2010 Releases  

The Sword with No Name / 불꽃처럼 나비처럼
DVD Released: 20 September 2010

Director: Kim Yong Gyoon (김용균)
Starring: Jo Seung-woo (조승우), Soo-ae (수애) &  Cheon Ho-jin (천호진)
Running Time: 124 min
Korean Release Date: 24/09/2009
Number of Korean Admissions: 1,681,640 admissions (as of 08/11/2009)
Korean Distributor: Showbox
UK DVD Online Retailers: HMV (£8.99), play.com (12.99),amazon.co.uk (13.49)

It is also available on blu-ray from the above online retailers

Synopsis

Moo-myoung is a Joseon dynasty headhunter who tracks down fugitives and lives off their rewards. On one of his missions, he encounters a beautiful noble lady, Ja-young, and falls in love with her. A few years later, Ja-young enters the royal palace as the next queen of Joseon. Lovesick Moo-myoung becomes the personal guard to the queen in order to be closer to Ja-young. After attaining the title of queen, Ja-young tries to modernize the dynasty by allying with foreign nations but becomes turmoiled into a political power struggle. Moo-myoung must fend off devastating threats from the foreign army in order to protect Ja-young from harm.

Source (KOFIC)

Review

 So where did it go wrong? The script for me is clumsy and perhaps a couple more drafts were needed before they began filming. The scriptwriter (Lee Sook-yeon (이숙연)) has a proven record with films such as April Snow / 외출 and Happiness /행복, so I am not sure what went wrong. Perhaps it was me just not getting it, but while the plot is simple in itself, I feel it doesn’t come together as one would hope.

The two leads give what I can only describe as average performances – both Jo Sung-hoo (조승우) and Soo-ae (수애) are accomplished actors in Korea with a catalogue of films next to their names.  Perhaps most notable is the fact that they lack the chemistry one would expect in a film that is stimulated by the feelings they have for one another. For me at least, the bond between them only came together in the last scene when it becomes melodramatic, and tragic, of course. I did, however, like how Jo Sung-hoo’s character, Moo-myeong was able to turn from a comical outcast to an action hero in an instant – this is probably one of the film’s redeeming features. And with any film set in the Joseon Dynasty, you are going to get beautiful costumes, so in a sense it is attractive to look at. This combined with its action and romance makes it appealing to international distributors and hence its DVD release in the UK.   

Perhaps the most striking aspect of the film is that it is vehemently anti-Japanese, especially as the film approaches its conclusion. Given Japan’s colonial past and its presence on the Korean peninsula in the first half of the twentieth century, this is hardly surprising, but as studios try to sell their films overseas and Japan remains a big buyer when it comes to Korean films – though this has decreased in recent years – producers, I suspect, are anxious not to upset anyone – this is illustrated quite well in The Good, The Bad and The Weird, which could have taken a very nationalistic stance, but didn’t so, as it endeavoured to make the film appeal to Asian buyers. I would therefore be surprised if The Sword with No Name was sold to Japan, but sometimes the unexpected happens…

I also found how the film tackled Korea's early foreign policy quite interesting as it shows the struggle between conservatism and reform and this could have relevance today as South Korea attempts to spread its wings in a global economy, though again, this felt a little disjointed at times as the narrative suffered from a clumsy plot-line.     

 So in summary, if you are seeking an action epic, which ticks all the boxes, you might find what you are after, but I suspect you will feel a little short-changed. But film is a subjective medium and you may entirely disagree.

* *

Jason Bechervaise 

Trailer ( No English Subtitles)

Mother / 마더
DVD Released: 20 September 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

UK Online Retailers: HMV (£10.99), play.com (£10.99), amazon.co.uk (£10.99)

, 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.

