>From: "adsl rocket" seventeen_eighty_three_...@netplex.com >How is this one? Any good? It's out on DVD in HK. Anyone seen it?
I didn't care much for it. It's a post "Seven" serial killer movie where it rains all the time and most of the deaths happen off screen and you only see the aftermath. The movie also has very slow pacing. I fell asleep for about 10 minutes when I saw it.
Jackie Marlow Vote Beetlejuice for president. His stance on education: "Everyone goes to school for 44 years" His stance on taxes: "I pay everyone a million dollars then they pay $22 in taxes" His stance on abortion: "I like abortion, it makes me horny"
In article <amf_5.204$d5.1424...@news.ntplx.net>, "adsl rocket" <seventeen_eighty_three_...@netplex.com> wrote:
> How is this one? Any good?
I'll disagree with Jackie on this. It rocks.
It's out on DVD in HK. Anyone seen it?
It's also on Japanese Dvd. My copy is waiting for me at home. Edko are tops with Dvd - they put extras on and use NTSC masters (eradicating the dreaded Pal-Ntsc - Ntsc mastering which renders images soft) and SK tends to supply them with solid masters (THE SOUL GAURDIANS, CHRISTMAS IN AUGUST and SHIRI Dvds being a case in point), so odds are good it looks good.
> What was the action film from Korea that some say is better than
SHIRI?
IT's NOT an action film, if you refer to JOINT SECURITY AREA - aka JSA. If you refer to an action film that didn't get lumped with SHIRI, then it's Lee Myeong Sae's NOWHERE TO HIDE; a fucking masterpiece.
> Darryl P. mentioned it once not too long ago.
Oh - then that would be NOWHERE TO HIDE. Anyway, here's a repost of my TELL ME SOMETHING review. Enjoy!
Review (C) & (P) 1999 D. Pestilence
Date: Dec 26 1999 08:44:23 EST From: "Korean Cinema In Perspective" Subject: (REVIEW) TELL ME SOMETHING
TELL ME SOMETHING (TAEL MEE SYEOMDING) (11/99) DIRECTOR: Jang Yoon Hyeon CAST: Han Seok Gyu, Shim Eun Ha, Jang Hang Seon, Yeom Jeong Ah, Gu Keom Shi, Chae Hyeong Sa, Yoo Gwa Jang, Lee Hyeung Sa
Certainly inspired by David Fincher's SE7EN (aka SEVEN), Jang Hyoon Hyeon's TELL ME SOMETHING falls in line with typical late 90s serial-killer thrillers. We have the troubled detective (Han Saek Gyu, star of Jang's 1997 production, CONTACT), his older-but-wiser partner (Korean Film & TV thesp. Jang Hang Seon), and the gruesome undertakings of a diseased mind(or minds???). TELL ME SOMETHING has the typical "detective is haunted by the cat-and-mouse chase involved in piecing together clues" plot, adding some personal problems to exacerbate the situation (the detective's mother has just died and Internal Affairs has him in the ringer over medical expenses a less-than-favorable politician has covered). Caught in the mess is a beautiful, slightly imbalanced artist (Shim Eun Ha) with a tortured past - whose male friends happen to be the victims. Apparently the killer likes to leave a piece (or pieces) of the previous victim for the next to discover - kind of like a marker for what is to become of them. Soon enough, the Detective takes a liking to the artist, allows her into his home, and is himself the recipient of the above-mentioned style of "marker." Things unfold at a methodical pace, working more like a Korean Giallo in terms of the layers of corruption within its characters' lives. Stylistically, it goes more for the SE7EN-style thriller rather than the Alberto DeMartino/Dario Argento/Mario & Lamberto Bava route. Add into the mix a healthy, superbly constructed bit of gore (by a western F/X man, I believe, but as is the case with ALL films shown in South Korean theaters - the end credits are shut off before one can begin to read them!), a nice music score (Placebo's "Crawl" enhances the grim goings-on), superb SE7EN-inspired cinematography, wonderful visual composition (Jang continues his exploration into technology as a means to discovery, as he did with CONTACT, utilizing computers, video equipment - and compact discs, all of which play into the cinemagraphic composition as well) - and you have a solid piece of entertainment. The script has fairly interesting character development. Like the SK thriller 301/302, the ramifications of incest are explored here, and like Jang's previous film, CONTACT, Han Saek Gyu embodies a man whose illusions get the best of him; his idealized affection rendering him oblivious to the gravity of what is unfolding around him. TELL ME SOMETHING had a few audience members tense and screaming (I can't say I was particularly scared,), but the graphic gore is certainly a plus when it plays the festival circuit (this one has FANTASIA-fest written all over it). What I found to be the hidden treat was a superb performance from Jang Hang Seon. His screen experience (he was making films before TMS' target audience were born) and natural charisma are priceless. Rather than go the route of an embidered force vet, Jang brings a sympathy and streetsmart savvy to his role. Han Seok Gyu turns in a typically decent performance (a step up from his last film, SHIRI), and to director Jang's credit, Han is not the focus of the film, rather a unifier. Like CONTACT, the side characters have an importance of their own, and with 5 screenwriters, Jang managed to cobble together a rather rich script. Sometimes I felt like I was watching a glitzy New World production (from the days when John Sayles script-doctored the better Corman productions). Exploitation is here en- mass, but it's not all together meritless. Most locals were befuddled regarding just who the killer was. Was it one person - or two - or three? Jang has stated in the press that he purposefully left that open-ended (maybe for a sequel???), but suffice it to say - all that is white is sometimes black, and vice versa. My complaints regard the shameless product-placement within the film. With such a grand budget (much of it on-screen), I suppose it was a neccessary evil. If viewers get too grosed out they can count the Taster's Choice cups, bottles of Demi Soda, cartons of Shin Hyang ramen, the Speed 011 phones (one of which I own), Tower Records shops, or cans of Cass Beer! Nonetheless, an interesting diversion. A little richer, narratively, than expected, but nothing particularly groundbreaking from an international perspective (it is, however, the first Korean serial killer thriller). I recommend giving it a look if one has the chance. Entertaining, to say the least. Come in with moderate expectations and you may come away rather pleased.
