This Russian film is painfully slow at points at the first third, and appears rather random in the subsequent depiction of the family lives in the countryside. At points I almost wanted to turn it off. But my patience was rewarded rather handsomely by the twist of event which, although cannot justify its structure, satisfies my desire to learn more about contemporary Russian cinema.
The painful revelation of the wife to a friend on how her relationship with her husband has suffered due to his 'liking them for his own sake' and ceasing talking to her made me wonder if, like Zhang Yimou's early works is a allegory film. But the film ended too abruptly (especially given its long opening) to confirm this.
Nevertheless, it is a good watch, although, like many critics have commented, it can do with a much better editing.
December 31, 2011
December 29, 2011
Racing with the Moon
Watching this film made me realise that it was a while since I watched anything so raw yet powerful and touching from Hollywood. A few weeks before he joined the Marine, Sean Penn's character met a girl of great intelligence and forbearance and through their relationship, he found something beautiful in her which would also changed his relationship with his pal, played by an equally raw and fresh Nicholas Cage. The film was very well directed and the three leads gave a subdued yet outstanding performance. Like films such as The Fabulous Baker Boys, the film reminds me once again what Hollywood can offer when it stays honest and true to human nature.
December 22, 2011
Happy life
This is another surprise find; an upbeat film about three middle-aged men realising their college dreams of forming a band, with solid performances from the four leads. Though the tone is light-hearted, it does touch upon the Asian culture - so acutely captured by a casual comment from the teenager daughter of the band leader: being in a band is better than being unemployed. Though it is a man's film, it has a universal appeal: how we lost our dreams in the face of reality and what it takes to realise it despite of the challenges.
Jang Guan-suk's role as a guitarist and lead singer in the band predates his apparently much more high profile similar roles in television dramas such as Beethoven's Virus and You Are Beautiful. It shows that he was already a confident actor at that tender age.
The film also serves to remind me the drastic difference in Korean cinema and dramas in their deployment of cast: while the former would normally allow them to appear in their own skin, the latter is consistent in projecting an immaculate look across the board. In other words, while Korean cinema tend to look more realistic, their drama counterpart looks artificial and packed with cosmetically enhanced actresses, if not actors as well.
Jang Guan-suk's role as a guitarist and lead singer in the band predates his apparently much more high profile similar roles in television dramas such as Beethoven's Virus and You Are Beautiful. It shows that he was already a confident actor at that tender age.
The film also serves to remind me the drastic difference in Korean cinema and dramas in their deployment of cast: while the former would normally allow them to appear in their own skin, the latter is consistent in projecting an immaculate look across the board. In other words, while Korean cinema tend to look more realistic, their drama counterpart looks artificial and packed with cosmetically enhanced actresses, if not actors as well.
December 12, 2011
Treeless Mountain
Watched Singles and Treeless Mountain over the weekend, and discovered the 'hidden' treasures of Korean cinema all over again.
The first one, Singles, made in 2003, revolved around two women who are soon to turn 30. Both struggling to find a satisfactory career, they have however decided against an easy option for women of their age circumstances in Asian countries - to get married the man available at the time, which renders their career a secondary issue in effect - and have instead insisted on staying true to their heart, despite the challenges awaiting ahead as a single woman over their first flush of beauty. This is really a woman's film, not only because it is from their prospective, their desire and aspirations, the story is told, but also because the bonding between the two is one of the most engaging elements throughout. The subtle performances from the four leads add a lot to the charm of it as well.
If Singles can appeal to the mass audience without compromising its artistic integrity, Treeless Mountain is a typical art house daring that could be a challenge due to its slow pace, its unusual camerawork, the sparse dialogues, if not the plots. While the story and the use of non-professional actors etc reminds me of another low profile yet unexpectedly satisfying The Way Home, Treeless Mountain deals with more unsettling issues, the deserted children left to a not so welcoming relative, the relationship of the siblings who were put to test of all sorts at such a tender age, which contributes to the initial uncomfortable watching experience. To the credits of the writer-cum-director, and no less of her crew, the film managed to keep me stay tuned despite the unusual camerawork that keeps at the eye level of the two child actresses aged five and seven, the more than usual close-up shots, the 'ordinary' faces of the two leads that tell the story of the hearts and project depth in their changes of inside world. While the story in itself might not be a new one, the capturing of the change of relationship between the siblings and theirs with the outside world is human and certainly a triumph. It is a work of great confidence and very touching at many points, especially when they change all the ten cent coins to one cent ones in order to fill up the piggy - which is supposed to lead to their mother's return.
