Mother / 마더
Released Friday 20th August 2010
       

Director:  Bong Joon-ho (봉준호)
Starring: Kim Hye-ja (김혜자), Won Bin (원빈), Jin Goo (진구)
Running Time: 128 min
Korean Release Date: 28/05/2009
Korean Distributor: CJ Entertainment 

Release Details: It is being shown at London's ICA (Institute of Contemporary Art)

Synopsis

The film follows Hye-ja (same name as the actress that plays her - Kim Hye-ja (김혜자) as she takes care of her absent-minded son, Do Joon, played by Won Bin (원빈). Although he is 27, he is very childlike -  he has a memory like a gold fish and has little sense everyday dangers.  One evening he gets very drunk and subsequently thown out of a bar and then follows a school girl home - he is set on sleeping with her. She turns down his proposition, throws a rock at him and then chases him away. But she is found dead the next day and Won Bin is the key suspect. However, his mother doesn't believe he is capable of such a think and is determined to prove his innocence.

Review

Compared to the record blockbuster The Host / 괴물, this film could be overlooked as somewhat smaller in scale and prestige, but this would be a grave mistake. Mother / 마더 may not have the commercial appeal as The Host, or Memories of Murder / 살인의 추억, but the quality of filmmaking on offer is extraordinary. Bong Joon-ho (봉준호), it seems, cannot make a film that is poor or disappointing. Despite having the wildest expectations as to how good I thought Mother was going to be, I came out feeling overwhelmed and truly awestruck. So yes, it is smaller in scale than his two previous feature length films, but is strongly illustrative of Bong’s seemingly limitless talent.  



Bong continues to adopt his wonderful storytelling techniques, which on the surface tells the story of a mother trying to prove her son’s innocence, but like Bong’s other films, there is a lot that goes on beneath the surface that slowly, but surely gets unraveled. The narrative therefore becomes as much about the central story as it does about what goes on around it. Whilst the film’s messages may be subtler than Memories of Murder or The Host, they are nevertheless evident. Perhaps most conspicuous is the relationship between mother and son and what lies at the heart of this maternal bond. Bong has explored this relationship is such intensity that it will resonate well after the credits roll. Bong is also trying to convey the increasing gap between the upper and lower classes, which I suspect is a dig at the current Lee Myung-bak administration as illustrated through the mother whom is reliant on performing acupuncture without a license to make ends meat while those from the more privileged classes enjoy playing golf. Bong, too, again raises his reservations about the upper classes and their control and lack of respect over the working class. Bong also poignantly challenges how Korean society treats those who suffer from mental health problems and how they are often used as scapegoats – his critique in this regard is as damming as Lee Chang-dong’s (이창동) Oasis /오아시스. There are also references to broken families in Korean society and how it affects those raised as such. And Bong again conveys the police as incompetent, naive and whilst not as brutal as the detectives in Memories of Murder, there remain suggestions of abuse. And then there are the references to child prostitution, which is also tackled in Kim Ki-duk’s (김기덕) Samaria /사마리아.



Whilst this may all sound a lot to tackle in one film, the genius of Bong lies in his ability to use these to drive the narrative, so on the one hand, the audience are engaged with the central plot, yet at the same time Bong is able to challenge some of these issues head on without losing his audience. This is how he can remain mainstream, but also remains intellectual as to how he approaches his films.

"This is yet another Bong Joon-ho masterpiece"

Even in the central narrative itself, Bong makes it so unpredictable that even those expecting the unexpected will be surprised by the turn of events as the film progresses, so like any Hitchcock film you are left wondering what will happen next. For much of the film, the Hitchcockian influence is obvious; from Bong’s use of suspense, the Vertigo-style flashbacks, to the music and of course the narrative itself – the search for the ‘real’ killer. But this is no cheap imitation; Bong has cleverly adopted his own style around Hitchcock, as it still feels very much like a Bong Joon-ho film through his use of style and bottomless depth.



Stylistically, the film is probably his strongest and innovative of his career to date. Although his other films are of course superb when one discusses his use of aesthetics, Mother has raised the bar yet again for Bong, with the help of course from cinematographer, Hong Kyung-pyo. Bong's use of the hand-held camera, which seems more prevalent than his other films – though, of course he has always been partial to hand-held cinematography – and the use of colours almost comes across as a film from the avant-garde movement for its emphasis on style. Yet it never feels over the top, but rather complements the film as a whole. It is stylistically rich and aesthetically mind-blowing.

The soundtrack by Lee Byeong-woo – and this is not an exaggeration – is one of the finest, most beautiful soundtracks I have ever heard, not only in Korean cinema, but film as a whole.  Whilst the film could work without it because it is so strong on its own, the music allows the film to almost come of the screen. It provides the film with the life and resonance it so richly deserves. This is no soundtrack that has one piece of music on loop; oh, no, it is a compilation of a diverse score ranging from thumping rhythmic drums  - a characteristic of Bong’s films – to Hitchockian suspense through to some wonderful therapeutic melodies.  