In article <amf_5.204$d5.1424...@news.ntplx.net>, "adsl rocket" <seventeen_eighty_three_...@netplex.com> wrote:
> How is this one? Any good? It's out on DVD in HK. Anyone seen it?
> What was the action film from Korea that some say is better than
SHIRI?
I don't know... Joint Security Area has drawn comparisons to Shiri, but is not really supposed to be an action movie. I can't wait to see it. Tell Me Something is a really good movie; a flashy production with a very complex plot. I'm looking forward to the Edko DVD; if it's anything like the Shiri DVD, the increased detail will be a big help in picking up on the film's many visual clues. I recommend picking it up.
> In article <amf_5.204$d5.1424...@news.ntplx.net>, > "adsl rocket" <seventeen_eighty_three_...@netplex.com> wrote: > > How is this one? Any good?
> I'll disagree with Jackie on this. It rocks.
> It's out on DVD in HK. Anyone seen it?
> It's also on Japanese Dvd. My copy is waiting for me at home. Edko are > tops with Dvd - they put extras on and use NTSC masters (eradicating > the dreaded Pal-Ntsc - Ntsc mastering which renders images soft) and SK > tends to supply them with solid masters (THE SOUL GAURDIANS, CHRISTMAS > IN AUGUST and SHIRI Dvds being a case in point), so odds are good it > looks good.
> > What was the action film from Korea that some say is better than > SHIRI?
> IT's NOT an action film, if you refer to JOINT SECURITY AREA - aka JSA. > If you refer to an action film that didn't get lumped with SHIRI, then > it's Lee Myeong Sae's NOWHERE TO HIDE; a fucking masterpiece.
> > Darryl P. mentioned it once not too long ago.
> Oh - then that would be NOWHERE TO HIDE. Anyway, here's a repost of my > TELL ME SOMETHING review. Enjoy!
> Review (C) & (P) 1999 D. Pestilence
> Date: Dec 26 1999 08:44:23 EST > From: "Korean Cinema In Perspective" > Subject: (REVIEW) TELL ME SOMETHING
> TELL ME SOMETHING (TAEL MEE SYEOMDING) (11/99) > DIRECTOR: Jang Yoon Hyeon CAST: Han Seok Gyu, Shim > Eun Ha, Jang Hang Seon, Yeom Jeong Ah, Gu Keom Shi, > Chae Hyeong Sa, Yoo Gwa Jang, Lee Hyeung Sa
> Certainly inspired by David Fincher's SE7EN (aka SEVEN), Jang Hyoon > Hyeon's TELL ME SOMETHING falls in line with typical late 90s > serial-killer thrillers. We have the troubled detective (Han Saek Gyu, > star of Jang's 1997 production, CONTACT), his older-but-wiser partner > (Korean Film & TV thesp. Jang Hang Seon), and the gruesome undertakings > of a diseased mind(or minds???). > TELL ME SOMETHING has the typical "detective is haunted by the > cat-and-mouse chase involved in piecing together clues" plot, adding > some personal problems to exacerbate the situation (the detective's > mother has just died and Internal Affairs has him in the ringer over > medical expenses a less-than-favorable politician has covered). Caught > in the mess is a beautiful, slightly imbalanced artist (Shim Eun Ha) > with a tortured past - whose male friends happen to be the victims. > Apparently the killer likes to leave a piece (or pieces) of the > previous victim for the next to discover - kind of like a marker for > what is to become of them. Soon enough, the Detective takes a liking to > the artist, allows her into his home, and is himself the recipient of > the above-mentioned style of "marker." Things unfold at a methodical > pace, working more like a Korean Giallo in terms of the layers of > corruption within its characters' lives. Stylistically, it goes more > for the SE7EN-style thriller rather than the Alberto DeMartino/Dario > Argento/Mario & Lamberto Bava route. > Add into the mix a healthy, superbly constructed bit of gore (by a > western F/X man, I believe, but as is the case with ALL films shown in > South Korean theaters - the end credits are shut off before one can > begin to read them!), a nice music score (Placebo's "Crawl" enhances > the grim goings-on), superb SE7EN-inspired cinematography, wonderful > visual composition (Jang continues his exploration into technology as a > means to discovery, as he did with CONTACT, utilizing computers, video > equipment - and compact discs, all of which play into the cinemagraphic > composition as well) - and you have a solid piece of entertainment. The > script has fairly interesting character development. Like the SK > thriller 301/302, the ramifications of incest are explored here, and > like Jang's previous film, CONTACT, Han Saek Gyu embodies a man whose > illusions get the best of him; his idealized affection rendering him > oblivious to the gravity of what is unfolding around him. TELL ME > SOMETHING had a few audience members tense and screaming (I can't say I > was particularly scared,), but the graphic gore is certainly a plus > when it plays the festival circuit (this one has FANTASIA-fest written > all over it). What I found to be the hidden treat was a superb > performance from Jang Hang Seon. His screen experience (he was making > films before TMS' target audience were born) and natural charisma are > priceless. Rather than go the route of an embidered force vet, Jang > brings a sympathy and streetsmart savvy to his role. Han Seok Gyu turns > in a typically decent performance (a step up from his last film, > SHIRI), and to director Jang's credit, Han is not the focus of the > film, rather a unifier. Like CONTACT, the side characters have an > importance of their own, and with 5 screenwriters, Jang managed to > cobble together a rather rich script. Sometimes I felt like I was > watching a glitzy New World production (from the days when John Sayles > script-doctored the better Corman productions). Exploitation is here en- > mass, but it's not all together meritless. > Most locals were befuddled regarding just who the killer was. Was it > one person - or two - or three? Jang has stated in the press that he > purposefully left that open-ended (maybe for a sequel???), but suffice > it to say - all that is white is sometimes black, and vice versa. My > complaints regard the shameless product-placement within the film. With > such a grand budget (much of it on-screen), I suppose it was a > neccessary evil. If viewers get too grosed out they can count the > Taster's Choice cups, bottles of Demi Soda, cartons of Shin Hyang > ramen, the Speed 011 phones (one of which I own), Tower Records shops, > or cans of Cass Beer! Nonetheless, an interesting diversion. A little > richer, narratively, than expected, but nothing particularly > groundbreaking from an international perspective (it is, however, the > first Korean serial killer thriller). > I recommend giving it a look if one has the chance. Entertaining, to > say the least. Come in with moderate expectations and you may come away > rather pleased.