After watching the special feature where the director and her foreign crew met their audience in New York, I thought it could make a very interesting case if one compares it to The Brand New Life, which is also shot by a woman director who brings with her long term overseas experience (I am making this assumption based on the appearance and the fluency of Treeless Mountain's director's English as well as her witty and confident responses to the audience.) Some interesting questions can be asked such as if their more Westernised outlook (and closer than usual associations with the Western world) has made them to inspect their native country and its people differently from their 'domestic' colleagues.
The first one, Singles, made in 2003, revolved around two women who are soon to turn 30. Both struggling to find a satisfactory career, they have however decided against an easy option for women of their age circumstances in Asian countries - to get married the man available at the time, which renders their career a secondary issue in effect - and have instead insisted on staying true to their heart, despite the challenges awaiting ahead as a single woman over their first flush of beauty. This is really a woman's film, not only because it is from their prospective, their desire and aspirations, the story is told, but also because the bonding between the two is one of the most engaging elements throughout. The subtle performances from the four leads add a lot to the charm of it as well.
If Singles can appeal to the mass audience without compromising its artistic integrity, Treeless Mountain is a typical art house daring that could be a challenge due to its slow pace, its unusual camerawork, the sparse dialogues, if not the plots. While the story and the use of non-professional actors etc reminds me of another low profile yet unexpectedly satisfying The Way Home, Treeless Mountain deals with more unsettling issues, the deserted children left to a not so welcoming relative, the relationship of the siblings who were put to test of all sorts at such a tender age, which contributes to the initial uncomfortable watching experience. To the credits of the writer-cum-director, and no less of her crew, the film managed to keep me stay tuned despite the unusual camerawork that keeps at the eye level of the two child actresses aged five and seven, the more than usual close-up shots, the 'ordinary' faces of the two leads that tell the story of the hearts and project depth in their changes of inside world. While the story in itself might not be a new one, the capturing of the change of relationship between the siblings and theirs with the outside world is human and certainly a triumph. It is a work of great confidence and very touching at many points, especially when they change all the ten cent coins to one cent ones in order to fill up the piggy - which is supposed to lead to their mother's return.
After watching the special feature where the director and her foreign crew met their audience in New York, I thought it could make a very interesting case if one compares it to The Brand New Life, which is also shot by a woman director who brings with her long term overseas experience (I am making this assumption based on the appearance and the fluency of Treeless Mountain's director's English as well as her witty and confident responses to the audience.) Some interesting questions can be asked such as if their more Westernised outlook (and closer than usual associations with the Western world) has made them to inspect their native country and its people differently from their 'domestic' colleagues.
December 06, 2011
My girl
After finishing watching The Greatest Love within two days, I felt dizzy and needed desperately a good rest. And what else can serve this purpose better than revisiting My Girl?
This is a rather different copy of My Girl from the one I watched nearly half a year ago. To my relief, no more jumps of scenes, and the subtitles are of a completely different league than the previous one.
In my first round of viewing, I thought Lee Dong-wook was too woody and it wasn't until the last three episodes that he seemed to wake up and became more like a man. This time round though, I found him not only one of the most handsome Korean men, but his acting rather subtle and appropriate to his character. Why such change? Not sure if it has anything to do repeated reviewing and his tango dances in Scent of Woman. I continue to find Lee Dahae very charming and versatile, and in comparison, her part in East of Eden not well developed.
Those scenes I used to skip, such as those romance between Lee Dong-wook's character's aunt and his grandfather's caretaker; those between Lee and his first love's relationship, the scenes that evolves around Lee's grandfather, and these of Lee Dahae's character's best friends, no longer feel like fillers. To me, while some of them are drama devices to make the story more convincing, some add fresh sides to the lead couple, and some, are simply there as gags to lift up the tone.
The magic is I caught myself laughing at the jokes all the time.
This is a rather different copy of My Girl from the one I watched nearly half a year ago. To my relief, no more jumps of scenes, and the subtitles are of a completely different league than the previous one.
In my first round of viewing, I thought Lee Dong-wook was too woody and it wasn't until the last three episodes that he seemed to wake up and became more like a man. This time round though, I found him not only one of the most handsome Korean men, but his acting rather subtle and appropriate to his character. Why such change? Not sure if it has anything to do repeated reviewing and his tango dances in Scent of Woman. I continue to find Lee Dahae very charming and versatile, and in comparison, her part in East of Eden not well developed.