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

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

Treeless Mountain / 나무없는 산
DVD Released: 10 May 2010

Director: Kim So-yong (김소영)
Starring: Kim Hee-yeon (김희연), Kim Seong-hee (김성희), Lee Soo-ah (이수아), Kim Mi-hyang
(김미향)
Running Time: 89 min
Korean Release Date: 27/08/2009
Number of Korean Admissions: 7,086 admissions
Korean Distributor: CJ Entertainment
UK Theatrical Release Date: 8 January 2010
UK DVD Release Date: 10 May 2010
UK DVD Online Retailers: HMV (£9.99), play.com (£9.99), amazon.co.uk (£9.99)

Synopsis

This internationally acclaimed film by Kim So-yong centers on Jin, 7, and Bin, 4, who are left in the care of an alcoholic aunt while their mother searches for their missing father. They wait for their mother in earnest while busily filling the piggy bank she gave them. But the mother does not keep her promise to return once the piggy bank is full, and Jin and Bin are again forced to move, this time to their grandparents' house.

Source: Korea Times

* * * *  

Jason Bechervaise

Trailer (with English Subtitles)

Breathless 똥파리
DVD Released: 22 March 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.

* * * * *   

Trailer

Released on 1st March 2010

Chaw 차우

Director: Sin Jeong-won (신정원)
Starring: Um Tae-woong (엄태웅), Jeong Yu-mi (정유미), Jang Hang-seon (장항선) & Yoon Je-moon (윤제문)
Running Time: 121 min
Korean Release Date: 15/07/2009
Number of Korean admissions: 1,791,124 (as of 06/09/2009)
UK Release Date: 01/03/2010 - DVD GOES ON RELEASE MONDAY 1st MARCH 2010.
UK Distributor: Optimum Releasing

Synopsis
One day in a small and peaceful village Sameri, boasting no criminal cases for 10 years, a terrible accident happens. Some parts of dead body ripped off cruelly are discovered by ecologists who stayed in the mountain for studying wild animals. A policeman KIM Kang-su just transfers to Sameri from Seoul and takes this case. The victim turns out to be a grand-daughter of CHUN Il-man, who was once a legendary hunter. He is convinced that it happened not by human but man-eating boar, Chaw. People of Sameri with full of fear invites one of the most famous hunters BAEK to catch the Chaw. Hunter BAEK grabs it and looks like proving himself as the best hunter. But the one which makes people scared is still in the mountain.....

  is far below the standard of The Host, it’s not a disaster. Surreal, yes, but not complete garbage.

What makes the film interesting for me is its narrative rather than the special effects or monster driven action. Whilst many films that adopt this genre tend to let the plot go by the wayside and focus on the gore, Sin is a bit smarter, all be it in an unusual and eccentric manner as he approaches the film with an eye to leave you a bit dazed as opposed to keeping you on the edge of your seat. Some may argue that his eccentric style is bizarre and naive, but for some, it will be compelling.

Sin adopts humour as an essential tool in driving the film forward, though some non-Koreans may find some of the slapstick a little clumsy, but it is hilarious nevertheless.  There is a particularly funny episode at the beginning of the film as the police roll down the hill into a grave – illustrative of the incompetent Korean police force as exemplified in numerous films, not least Memories of Murder /살인의 추억 (2003). Sin too begins to paint a picture of Korean society as he addresses corrupt and incompetent individuals who seemingly run the village and links are also made to Japanese colonialism regarding the origins of the beast. Sin also highlights how those who are not from Seoul are often marginalised in Korean society.



Sin has been clearly influenced by certain films when making this film. Similarities to Memories of Murder are obvious, which is characterised in some of the slapstick humour as pointed out and indeed through Sin’s narrative. There are also striking links to Spielberg’s Jaws. Although many films of this nature will, of course, draw some ideas from Spielberg’s groundbreaking masterpiece, references to Jaws are hardly inconspicuous. One only has to look at the scene when they open up the stomach of the dead boar.

In terms of the action, this is where the film falters. Although it’s admirable that Sin has spent more time on the script than the scenes with the animal, the film does in places fall a bit flat. It’s not so much the CGI; quite often the boar is hidden from eye, not with the aim of revealing it later on, but as a means to almost make it secondary as the film concentrates on some of the subplots. This could be a result of a lack of budget, which is a shame. The humour also loses its steam and the film is overlong – a 90-minute duration would have been more than adequate.



With a film of this nature, the acting demands a certain element of energy and creativity – something more akin to theatrical acting - which might have taken some of the cast out of their comfort zones, but the whole cast deliver the necessary performances as Um Tae-woong