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Anybody can tell if the HK DVD of this film is as good as the "Shiri" edition? While I was a bit disappointed with "Shiri" (maybe subsequent views will improve it), I was surprised at how good the image on the DVD is.
fiendish_gh...@my-deja.com wrote: > In article <amf_5.204$d5.1424...@news.ntplx.net>, > "adsl rocket" <seventeen_eighty_three_...@netplex.com> wrote: > > How is this one? Any good? It's out on DVD in HK. Anyone seen it?
> > What was the action film from Korea that some say is better than > SHIRI?
> I don't know... Joint Security Area has drawn comparisons to Shiri, but > is not really supposed to be an action movie. I can't wait to see it. > Tell Me Something is a really good movie; a flashy production with a > very complex plot. I'm looking forward to the Edko DVD; if it's > anything like the Shiri DVD, the increased detail will be a big help in > picking up on the film's many visual clues. I recommend picking it up.
> Miles
> --
Both JSA and SHIRI are South Korean productions. Both have Northern and Southern characters interacting and torn by the partisanism. Both feature Song Kang Ho. SHIRI is overrated, poorly-written, and relies on antiquated, cold-war North Korean stereotypes. North Koreans are "monsters" in SHIRI. JSA, on the other hand, is a superb drama, and offers up a realistic situation, realistic sentiment in Korea regarding North and South interaction - and it doesn't rely on cookie-cutter, 5th grade Hollywood archetypes to propell the narative. Song Kang Ho and Lee Byeong Hyeon are also better actors than Chae Min Shik and Han Saek Gyu, and Lee Yeon Ae is a better actress than Lee - whatever (Kang Jae Gyu's Korean-American starlet/fuck-buddy) love interest in SHIRI.
> In article <91clib$ej...@nnrp1.deja.com>, > fiendish_gh...@my-deja.com wrote: > > In article <amf_5.204$d5.1424...@news.ntplx.net>, > > "adsl rocket" <seventeen_eighty_three_...@netplex.com> wrote: > > > How is this one? Any good? It's out on DVD in HK. Anyone seen it?
> > > What was the action film from Korea that some say is better than > > SHIRI?
> > I don't know... Joint Security Area has drawn comparisons to Shiri, > but > > is not really supposed to be an action movie. I can't wait to see it. > > Tell Me Something is a really good movie; a flashy production with a > > very complex plot. I'm looking forward to the Edko DVD; if it's > > anything like the Shiri DVD, the increased detail will be a big help > in > > picking up on the film's many visual clues. I recommend picking it up.
> > Miles
> > --
> Both JSA and SHIRI are South Korean productions. Both have Northern and > Southern characters interacting and torn by the partisanism. Both > feature Song Kang Ho. SHIRI is overrated, poorly-written, and relies on > antiquated, cold-war North Korean stereotypes. North Koreans > are "monsters" in SHIRI.
I couldn't disagree more. While the actions of the North Koreans may have been monstrous, I found the characters to be all too human. Thankfully, "Shiri" has none of the comic releif that usually defuses all tenstion found in American films. IMHO, the fact that "JSA" may be a better film doesn't take away from the fact that, as an action film, "Shiri" is one of the more enjoyable entries in the genre in recent years.
> > are "monsters" in SHIRI. > I couldn't disagree more. While the actions of the North Koreans may have > been monstrous, I found the characters to be all too human. Thankfully, > "Shiri" has none of the comic releif that usually defuses all tenstion found > in American films. IMHO, the fact that "JSA" may be a better film doesn't > take away from the fact that, as an action film, "Shiri" is one of the more > enjoyable entries in the genre in recent years.
I absolutely agree. I think that while the bad guys of Shiri do plenty of bad things, it's more out of necessity to the action-movie plot... I think that CONSIDERING the kind of movie this is, a reasonable attempt at creating some sympathy for N. Koreans was made. I am, however, aware that Darryl's living in South Korea would definitely make him more sensitive to this issue... And while I think Shiri is the best Hollywood-style action movie out there, I don't doubt, given what I've heard, that JSA will probably be better.
In article <3a422078$0$1518$6daed...@news.infinet.com>, "W. Ferguson" <wfer...@erinet.com> wrote:
> I couldn't disagree more.
Fair,but you haven't seen much of South Korean cinema, particularly that which deals with North/South relations. Living there also presents much grist for the mill on how Koreans thesmelves view such things. The romantic part (so infantecimally small and underplayed - typical for the Kang Jae Gyu production cannon, DEON JEOK BI YEON SOO: THE LEGEND OF GINKO fails in every respect, as SHIRI does) does not constitue a "human" portrayal juxtaposed to the fact that every North Korean character is a blood-thirsty killer. Cold War stereotypes. In ten years this will be as offensive as RED DAWN, in America, is today.
While the actions of the North Koreans may have
> been monstrous, I found the characters to be all too human.