Those scenes I used to skip, such as those romance between Lee Dong-wook's character's aunt and his grandfather's caretaker; those between Lee and his first love's relationship, the scenes that evolves around Lee's grandfather, and these of Lee Dahae's character's best friends, no longer feel like fillers. To me, while some of them are drama devices to make the story more convincing, some add fresh sides to the lead couple, and some, are simply there as gags to lift up the tone.
The magic is I caught myself laughing at the jokes all the time.
November 28, 2011
The Greatest Love
I am half way through this 16 episode Korean drama, and I was hooked from the first episode. It is fast paced, hilariously funny and, with an unlikely quirky pairing that works brilliantly! It feels great to come across such drama with such witty writing with depth, and it comes as no surprise at all that it is from the same writing team behind one of my all time favourites My Girl, which explains all the wittiness behind the writing.
Since it is also a behind-the-scene drama like The World They Lived in, it draws inevitable comparison to its slack and lukewarm predecessor, and I am most impressed that this one does a way better job in its efforts.
This was not the first time I watched a drama starring Gong Hyo-jin. I gave up Pasta half way through because I didn't like the story and could not understand the fuss made about the pairing. But I like her character in The Greatest Love immensely, and find her acting very solid indeed.
A 'surprise' find is Cha Seung-won. His over the top performance of a narcissistic yet lonesome celebrity is funny and poignant all at the same time. I am relieved that actors of his age and maturity is given a leading role in a popular Korean drama, the rate chasing industry that tends to put more importance on young looks (enhanced by plastic surgery) than talents.
This drama raises again my expectation of Korean drama.
Since it is also a behind-the-scene drama like The World They Lived in, it draws inevitable comparison to its slack and lukewarm predecessor, and I am most impressed that this one does a way better job in its efforts.
This was not the first time I watched a drama starring Gong Hyo-jin. I gave up Pasta half way through because I didn't like the story and could not understand the fuss made about the pairing. But I like her character in The Greatest Love immensely, and find her acting very solid indeed.
A 'surprise' find is Cha Seung-won. His over the top performance of a narcissistic yet lonesome celebrity is funny and poignant all at the same time. I am relieved that actors of his age and maturity is given a leading role in a popular Korean drama, the rate chasing industry that tends to put more importance on young looks (enhanced by plastic surgery) than talents.
This drama raises again my expectation of Korean drama.
November 14, 2011
Daytime drinking
If Lee Chang-dong's films are rough for you, then Daytime Drinking could be an even greater challenge to the viewers. If Lee's films are about the political, social and human conditions that drive its protagonists to a final end, then Daytime Drinking points to another direction: that of the empty life of a young drifter.
Following an alcohol-filled heated debates among four close friends whose setting resembles those of the French cinema, a young man finds himself the only fool to keep that promise by turning up in a supposedly holiday resort in the middle of the dreary, close-down season. The film then follows him when he awaits, in vain, for the arrival of his friend in a shoebox bare room in virtual isolation. The gaps between non-events are so long and the incidents seem so insignificant, that the viewer is rendered the only companion of the acne face drifter until he wakes up alone and shivering in his underpants by the snow-covered roadside. With its loose plots, wintry landscape, unglamorous protagonist and raw cinematograph, one would be excused for mistaking it as a remark of Jia Zhangke's directory debut Xiaoshan Going Home in which the camera follows the immigrant worker's fruitless efforts to find a ticket home, and to a certain degree, it was that comparison that had kept me staying tuned as if to see how it will differ from its 'predecessor'.
While Xiaoshan's hunt for a ticket home ends in vain, the drifter in Daytime Drinking is captured by the dilemma if he should follow another female stranger to a seashore town he has just left, at the risk of repeating the humiliating experience, or, get on a homebound bus. It is then we realise, once and for all, that the series of incidents that lead to his being stripped bare in deep winter is all of his own making; there is a sheer lack of will in the life of this aimless young man.
An insightful character portrait, the film also offers an interesting glimpse on the Korean drinking culture among the young people.
