin-Ho Hur places beauty and elegance into everyday life and makes a world so normal, yet, so magical. The two main actors also does an extraordinary job. In the beginning, Jung-won's character seemed far too happy-go-lucky. With many scenes showing him laughing with joy, he almost seemed to be a one-dimensional character. But as the film moved on, Suk-kyu Han does a spectacular job deconstructing the character in some of his private moments. From the subtle fear of death drawn on his face to the drunken rage in the police station, Suk-kyu gives an unforgettable performance. Eun-ha Shim also does a wonderful job playing the homely yet beautiful Darim. Complete with a beautiful score, all the elements of this film create nothing short of an excellent film.
CHRISTMAS IN AUGUST tackles one of the hardest aspects of life and gives it a somber beauty. Death isn't something to fear, but to embrace. Whether it be Jung-won sharing laughs with his friends or sharing a tender moment with his family, every aspect of Jung-won's life is relatable to our own. With the time he has left, he enjoys the everyday things most of us take for granted. These everyday things are enough to fulfill his inner needs. This film deserves every bit of praise it gets and teaches us a great lesson: Choose life, not death.
 
 
 
Source: http://www.kfccinema.com/reviews ... istmasinaugust.html |
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Windstruck
tak penah tgk lagi cite ni, tapi dah ada org sebut kat thread 'sebelah', so aku letak review dia kat sini. korang yg dah tgk tu kasik la rating dia ek :bgrin:
Professional Review of "Windstruck (Overseas Version)"
One of the most eagerly anticipated films of 2004, WINDSTRUCK, saw the reunion of the director and star of MY SASSY GIRL, the huge, huge comedy hit of 2001. WINDSTRUCK sold a ton of tickets and became one of the highest grossers of the year so far, coming in just behind SPIDER-MAN 2. The flick starts with a splat as Jeon Ji-Hyun dives off an office building to her death, then we whip back in time to see what got her teetering on the edge in the first place. She抯 a police officer, eternally mourning the death of her twin sister when she抯 not beating down street punks and looking hot in her uniform. She accidentally arrests physics teacher, Jang Hyuk, and, one drug bust gone bad, one street fight, and two handcuffings later, they抮e dating. Things don抰 go smoothly, however, and tears flow like rivers, people die, shoot-outs ensue, and did I mention that tears flow like rivers? Jeon Ji-Hyun might just be one of the most photogenic weepers in modern film.
The flick is unevenly paced, with gut-busting comedy right next to hideous trauma, and by the third ending of the movie you抣l be begging for it to just pick one ending -- any ending -- and roll the credits, but something has happened since MY SASSY GIRL: Jeon has become an amazing actress, and Director Kwak has learned to trust her. She eats up the screen like a predator, and Kwak sometimes just lets the camera sit on her while she works her way emotionally through a scene, and it works. It may be uneven (and the ending is already making people annoyed because it is annoying) but any movie that can make you laugh out, and then cry, is worth seeing.
Reviewed by Grady Hendrix (U.S.A)
credits to yesasia.com
[ Last edited by kEk_KeL@d| on 31-8-2004 at 11:10 PM ] |
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oooo kat sini.....
WINDSTRUCK..cerita korea yg realistik bagi aku..
biasanya aku tgk cerita korea lebih pada fantasi..
pelakon: Jeon Jihyeon -My Sassy Girl
Jang Hyeok -A Successful story Of A Bright Girl
Gyeongjin(Jeon Jihyeon) ni polis yang berani..kira mmg ganas la..die ade adik kembar dah meninggal kemalangan masa nak pergi gantikan die untuk pergambaran graduation diorg...
Go Myeongu(Jang Hyeok) cikgu sekolah perempuan..seorg yg baik ati..naif je orgnye..
Mcm mane diorg jumpe?..
Go Myeongu kejar sorg peragut..mase tu Gyeongjin baru keluar dari kedai..die dengar perempuan menjerit mintak tolong..die igtkan Myeongu peragut..so die kejar Myeongu sampai dpt..bila bawak ke balai, Myeongu tak bersalah..Myeongu bengang sbb Gyeongjin tak nak mintak maaf..
bagi Gyeongjin takde istilah "maaf" dlm kamus die...
pastu Gyeongjin ditugaskan utk membanteras jenayah budak2 sekolah..
so Myeongu diperlukan bekerjasama dgn Gyeongjin..mase ni kesian tgk muke die..mcm takut2...sbb pompuan ni ganas..
banyak babak lawok masa ni..
lame2 Gyeongjin jadik suka kat Myeongu..siap pegi sekolah Myengu buat announcement dlm kelas yang Myeongu ni pakwe die...
sekali diorg pegi naik bukit..tempat tu berangin sgt..
Myeongu bagitau Gyeongjin, kalau die mati die nak jadik "angin"..
mase balik, kereta diorg terbabas masuk sungai..Myeongu pengsan...
nasib baik Gyeongjin berjaya selamatkan die...
Myeongu ada bagi buku cerita kat Gyeonjin, dlm buku tu die lukis kartun..kalau browse helaian buku akan nampak mcm kartun tu bergerak...so sweet..
Myeongu ni suke telefon Gyeongjin masa die bertugas (kebetulan)..Myeongu akan pegi ke tempat Gyeongjin bertugas nak tolong Gyeongjin..
nak dijadikkan cerite, sekali tu Myeongu pegi tempat Gyeongjin bertugas.. masa tu Gyeongjin tgh kejar penjenayah yg merbahaya...kawan Gyeongjin tertembak Myeongu..Gyeongjin igt die yg tembak...
Myeongu meninggal tempat kejadian...Gyeongjin tak dpt terima kenyataan..die nak bunuh diri...tapi dpt diselamatkan..
lepas tu, die selalu amik peluang nak bunuh diri..tapi mesti ada yg menghalang..
Die pernah nampak kapal terbang kertas yg sama mcm yg pernah dibuat Myeongu...die percaya Myeongu masih hidup..
Die percaya, kalau Myeongu dah mati, pada hari ke 49 Myeongu akan dtg..
so die siapkan umah die dgn kipas kertas..biar die perasan bila Myeongu dtg..
pada hari ke 49, die nampak Myeongu dtg..(aku rasa ni hanya imaginasi die)..
Myeongu nasihat kan die, supaya teruskan kehidupan..mesti bersemangat..
die dpt terima sikit...
Then die pergi sekolah Myeongu...ada someone bagi buku..dlm tu ada lukisan kartun yg sama mcm Myeongu buat..sekali lagi die igt Myeongu hidup..die kejar bayangan Myeongu sampai ke stesen keretapi..
tapi hampaaaaaa...
kat sini die jumpe ngan sorg lelaki (hero my sassy girl) yg selamatkan die sbb hampir kene langgar ngan keretapi..baru la die boleh terima kenyataan yg ada pengganti Myeongu yg selalu selamatkan die..abissss..
cerite ni..lawok n sedih..
so rating aku: 9/10
aku rasa yg ori takde lagi..
soundtrack: knockin' heaven door
director yg sama dgn cerite: My Sassy Girl, The Classic dll
[ Last edited by yanzhuo on 31-8-2004 at 05:35 PM ] |
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Post time 26-4-2004 10:15 AM
Author
Post time 30-6-2004 05:23 PM