You are a kind-soul.
Thankfully,
> "Shiri" has none of the comic releif that usually defuses all tenstion found > in American films.
Yes, that is a grace. Kang Jae Gyu does have that down-pat.
IMHO, the fact that "JSA" may be a better film doesn't
> take away from the fact that, as an action film, "Shiri" is one of the more > enjoyable entries in the genre in recent years.
I think the fact that the action genre has been pretty worn-out has left people overly anxious to praise a film that isn't as "all-that" as the overhype makes it out to be. Conversely, the over-hype, had it not existed, might have given the film a fairer shake in both Korean and a few non-Korean critics' eyes. Kang Jae Gyu has a fundimental problem with drama. He relies on cliches - that in SHIRI, might not be so obvious to those who haven't lived with Korean culture around them. Far too often people are wrapped up in the gloss and soap-opera pomp of the "romance" (Kang, as a producer, couldn't even make the female- driven sequel to his first hit, THE GINKO BED, seem realisitc. He contradicts Korean history there - AND, the wome ncome off more as tired cliches than as breathing, beautiful individuals). It will be itneresting to see if his next production (which he will direct), supposedly a "drama," BESAME MUCHO - will fare.
South Korean cinema, in my opinion, is undeveloped as a source of entertainment and expression.
The Korean cinema seems to lack identity. All the movies I've seen come across like a cheaper B grade version of Hollywood, or HK style films. And b/c it is neither of these, usually, they disappoint.
When I was living in Korea teaching English, I saw so many films that were nationally acclaimed as quality viewing material, however, I found the story to be contrived, predictable, and the acting to be subpar. It literally killed me to sit through some of these films.
Siri was horrific. The script was terrible - poorly written. Basically came across like a movie made up of action scenes edited together....no regard for the story. When I see a Korean film, it is hard to identify the film's style....the HK and Japanese film makers seem to have developed their own, unique style. HK movies tend to be (generally speaking, of course) dramatic, infested with overkill action that is riddled with violence or ancient Chinese 'once upon a time..' kung fu movies. The Japanese, usually tend to go for the story and love to work on the subtleties of the script and plot - even with their violent action movies a la Beat Takashi. Koreans? Man, they are all over the place still trying to emulate others, experimenting, and hoping to come through....but usually, the product is a cinematic failure (financially, however, most do make $$$).
I'd welcome any views on Korean cinema. Please post here accordingly.
"Darryl Pestilence" <darryl_pestilenc...@my-deja.com> wrote in message
> In article <91clib$ej...@nnrp1.deja.com>, > fiendish_gh...@my-deja.com wrote: > > In article <amf_5.204$d5.1424...@news.ntplx.net>, > > "adsl rocket" <seventeen_eighty_three_...@netplex.com> wrote: > > > How is this one? Any good? It's out on DVD in HK. Anyone seen it?
> > > What was the action film from Korea that some say is better than > > SHIRI?
> > I don't know... Joint Security Area has drawn comparisons to Shiri, > but > > is not really supposed to be an action movie. I can't wait to see it. > > Tell Me Something is a really good movie; a flashy production with a > > very complex plot. I'm looking forward to the Edko DVD; if it's > > anything like the Shiri DVD, the increased detail will be a big help > in > > picking up on the film's many visual clues. I recommend picking it up.
> > Miles
> > --
> Both JSA and SHIRI are South Korean productions. Both have Northern and > Southern characters interacting and torn by the partisanism. Both > feature Song Kang Ho. SHIRI is overrated, poorly-written, and relies on > antiquated, cold-war North Korean stereotypes. North Koreans > are "monsters" in SHIRI. JSA, on the other hand, is a superb drama, and > offers up a realistic situation, realistic sentiment in Korea regarding > North and South interaction - and it doesn't rely on cookie-cutter, 5th > grade Hollywood archetypes to propell the narative. Song Kang Ho and > Lee Byeong Hyeon are also better actors than Chae Min Shik and Han Saek > Gyu, and Lee Yeon Ae is a better actress than Lee - whatever (Kang Jae > Gyu's Korean-American starlet/fuck-buddy) love interest in SHIRI.
A.) When were you in South KOrea, and where was your base of employment? Just curious as someone who has lived there a while.
B.) Did you have a pleasant time there? Do you have Korean friends or family?
Okay, onto your comments.
In article <A5H06.10436$D6.482...@news20.bellglobal.com>, "Terry" <te...@home.ca> wrote:
> South Korean cinema, in my opinion, is undeveloped as a source of > entertainment and expression.
This is true to an extent. Given your broad strokes casted below (some are direct, like when you use SHIRI as an example, and for that I agree with you, but I have digressed) you are lumping whole national ceinmas based on a handful of movies. How many Korean films have you seen? Some names please. This would give gravity to some of your complaints. Also, how many Japanese and Hong Kong films have you seen? did you see the ones with an American distributor? If so, those films rarely represent the myriad of genres and subgenres within their base of production. Like THE KILLER was not a success in Hong Kong, and yet it was everywhere else. Locals didn't find it enticing. Foreigners did. As such, it can represent only a microcosm. It does fit into a particular genre and came from some of the then-colony's A-list talent.