Following an alcohol-filled heated debates among four close friends whose setting resembles those of the French cinema, a young man finds himself the only fool to keep that promise by turning up in a supposedly holiday resort in the middle of the dreary, close-down season. The film then follows him when he awaits, in vain, for the arrival of his friend in a shoebox bare room in virtual isolation. The gaps between non-events are so long and the incidents seem so insignificant, that the viewer is rendered the only companion of the acne face drifter until he wakes up alone and shivering in his underpants by the snow-covered roadside. With its loose plots, wintry landscape, unglamorous protagonist and raw cinematograph, one would be excused for mistaking it as a remark of Jia Zhangke's directory debut Xiaoshan Going Home in which the camera follows the immigrant worker's fruitless efforts to find a ticket home, and to a certain degree, it was that comparison that had kept me staying tuned as if to see how it will differ from its 'predecessor'.
While Xiaoshan's hunt for a ticket home ends in vain, the drifter in Daytime Drinking is captured by the dilemma if he should follow another female stranger to a seashore town he has just left, at the risk of repeating the humiliating experience, or, get on a homebound bus. It is then we realise, once and for all, that the series of incidents that lead to his being stripped bare in deep winter is all of his own making; there is a sheer lack of will in the life of this aimless young man.
An insightful character portrait, the film also offers an interesting glimpse on the Korean drinking culture among the young people.
November 11, 2011
Can't lose
Despite a stable support team and the chemistry between the lead couple, I do not find this drama engaging enough for me to finish episode 4. For, unlike Wedding, which also sees a couple getting married without knowing each for long, the only thing they seem to do is but to argue with each other day in day out, on literarily everything. And unlike Wedding, there doesn't seem any emotional depth or self-reflection in either of the lawyer couple.
Though I have watched CJW in Everybody Has Secrets in a role different from her earlier television ones that shot her to international stardom, I was still taken aback by her in Can't Lose. To extend one's range is a constant challenge but to make a right choice isn't always an easy task.
On the other hand, although I wasn't impressed by Yoon Sang-hyon in Secret Garden, I find him a rather different actor in this charitable lawyer.
Though I have watched CJW in Everybody Has Secrets in a role different from her earlier television ones that shot her to international stardom, I was still taken aback by her in Can't Lose. To extend one's range is a constant challenge but to make a right choice isn't always an easy task.
On the other hand, although I wasn't impressed by Yoon Sang-hyon in Secret Garden, I find him a rather different actor in this charitable lawyer.
November 08, 2011
My Princess
If I hadn't started watching Scent of Woman yesterday afternoon, this would have been my latest favourite Korean drama after Beethoven's Virus.
The last five minutes is very relevant to the modern day dilemma of an educated woman: what comes first, career or family? After the build-up, the angst and the conflicts, the ending seems rather conventional and a little bit of a let-down. That said, given the personality of the princess and the actual choice in the society, it is probably the most realistic one.
Song Seung-heon is repeating what he has done best in East of Eden but with a face like that, one just never minds.
Before watching this one, I had tried very hard indeed to convince myself that if I stay tuned, Mary Stayed Out All Night and Dream High might grow on me. I am glad that I had chosen to look elsewhere for works of better quality.
The last five minutes is very relevant to the modern day dilemma of an educated woman: what comes first, career or family? After the build-up, the angst and the conflicts, the ending seems rather conventional and a little bit of a let-down. That said, given the personality of the princess and the actual choice in the society, it is probably the most realistic one.
Song Seung-heon is repeating what he has done best in East of Eden but with a face like that, one just never minds.
Before watching this one, I had tried very hard indeed to convince myself that if I stay tuned, Mary Stayed Out All Night and Dream High might grow on me. I am glad that I had chosen to look elsewhere for works of better quality.
Scent of Woman
The tango sequence in episode 8 is probably the most sexually-charged one of all Korean dramas. Executed with sublime brevity and confidence, it finds Lee Dong-wook's rejuvenated yet still restrained character charges into the dim but warmly lit practice ballroom and, in the blink of an eye, gets his secret love interest dancing. The male-led nature of tango and the physical intimacy it demands on the dancers provides them ideally discreet cover for their pent-up longing for each other, especially in an Asian society where physical contacts are predominately reserved for private space between intimate relationships. And just as the touch and dance starts like a spark, it ends abruptly without the much anticipated kiss, an emotional climax which the camerawork leads us anticipate. The chemistry between the pair has been great throughout but it is here that it reaches its ultimate height in silence. The intensity of that moment of passion is such, it felt as if it had never seen before in Korean drama or cinema. It is a defining sequence for the drama itself and also a moment of revelation for an outsiders; it proves that not only Korean directors understand how to handle such scenes, but that its family audience are ready for such direct expression of passion in their living room as well.