It wouldn’t be a Bong Joon-ho film if it lacked humour. From the film’s opening through to its conclusion, Bong remains set on making his audience chuckle, not only to bring some colour to the film, but more importantly, to make particular scenes more poignant. This may sound like a contradiction in terms, but Bong is able to bring in laughter when it seems least appropriate, yet allows particular scenes to resonate in your mind for a very long time. The film’s concluding scene is a strong example of this – in part very funny, yet also extremely somber and thought provoking.

Many will remember this film for the performance of Kim Hye-ja (김혜자) and rightly so. In Korea many people will know Kim for her convincing performances in Korean dramas, but I feel, given her awesome performance in Mother, both inside and outside Korea, she will become known for her role in this film. Whilst the film is stupendous, without her raw talent and intensity, the film wouldn’t have worked. Bong has had her and only her in mind for this film for quite a while and one can understand why. She is sensational and probably gives the finest performance by an actress since Moon So-ri (문소리) in Oasis. Although I can’t see it happening, when the Oscars come round next year, she should be first in line to take one of the nominations.  Won Bin (원빈) too is exemplary as Do-joon and again should be in line for a catalogue of acting awards. The supporting roles are likewise, faultless. Some will recognize the excellent Jeon Mi-seon (전미선) who appeared in Memories of Murder. Although Bong has been blessed with a strong cast, like Lee Chang-dong, Bong is able to get the best out of his actors/actresses and hence the remarkable performances from his entire cast, especially the two leads.



Bong Joon-ho (봉준호) joined by Kim Hye-ja (김혜자) & Won Bin (원빈)

In short, therefore, this really is a phenomenal film that will no doubt be written about in blogs, magazines, newspapers, books and academic journals for sometime to come. Given Bong’s very impressive catalogue of films, it is difficult to say this is his best, especially given that in my view Memories of Murder is the pinnacle of contemporary Korean Cinema. However, he continues to impress me to no end as he grows as a film director and has got to be one of the most versatile and talented directors working anywhere in the world. Mother is certainly the best film of the year, and richly deserves to be nominated for numerous awards including the prestigious academy awards. This is yet another Bong Joon-ho masterpiece.

* * * * *

Jason Bechervaise

Breathless 똥파리
Released: 29 January 2010

Review

To say this is a critically acclaimed film is a bit of an understatement. It has won countless awards at festivals all over the globe and the number of strong reviews it has received probably runs into hundreds. Is it overrated? The simple answer is no. For me at least, Breathless and Mother are the films of 2009 and as Breathless continues to challenge its audience for its uncompromising approach, this film will go on to be a real highlight of 2009 and a great example of the independent Korean film industry as a whole.

Perhaps the film’s most admirable asset is its relentless and unyielding approach to filmmaking. Yang Ik-june doesn’t make films to please its audience, or to make them feel good as they exit the cinema – instead he wants to challenge his audience in ways many wouldn’t dare. This film is practically in your face from start to finish and you barely have time to breath. This is not repetitious action – far from it. Its intensity will leave you shell shocked, yet in its darkest and bleakest moments, you can’t help but admire Yang Ik-june for his extremely courageous approach.

The film for the most part follows Soon-hoon as he goes around beating people up for not paying their debts. Though whilst his sadistic character trait is hardly inconspicuous, what really comes through is his pain following the tragic deaths of his sister and mother. He finds solace in the character of Yeon-hee whom is able to comfort Soon-hoon as he begins to deal with his past. This is no romantic drama with a clear-cut solution at the film’s conclusion; but Yang’s ability to bring these characters together in such a delicate and non-conformist way provides the film with much needed warmth, yet at the same time doesn’t become overly sentimental.

"This film is certainly not characteristic of many of the commercial films to come out of Korea these days, but if it is a taster of what is to come, bring it on."

The film of course deals with issues such as a family breakdown and domestic violence that is all too often overlooked, not just in Korea, but anywhere for that matter. Korean films today though rarely provide this raw and painful portrayal of social problems of this kind – you won’t see this film being used to promote Korea to foreign tourists. Having said that, however, there have been of course directors such as Lee Chang-dong, Park Kwang-su and others that have sought to tackle social issues head-on, but Yang arguably takes this a little further, at least in terms of style. The camera is always on the move and as Yang says in the interview, he strives to pour all of the actors’ emotions into the lens. And he does this to full effect.  The cinematography is frankly quite astonishing. But don’t expect a perfect blend of colours and tone – it’s quite the opposite.

Yang Ik-june must be commended for his performance in front of the camera as well behind it. After meeting director Yang and realising he is one of the most genuine, humorous and kindest guys I have met, it is astonishing that he can produce such a vulgar personality on film. It is quite touching and indeed remarkable that he sees this film as a way of dealing with his past and the problems associated with it. Kim Kkot-bi and the rest of the cast are faultless from beginning to end as they deliver convincing and intense performances to match the calibre of the lead.

Some may be deterred by the long duration, but the 130 minutes will fly by as you remain glued to the screen. After the film has finished, you’ll probably need some air to allow you to really take in what you have just seen. This film is certainly not characteristic of many of the commercial films to come out of Korea these days, but if it is a taster of what is to come, bring it on.

* * * * *   

Jason Bechervaise