I agree that South Korea needs to expand the pool of genres it has explored (it is, but it does so in Korean fashion, like the Science Fiction film boom looming in 2001, with at least 10 productions devoted to SF themes, and then the Horror film boom of this summer past, with five films released back-to-back - all teen oriented horror fare - so when new genres are attempted - they are done en masse). I also believe its iron-clad censorship comittee needs to be dragged to the floor and pummled with their own morality. It is nowhere near as bad as the 1970s, but for many - like Song Nan Hon, Jang Seon Woo, and Kim Gi Deok - it can be stifling. How can you explore sex with limits put upon its presentation? Just an example. Add to this the increasing produciton costs involved. Many producers are too much like hak won wangjangnim and afraid of new ideas or creative input unless it matches their own. The film industry is more open than the hak won industry, but not that much. Stubborn fools can axe a project before it gets off the ground. That's why some of the coutnry's best directors - like Park Kwang Soo and Park Cheol Soo - have gone digital. Less money is needed and the medium works. If hte film fails - overhead cost was minimal. The biggest factor is that South Korea has been a fucking isolated place since the Rhee Seong Man era, shortly after the civil war. Slowly, the reigns of foreign education, foreign products, and foreign culture were weeded out and local flavor was inserted. Quotas were enforced. In the 1970s - by Korean law - a film production company ahd to make a minimum of 15 films a year. Independent productions couldn't happen without a major company behind it. This led to directors like Im Kwon Taek being able to make over 100 films in less than 20 years. Out of the 10 they could make a year, maybe 3 were films they really held dear to their heart. The rest were to pay the bills and to ensure that the filsm they wanted to make could get made. Such a system ensures cheap, fast, silly productions. This system was destroyed in the liberalization of the 1980s. Still, there are some problems. Access to the plethora of foreign films didn't rise until the early 90s, when home video took hold there (remember, SK television didn't broadcast in color until 1980 or 91, and then it wasn't until the mid 80s when the Vcr made in-roads, and by 1988, the quota of foreign-release films had subsided considerably and the video shops were alive with foreign films), and as such, the pool of influence and realm of new ideas was stifled. New directors had Korean film as a litmus of what one could do. Look at Korean cinema now - it's on the cusp of finally being recognized and has improvved tremendously, technically.
> The Korean cinema seems to lack identity.
I totally disagree. It lacks an identity that you can put into a nice niche. This is the curse of the EW and MTV generations.
All the movies I've seen come
> across like a cheaper B grade version of Hollywood,
"All of the movies." What were they? Give some of us an idea so we can see, clearly, where you are coming from.
or HK style films.
> And b/c it is neither of these, usually, they disappoint.
I think the Hong Kong influence is relatively small. Maybe 5 Hong Kong films make it into theaters a year - nowadays. It used to be one to four. On video - you can see 10 or eleven every 2 months.
> When I was living in Korea teaching English, I saw so many films that were > nationally acclaimed as quality viewing material, however, I found the story > to be contrived, predictable, and the acting to be subpar.
SHIRI! Seriously, who were the people making the "acclaim?" The propaghandistic, yellow-journalism of The Korea Herald? The Korean-language press? Korean television (a tool of government boistering)? What were the films? So far, only SHIRI fits into that category, and only a handful of Korean critics embraced the film. Most shot it to shit for some of the reasons you have stated.
> It literally killed me to sit through some of these films.
Just up and leave the video room or theater then! God, tickets are still dirt cheap there!
> Siri was horrific. The script was terrible - poorly written. Basically > came across like a movie made up of action scenes edited together....no > regard for the story.
Yes. I've seen Jo Seong Mo music videos with more plot and as many stylized scenes strewn together.
When I see a Korean film, it is hard to identify the
> film's style....the HK and Japanese film makers seem to have developed their > own, unique style.
The ones you've "seen" released in the US by US distributors are the "style" fanboys decry. Every territory has a plethora of styles and it is simply myopic to try and claim a singular "style," when there are many, especially in Japan, Hong Kong, and South Korea.
HK movies tend to be (generally speaking, of course)
> dramatic, infested with overkill action that is riddled with violence or > ancient Chinese 'once upon a time..' kung fu movies.
Um - SOME. Kinda proves my arguments. You need to see more.
The Japanese, usually
> tend to go for the story and love to work on the subtleties of the script > and plot - even with their violent action movies a la Beat Takashi.
I saw an interview with Takeshi where he stated that he shoots his films from feeling than from script. I think he saw the scritp as a guide.
Try seeing films like THE QUEEN OF RAPONGI, which seems to have no story whatsoever and goes on forever. I can name some serious Japanese stinkers that go against your complimentary pidgeon-holing.
> Koreans? Man, they are all over the place still trying to emulate others, > experimenting, and hoping to come through....but usually, the product is a > cinematic failure (financially, however, most do make $$$).
Um, not really. Start giving us examples. Right now you seem like a bitter teacher venting - use Dave's Esl Cafe for that.
> I'd welcome any views on Korean cinema. Please post here accordingly.
I have. When you can site more examples to back up your criticisms - then maybe your arguments will make clearer sense.
>And while I think Shiri is the best >Hollywood-style action movie out there, I don't doubt, given what I've >heard, that JSA will probably be better.
What disappointed me in Shiri was the "hollywood-style" part. The structure and most of the filling could come out of hollywood. It also seemed to have some editing problems in a couple of places. Then there was something a bit obvious, which I was not sure if was supposed to be played that way (i.e., we knowing it, but not them). I also don't think that the "49%" romance were properly developed. The "51%" action was entertaining.
Fantasporto - Oporto's (Portugal) International Film Festival will have a selection of modern Korean films next year (by the end of February, though the first week of March). Any comments on this list, especially to those less commented on the group are welcome. (I'm pasting, so any typos or errors are not my fault - once they had one "Saviour of the Soul" from South Korea...)
“Nightmare” - Byung-Ki Ahn (Kor) “The Isle” - Ki-Duk Kim ( Kor ) “Whispering Corridors” - Park Ki-Hyung (Kor) “Ghost in Love” - Lee Kwang-hoon (Kor) “Shiri” - Kang Je-gyu ( Kor ) “Happy End” - Ji-Woo Chung ( Kor ) “Art Museum By The Zoo” - Lee Jeong-Hyang (Kor) “The Foul King” - Kim Jee-woon ( Kor ) “Memento Mori” - Kim Tae-young/Min Kyu-dong ( Kor ) “Tell Me Something” - Chang Yoon-hyun ( Kor ) “Kilimanjaro” - Oh Seung-Wook (Kor) “Virgin Stripped Bare by Her Bachelors" - Hong Sang-Soo ( Kor ) “Secret Tears” - Park Ki-hyung (Kor)
> What disappointed me in Shiri was the "hollywood-style" part.