Though I had made a point to switch off for beauty sleep at 23:00, I stayed up till 3am. There aren't many that can keep me going like that, despite its faults in the script.
Now I can see why Lee Dong-wook is in such high demand. There is a boy-man touch in him which endears him to women.
PS: now that I have finished watching the series, I am slighted disappointed to find that there are a number of lost opportunities where it could have continued to build on the passion between the protagonists, especially in the last few episodes when they are finally reunited following a forced separation.
Though I had made a point to switch off for beauty sleep at 23:00, I stayed up till 3am. There aren't many that can keep me going like that, despite its faults in the script.
Now I can see why Lee Dong-wook is in such high demand. There is a boy-man touch in him which endears him to women.
PS: now that I have finished watching the series, I am slighted disappointed to find that there are a number of lost opportunities where it could have continued to build on the passion between the protagonists, especially in the last few episodes when they are finally reunited following a forced separation.
November 03, 2011
Everybody has secrets
A remake of an Irish film About Adam, it reminds me of a Chinese remake of What Woman Wants starring the most unlikely couple Gong Li and Andy Lau: while a story might work in the Western context, their Asian remakes might feel rather awkward. While the lack of chemistry is the main culprit for the remake of What Woman Wants, Everybody Has Secrets suffers from the fact the cultural nuances has not taken into account in the re-scripting process, resulting from a rather fluffy depiction of the different love affairs, and an ending extremely unsettling. I also find the casting to be disastrous, especially with Lee Hyung-bee being the playboy and Choi Ji-woo the bookworm middle sister. The fact that they are both trying too hard makes the viewing too painful an experience.
October 31, 2011
Beethoven virus
For its tight script, wonderful characterisation, supreme lighting, consistent performance, and well, music, this is simply the best of all Korean dramas.
No more Cinderella's story, it is a refreshing drama every walking adults can relate to; on dreams and how we can either let it fade away to succumb to 'ordinariness' or overcome the biggest enemy - ourselves, to make it stay alive. For the first time ever, Korean drama steers clear away the conventions on how a woman is judged. Like many a great drama, the supporting cast are given solid and interesting roles, with each exploring a different social dimension in real life. It is a drama that focuses on one's ultimate concern: how to make a success of ourselves with what we are endowed with; be it innate talents or the circumstances we find ourselves in.
The pace of the first five episodes is so compelling it can work brilliantly as a standalone mini-drama.
What intrigues me as well is the lighting in the night scenes. For too long now, I was under the impression that Korean television dramas would always by default resort to flood lighting even when the characters are supposed to be fast asleep or cannot afford the utility bills. The lighting in the house where the two heroes share, especially the ground floor, can compare to the best of those seen in a British counterparts. Given their interest and profession, realistically so.
There should be more intelligent dramas like this.
PS: One Sunday and three nights afterwards, I finished watching the 18 episode drama last night. The unexpected ending, leaving loose ends on all accounts, makes this drama stand out even more from the rest. Now I wonder how come I was put off by You Are Beautiful even with Jang Geun Suk in it.
No more Cinderella's story, it is a refreshing drama every walking adults can relate to; on dreams and how we can either let it fade away to succumb to 'ordinariness' or overcome the biggest enemy - ourselves, to make it stay alive. For the first time ever, Korean drama steers clear away the conventions on how a woman is judged. Like many a great drama, the supporting cast are given solid and interesting roles, with each exploring a different social dimension in real life. It is a drama that focuses on one's ultimate concern: how to make a success of ourselves with what we are endowed with; be it innate talents or the circumstances we find ourselves in.
The pace of the first five episodes is so compelling it can work brilliantly as a standalone mini-drama.
What intrigues me as well is the lighting in the night scenes. For too long now, I was under the impression that Korean television dramas would always by default resort to flood lighting even when the characters are supposed to be fast asleep or cannot afford the utility bills. The lighting in the house where the two heroes share, especially the ground floor, can compare to the best of those seen in a British counterparts. Given their interest and profession, realistically so.
There should be more intelligent dramas like this.
PS: One Sunday and three nights afterwards, I finished watching the 18 episode drama last night. The unexpected ending, leaving loose ends on all accounts, makes this drama stand out even more from the rest. Now I wonder how come I was put off by You Are Beautiful even with Jang Geun Suk in it.