Yup.
The structure
> and most of the filling could come out of hollywood. It also seemed to have > some editing problems in a couple of places. Then there was something a bit > obvious, which I was not sure if was supposed to be played that way (i.e., we > knowing it, but not them). I also don't think that the "49%" romance were > properly developed. The "51%" action was entertaining.
Exactly.
> Fantasporto - Oporto's (Portugal) International Film Festival will have a > selection of modern Korean films next year (by the end of February, though the > first week of March). Any comments on this list, especially to those less > commented on the group are welcome. (I'm pasting, so any typos or errors are > not my fault - once they had one "Saviour of the Soul" from South Korea...)
Lol.
> “Nightmare” - Byung-Ki Ahn (Kor)
AKA KAWEE: THE HOROR GAME MOVIE. Not bad. Part of the spate of horror films that came out in the summer. It's very SCREAM-like, but not as self-important. A group of students who called themselves "A few good men," reunite and one-by-one weapons fly and bodies die. I won't spoil it for you.
> “The Isle” - Ki-Duk Kim ( Kor )
Beautifully photographed bit of arty kink.
> “Whispering Corridors” - Park Ki-Hyung (Kor)
Not bad. A slow, brooding tale of horror at a girl's school. Nice, old- fashioned, western-style ghost story. If it's the second film, MOMENTO MORI - that film is also a ghost story but was one of the first South Korean films to deal openly with homosexuality - lesbianism, in particular. I actually prefer the second to the first, but the first is not bad at all. Just go in knowing that it's deliberately-paced.
> “Ghost in Love” - Lee Kwang-hoon (Kor)
Even with Kim Hee Seon, the film was not bad (the girl isn't much of an actress, but is nice on the eyes). A light ghost-comedy about a young woman who kills herself, only to encounter the "Vengeful Ghosts Society," and to see the letch of a man her fiance was - AND only to fall for the handsome ghost aiding her journey into the nether-world. Not bad. Leave your brain at the door.
> “Shiri” - Kang Je-gyu ( Kor )
Overrated Hollywood action with Korean faces.
> “Happy End” - Ji-Woo Chung ( Kor )
BRILLIANT. Chae Min Shik (THE QUIET FAMILY, SHIRI, NO. 3) is an oafish bore who discovers that his English-language cram-school-owning, sophisitcated wife - has taken up with another man. Birlliant exploratin into jealousy and the darker side of contemporary Korean marriage.
> “Art Museum By The Zoo” - Lee Jeong-Hyang (Kor)
I posted a revie of this before. I'l lrepost soon.
> “The Foul King” - Kim Jee-woon ( Kor )
Entertaining tale about a bank worker (Song Kang Ho from SHIRI, THE QUIET FAMILY, NO. 3, and JSA) who finds catharsis from his miserable job and failed romantic life - by taking up pro-wrestling. Song Kang Ho in Elvis drag is worth the price of admission alone. Don't go looking ofr a solid resolution though.
> “Memento Mori” - Kim Tae-young/Min Kyu-dong ( Kor )
Interesting - deliberately-paced, and pretty revealing tale concerning the lives of three girls in a contemporary Korean public school. Very open and ground-breaking examination of lesbianism for a South Korean film. Nice visual metaphors too. You'd think one direct had made it, not two - very consistent style. The sequel (in Korean name and subject matter) to WHISPERING CORRIDORS. Goes into territories that film did not.
> “Tell Me Something” - Chang Yoon-hyun ( Kor )
I re-posted my review a week ago. Worth seeing without haste! Superb thriller.
> “Kilimanjaro” - Oh Seung-Wook (Kor)
Interesting, albeit flawed film concerning twins (both played by Park Shin Yang, from POISON, A PROMISE, THE LETTER, and WHITE VALENTINE). One a cop - the other a gangster, and putting the pieces together. Ahn Seong Gi puts in a solid turn and the film has a riveting narrative device concerning using a cellular phone liek a bottle in "spin the bottle," and instead of a ksis you get something altogether different! Not bad, but not as good as I had hoped it would be. It was written by the director of CHRISTMAS IN AUGUST. A better film than CIA, and a very different one at that!
> “Virgin Stripped Bare by Her Bachelors" - Hong Sang-Soo ( Kor )
AKA OH! SOO JEONG! I wnat to see it again. Deliberately-paced, shot in blakc and white and another great character study from Hong Sang Soo (THE DAY THE PIG FELL IN THE WELL, and THE POWER OF KANGWON PROVINCE).
> “Secret Tears” - Park Ki-hyung (Kor)
Um, AKA THE SECRET. Another deliberately-paced genre film from the director of WHISPERING CORRIDORS. A young woman with special powers inherited after an accident - faces exploitation.
> Is this a good selection for modern SK films?
> -- > luis canau_____ > e-mail: not > net > www.cinedie.com
I think so, but leaving out JSA, LIES, and FIN DE SICLE were grave mistakes. Hell, NO. 3 as well. If those four films were included, alongside Im Kwon Taek's FESTIVAL, Park Cheol Soo's PUSH, PUSH, and ATTACK THE GAS STATION! - you'd have a solid picture of contemporary Korean cinema - where it has come to, where it is, and where it is going.