An education
Last Friday was a good day for me; I found three films on my list with one of them being An Education, starring the stunning Carey Mulligan. Once I put it on the DVD player, it was like a beam of civilisation was shining on me; it is an instant hit and I was mesmerised by both the storytelling and the performance.
Although I had read the rave reviews on Carey Mulligan, her immaculate performance is still beyond my expectation, and like the Danish director Lone Scherfig remarked: she is a natural. There are many a great moment; one of which being the scene in which she dances with Danny: her intense look is both innocent as appropriate of a just-turned-seventeen year old schoolgirl and seductive as an intelligent lady 'with good taste', making it extremely convincing indeed for the conman to snatch her away from his friends and propose to her straight afterwards. Her quality of a child-woman and probably her hair style as well, draws comparison to a young Audrey Hepburn in The Roman Holiday. Although it is an all star cast, Carey, then still a budding actress, has made the film her own. What surprises me most perhaps is when I checked on the web, I found for the first time she was Kitty in Pride and Prejudice (2005); and Ada the orphan in BBC adaptation Bleak House, which I had watched but failed to identify in this film.
Another surprise 'find' is perhaps Peter Sarsgaard, in the role of the charming Jewish conman. And what a brilliant yet understated intrusion to the scene when he he winds down the window to make a perfect appropriate offer for Jenny to put her wet cello in his car (in the name of his love for music) and for her to walk alongside the car!
For the chemistry between the lead couple, and the dazzling life Peter seems to be offering to a bright sixteen year old living in a suffocating suburban London house, the film would still be one of the best films in 2009 if it finishes at Jenny accepting Peter's proposal and leaves her Oxford dream astray. The last quarter of the film is sombre in tone yet turns the film into another category; that of how to deal with the mess we find ourselves in.
I am intrigued by the fact some of the deleted scenes are offered as special feature. For me, that decision in itself is a tribute to the film's editor and is proving yet again that less is more.
Although I had read the rave reviews on Carey Mulligan, her immaculate performance is still beyond my expectation, and like the Danish director Lone Scherfig remarked: she is a natural. There are many a great moment; one of which being the scene in which she dances with Danny: her intense look is both innocent as appropriate of a just-turned-seventeen year old schoolgirl and seductive as an intelligent lady 'with good taste', making it extremely convincing indeed for the conman to snatch her away from his friends and propose to her straight afterwards. Her quality of a child-woman and probably her hair style as well, draws comparison to a young Audrey Hepburn in The Roman Holiday. Although it is an all star cast, Carey, then still a budding actress, has made the film her own. What surprises me most perhaps is when I checked on the web, I found for the first time she was Kitty in Pride and Prejudice (2005); and Ada the orphan in BBC adaptation Bleak House, which I had watched but failed to identify in this film.
Another surprise 'find' is perhaps Peter Sarsgaard, in the role of the charming Jewish conman. And what a brilliant yet understated intrusion to the scene when he he winds down the window to make a perfect appropriate offer for Jenny to put her wet cello in his car (in the name of his love for music) and for her to walk alongside the car!
For the chemistry between the lead couple, and the dazzling life Peter seems to be offering to a bright sixteen year old living in a suffocating suburban London house, the film would still be one of the best films in 2009 if it finishes at Jenny accepting Peter's proposal and leaves her Oxford dream astray. The last quarter of the film is sombre in tone yet turns the film into another category; that of how to deal with the mess we find ourselves in.
I am intrigued by the fact some of the deleted scenes are offered as special feature. For me, that decision in itself is a tribute to the film's editor and is proving yet again that less is more.
Secret sunshine
If the angst-ridden film stopped mid-way at the prison scene where the heroine offers her full forgiveness to her son's killer, then it would be a flop and I would stop watching Lee Chang-dong then and there. To my relief, it goes on for another hour or so on how the now disillusioned woman takes revenge on the religion that has once lifted her from extreme pain of losing her beloved son, the townspeople that lead her to put her trust on God, and, finally, even the man who really deserves her affection and love. After a painful journey that ends with rehabilitation after a suicidal attempt, the finale is a 'blank's shot: storming out from a haircut by the reformed daughter of her son's killer, she sat at her sun-lit backyard to finish the cut at home. Her hair falls to the ground, the camera tracks them, and then stays on the dirt before the closing credits come up. Whose point of view is it? The director or the protagonist? And what does it mean? Life is meaningless like the dirt on the ground? Though rather baffled, I have now come to realise there couldn't be a more apt finale, especially given it is from a director who is known for his critics on the contemporary society.