Date: Mar 09 2000 15:37:49 EST From: "Korean Cinema In Perspective" Subject: (Review) ART MUSEUM BY THE ZOO
ART MUSEUM BY THE ZOO (Korean: Misool Kwan Yeop Dongmool Weon (Literally: Art Museum By Zoo) (1999) DIRECTOR: Lee Jeong Hyang CAST: Shim Eun Ha, Lee Seong Jae, Ahn Seong Gi, Song Seon Mee
South Korea isn't known for its fair treatment of women, but as with many things in the "Land of the Morning Calm," this is slowly changing. Many films concerning women's issues - including very feminist-friendly productions - have been made, but over twenty years less than a handful were actually written by, let alone helmed by a woman. Over the last ten years the depiction of women in Korean cinema has improved. No longer are they victims or sexpots in quota-quickies, but diverse, powerful individuals whose names can make or break a production. As long as it has taken for such on-screen dynamism to be realized, it's taken much longer for women to call the shots off screen. ART MUSEUM BY THE ZOO is a rare exception for its predominately male industry. Written and directed by Lee Jeong Hyang, the film is not a political statement. Perhaps it is western ethnocentricity that implies that any powerless sector of a society that manages to enter the mainstream industry has to make some powerful, socially relevant film. ART MUSEUM BY THE ZOO is not the case. Director Lee does not set out to paint any agenda, nor to step upon a de-facto soapbox and lecture its audience; rather she spins a tale remenicant of Hai Chung Man's ANNA MAGDALENA (Hong Kong, 1998). Unlike ANNA MAGDALENA's tedious, uneven leaps from fantasy to reality (weak by it's production company, United Filmmakers Organization's standards), ART MUSEUM BY THE ZOO utilizes two individuals - both completely opposite of each other - encountering the pangs of romance (one cannot admit to the object of their affection that they love them, the other protagonist is rather brash and usually makes the first step in displaying affection), ultimately diving into a cute fantasy that plays upon their romantic foibles. Where ANNA MAGDALENA dives completely into phony, childish fantasy, ART MUSEUM BY THE ZOO does not allow the fantastic elements to work against the overall tone of its narrative. In ANNA MAGDALENA, the story-within-a- story comes off as an unnatural extension of the protagonist's personality. It feels like a shameless attempt at replicating its producer's (Peter Chan Ho San) early work, THE AGE OF MIRACLES (1996). As such, it's a piece of fantasy crammed into an incomplete film, offering nothing relevant to its character's development. ART MUSEUM BY THE ZOO is quite the contrary, integrating the story-within-a-story (entitled "Art Museum By The Zoo") as a form of character exposition, and rather successfully at that. The story's framework revolves around Han Cheol Soo (Lee Seong Jae), a brash, handsome man who has been given a ten day leave from his required military service, and Lee Choon Hee (Shim Eun Ha), an adorable, disorganized videographer with aspirations of being a writer. For Cheol Soo, what was to be an enjoyable stay with his girlfriend Da Hae (Song Seon Mee), turns into a rude awakening. After paying off the angry landlady, he promptly tidies up the apartment before catching a nap. While the furniture is the same, the occupant has changed.. Across town, Choon Hee is videotaping a function. In attendance is a local lawmaker and his assistant, Seo In Gong (Ahn Seong Gi), a handsome, older gentleman with whom Choon Hee becomes smitten. It doesn't take long before the obvious occurs: Choon Hee encounters Cheol Soo in her apartment. Confused, Cheol Soo calls up Da Hae, only to discover she's split not only form her Seoul digs, but from Cheol Soo altogether. Perplexed and far from home, Cheol Soo doesn't know how to react. Choon Hee sets up an appointment for the three to meet and discuss the predicament, only to be left with an awkward situation: where is Ccheol Soo going to stay? Choon Hee is a bit of a romantic. Insecure and rather lax in taking care of her surroundings (she didn't even realize her bathroom mirror was indeed a cabinet!), her time is spent working on low-paying wedding tapes, in between quizzing various married couples about what it means to be "in love." Cheol Soo on the other hand, has ten days to burn before he returns to base camp. Sympathetic to his situation, Choon Hee allows him to stay until things are settled with Da Hae. Unfortunately, as cold as life can be, Cheol Soo and Choon Hee get little more than an in-person blow off from Da Hae. Now equally distressed, Cheol Soo drives to the outskirts of Seoul to get his head together. His destination: the zoo. Not able to offer him any solace, Choon Hee heads for the nearby art museum. From this point on, the film takes a Frank Capra-esque approach to Choon Hee and Cheol Soo's situation. Choon Hee can't bring herself to make a move for Seo In Gong, and Cheol Soo can't seem to let Da Hae go; the two become unwitting friends. Choon Hee's big heart allows Cheol Soo to sleep in her apartment. Returning the favor, clean freak Cheol Soo cleans the apartment, even going so far as to cook for Choon Hee (who can't). Over their 10 days together, the pair discuss their situation, their romantic dilemmas, and their goals. Cheol Soo is the aggressive type and takes to correcting an incomplete manuscript Choon Hee had been trying to write, with her male protagonist modeled after her perception of Seo In Gong. The pair end up titling the work "Art Museum By The Zoo," and collaborate on developing the story's romantic element. Choon Hee will write for the male character, while Cheol Soo will write for the female character (whom he models upon his lovelorn image of Da Hae). The story-within-a-story kicks in when a reserved, book-loving, bike-riding curator (Song Seon Mee) falls for a star-gazing, SUV-loving zookeeper (Ahn Seong Gee). Since the art museum is a literal hop, skip and jump from the zoo, the two star-crossed lovers see each other every day. At best, greetings are exchanged, but the lonely curator pines for the handsome zoo keeper, who appears more content gazing at stars. As the real-life goings-on of Cheol Soo and Choon Hee weave in and out of loneliness and heartbreak, the curator begins to study up on astronomy, slowly attempting to make some form of an impression on the zoo keeper. As things get complicated in the character's romantic lives, so do the attempts of the curator in sharing her affection with the zoo keeper. As plain as it was in the first ten minutes of the film, Cheol Soo and Choon Hee fall for each other, with Cheol Soo becoming the personification of the curator, and Choon Hee's infatuation with Seo In Gong blinding her like the stars in the zoo keeper's eyes until a series of comedic mishaps bring the story-within-a-story's couple together, as well as the "real" protagonists. Cute, clever and consistent in tone, ART MUSEUM BY THE ZOO could be seen as too sentimental by western viewers. There's a sincerity in the performances by the films' quartet of stars, and director Lee Jeong Hyang is hip enough to allow the actors to carry the simplistic (if not out-and-out derivative) plot by stretching their acting chops. Whereas ANNA MAGDALENA relied on the typical UFO gimmickry (repeated, sentimental music cues) and Peter Pao's gorgeous cinematography, ART MUSEUM BY THE ZOO come off as a charming, natural exercise. It's ending may be typically commercial (one of ANNA MAGDALENA's advantages is that nobody fares for the better), but its heart is firmly in check like its consistency in tone. Shim Eun Ha brings life into her character. While not the prototypical "strong and independent" woman manufactured by Hollywood script mills, Choon Hee is an independent, vulnerable human being: unpredictable, messy, yet compassionate. While slightly cliched, ART MUSEUM BY THE ZOO switches gender roles, with Lee Seong Jae's Cheol Soo almost a domestic: cooking and cleaning and worrying about the homestead as Choon Hee toils away at her thankless job. It's this reversal, and the sincerity given to its characters that makes this a light, entertaining diversion worth catching.