Like other two films I have watched from him, Secret Sunshine tells the lonesome and uneasy struggle of an ordinary citizen who is left to her own device when given a bad deal in life. In Green Fish, it is a bright young man whose fatal encounter with the mistress of a mobster that leads to his demise in a desolate town where none of his family members are finding life easy. In Peppermint Candy, it is the traumatising experience of a young man in the army during the military regime that sows the seeds of his gradual disintegration. None of them makes a comfortable watch, but who says film is for entertainment only?
Like other two films I have watched from him, Secret Sunshine tells the lonesome and uneasy struggle of an ordinary citizen who is left to her own device when given a bad deal in life. In Green Fish, it is a bright young man whose fatal encounter with the mistress of a mobster that leads to his demise in a desolate town where none of his family members are finding life easy. In Peppermint Candy, it is the traumatising experience of a young man in the army during the military regime that sows the seeds of his gradual disintegration. None of them makes a comfortable watch, but who says film is for entertainment only?
October 28, 2011
Goong
In Korean drama, two total strangers usually enter into a most improbable contract that will bind them together for an agreed period of time. Because of the ostensible conflicts in character, the disparities in their backgrounds and, the initial prejudices against each other, the most unlikely setup allows ample room for conflicting characters to learn and relearn each other and even some of the most basics in life. Such popular plot has produced some of the most entertaining dramas from Korea, such as Full House, My Lovely Sam-soon, My Girl, and Lie to Me, to name but a few. To appreciate them, a prerequisite imposed on the audience is to ignore how implausible such scenario is in real life.
While Goong is nothing anew in it, it demands more from the audience: to be told upfront to intertwine fantasy with reality; to participate in a masquerade where the long abolished monarchy is sound and well in present Korea; and allow the characters to move fairly freely between the medieval and contemporary Korea. An engaging character study, Goong captures how characters from different background respond and interact with each other while confronted by the many rigid rules of an ancient entity on one hand, and a freewill spirit of modern society on the other.
Despite its sluggish pace, especially the scenes that involve the mother queen wonderfully played by one of the most graceful actress Kim Hye-ja, the story is intriguing. At the beginning, my main purpose is but to check out the 'breakout' performance by Yoon Eun-hye, but within two episodes, I was drawn by the amazing chemistry between her and the two princes, let alone the understated use of chamber music and the fantastic art direction which provides us a stunning visual treat in the compound of the royal household.
Yoon Eun-hye is more confident and versatile as an actress in her follow-up role as a cross-dressing girl in Coffee Prince. And I also find the quiet but confident performance from Kim Jeong-hoon remind me of Rye Shi-won in his Beautiful Days and Wedding days.
Though also a drama mainly for the teen market, I find it a lot easier to enter the over the top game than those that offered in You Are Beautiful and Boys Over Flowers.
While Goong is nothing anew in it, it demands more from the audience: to be told upfront to intertwine fantasy with reality; to participate in a masquerade where the long abolished monarchy is sound and well in present Korea; and allow the characters to move fairly freely between the medieval and contemporary Korea. An engaging character study, Goong captures how characters from different background respond and interact with each other while confronted by the many rigid rules of an ancient entity on one hand, and a freewill spirit of modern society on the other.
Despite its sluggish pace, especially the scenes that involve the mother queen wonderfully played by one of the most graceful actress Kim Hye-ja, the story is intriguing. At the beginning, my main purpose is but to check out the 'breakout' performance by Yoon Eun-hye, but within two episodes, I was drawn by the amazing chemistry between her and the two princes, let alone the understated use of chamber music and the fantastic art direction which provides us a stunning visual treat in the compound of the royal household.
Yoon Eun-hye is more confident and versatile as an actress in her follow-up role as a cross-dressing girl in Coffee Prince. And I also find the quiet but confident performance from Kim Jeong-hoon remind me of Rye Shi-won in his Beautiful Days and Wedding days.
Though also a drama mainly for the teen market, I find it a lot easier to enter the over the top game than those that offered in You Are Beautiful and Boys Over Flowers.
October 25, 2011
The classic
A classic tear jerking love triangle, with both Son Ye-jin and Jo Seung-wook giving great performance.