Review (C) & (P) 2000 Darryl Pestilence
SELECTED FILMOGRAPHIES:
Shim Eun Ha - BORN TO KILL CHRISTMAS IN AUGUST TELL ME SOMETHING INTERVIEW
Lee Seong Jae - ATTACK THE GAS STATION! GHOST IN LOVE FLANDERS THE DOG
Ahn Seong Gi - TWO COPS NOWHERE TO HIDE THE GAME OF TRUTH KILAMANJARO LEE JANG HO'S FOREIGN BASEBALL TEAM THE SPIRIT GAURDIANS TAEKWONDO BERLIN REPORT CHEOL SOO & MAN SOO TO THE STARRY ISLAND THE TAEBECK MOUNTAINS ETERNAL EMPIRE FESTIVAL DEEP BLUE NIGHT MAN PROBLEMS WARRIOR
Thanks for all the comments on films and reviews, Darryl. I'm considering to buy two other Korean DVDs released by Edko in Hong Kong; "Tell Me Something" and "Christmas in August". How is this one?
In article <3a4d61f7.4624...@news.PT.KPNQwest.net>,
L...@Canau.NOT wrote: > Thanks for all the comments on films and reviews, Darryl. I'm considering to > buy two other Korean DVDs released by Edko in Hong Kong; "Tell Me Something" > and "Christmas in August". How is this one?
I re-posted my TELL ME SOMETHING review a few weeks back, so do a deja news search for that. I think it's a superb thriller. Wish I had the dough for the HK Dvd (It's not available on Korean Dvd, ironically - but is letterboxed on a superbly-mastered {by its standards} Vcd, which I do have) - I would watch it alongside my copy of the new SE7EN 2-Disc set! DEFFINATELY a good South Korean film.
My opinion on CHRISTMAS IN AUGUST is mixed. I haven't written a review of it (I'm reserving that for my mailing list, and an expanded one for my website-in-progress), but I think it's mildly entertaining but a completely hokey and false romantic tragedy. Basically, a photo shop operator (Han Seok Gyu) and a parking attendant (Shim Eun Ha) bond but never quite consumate their shared affection. The Attendant has issues with her job while the photogrpaher is dealing with terminal cancer. The gems within the hokey love story (the pair NEVER exchange telephone numbers!!! - This is key to a certain "obstacle" I won't spoil) are in how the photographer tries to retain a productive, graceful, dignity as he dies - and in his relationship with his father. I showed this to a lady friend (Korean) and a coworker (A Kiwi) and the woman was moved, but my pal thought the film lost credibility when a petulant SHim Eun Ha socks a rock through the photo shop window when she thinks the photo shop-keeper is avoiding her! VERY Korean (they are a passionate people, politically, and romantically - and I can state, from experience - that if you spurn a Korean woman in love - some often resort to terroristic acts of violence because you've tampered with their emotions!) in that respect, but the sequence still has me in stitches (as it did my pal)! If you can get it cheap (through HIvi Zone) then grab it. Not great, but not horrible. I file it with my comedies - though that was not what the filmmaker intended. I think, once you get both Dvds (The CHRISTMAS IN AUGUST Dvd looks and sounds excellent. It's code-free though it claims not to be - AND - it is letteboxed; which it does not claim to be - and features some extras, but not the film's original, Korean -theatrical trailer :( ) You should watch both in tandem. I think CHRISTMAS IN AUGUST and TELL ME SOMETHING, given their stars - offers up two very DIFFERENT relationships and could be as interesting as showing films like ASHES OF TIME paired with EAGLE SHOOTING HEROES ("schizophrenic" is a term that comes to mind).
>I re-posted my TELL ME SOMETHING review a few weeks back, so do a deja >news search for that.
I know, I got it then and saved it somewhere.
[...]
> CHRISTMAS IN AUGUST > If you can get it cheap (through HIvi Zone) then grab it.
They sell by $17. Not the cheapest, but I think that the quality makes the difference worth it (I paid quite more for badly compressed Chinese Ghost Stories, for instance). I can only judge by "Shiri", of course, which makes me wish that all other companies in HK would make theirs in the same place as Edko.
I'll probably get both DVDs next month, since I "have" to get Crouching Tiger Hidden Dragon too. :-)
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