This is another successful creative output from Kwak Jae-yong, famed for his international hit My Sassy Girl. Pity its follow-ups such as Daisy and My Mighty Princess are less impressive though.
This is another successful creative output from Kwak Jae-yong, famed for his international hit My Sassy Girl. Pity its follow-ups such as Daisy and My Mighty Princess are less impressive though.
October 24, 2011
Footnote
I was given a mug last week after topping up my skin care products with a certain Korean brand. When I opened the packaging at home, I found that was no ordinary mug - for it features Hyun Bin, one of my favourite Korean actors. The old me would have by instinct either given it away to a friend or neighbour, or put it on the top shelf of the cabinet for visitors. The new me though sported a wry smile when she put away the wrapping, rinsed the curvy mug, and decided to have a cup of tea with Hyun Bin, every morning.
Hyun Bin looks immaculate on the mug, if not a little bit feminine in one of them that features a white lace top. Though I would like to believe his claim that he has never undergone any plastic surgery, other fans believed otherwise.
Plaster surgery or not, the trouble is, once you realise how common it is among Koreans, males or females, the idea creeped in whenever you see a perfect face: is it entirely a gift of nature or, more enhanced by knife? When the story is gripping and the performance is good, this might not spoil your viewing experience. But still, at times, you catch yourself wondering whether a less immaculate face would have been more convincing for a certain role.
Hyun Bin looks immaculate on the mug, if not a little bit feminine in one of them that features a white lace top. Though I would like to believe his claim that he has never undergone any plastic surgery, other fans believed otherwise.
Plaster surgery or not, the trouble is, once you realise how common it is among Koreans, males or females, the idea creeped in whenever you see a perfect face: is it entirely a gift of nature or, more enhanced by knife? When the story is gripping and the performance is good, this might not spoil your viewing experience. But still, at times, you catch yourself wondering whether a less immaculate face would have been more convincing for a certain role.
Marathon
What a heart warming story! And a triumphant showcase that the country has some of the best talents in the region when it comes to scripting, directing and acting.
I have seen Jo Seung-woo in both Wanee and Junah and Who R U?, but Marathon is no doubt the best performance from this most talented actor. I am looking forward to check out The Perfect Games, another 'sports' film, to see if he can live up to my expectation now raised so high by his natural performance as an adolescent handicapped by autism but finds back his own voice through participating in a marathon.
There is hardly any plots per se, yet plenty of soul searching in the minute depiction of the mother and son relationship when they forge ahead to overcome the challenges encountered by 'a special child' and those around him.
I wasn't so impressed by the director, Jeong Yoon-chul's later work If I Was a Superman, although it stars two of the country's best actors.
I have seen Jo Seung-woo in both Wanee and Junah and Who R U?, but Marathon is no doubt the best performance from this most talented actor. I am looking forward to check out The Perfect Games, another 'sports' film, to see if he can live up to my expectation now raised so high by his natural performance as an adolescent handicapped by autism but finds back his own voice through participating in a marathon.
There is hardly any plots per se, yet plenty of soul searching in the minute depiction of the mother and son relationship when they forge ahead to overcome the challenges encountered by 'a special child' and those around him.
I wasn't so impressed by the director, Jeong Yoon-chul's later work If I Was a Superman, although it stars two of the country's best actors.
City hunter
It is a hybrid of Chinese martial arts genre and a James Bond.
The ethics, to fight for a good cause for the benefit of the general public, and the physical grace is entirely oriental, and yet the charisma is without doubt that of the agent with a licence to kill. Like a master of martial arts, the hero wins just any fights, well, except when his love interest is shooting him; and like the world's most prolific agent, he is always equipped with the most up to date gadgets at the snap of a finger. The only difference is while 007 tends to spill bloods and blow away anything in his way, the city hunter exposes the evils and crime of the public enemy through hacking into their computing system, or installing a spying device at the right place, which proves to be just as lethal as the, well, ordinary explosives and weapons.
And similar to the martial arts master and Jame Bond, the city hunter's strength is in doing what the law promises but fails to execute. And as if this is not clear enough, the city hunter is praised by the prosecutor himself, who has been trying to catch him from early episodes.
Like Queen of Reversals, it is another example of how an old formula that has been repeated in different languages and cultures can still draw thousands of fans. And typical of Korean drama, the hero is extremely young, handsome, affluent, well-educated, athletic, and, adorable, especially when he puts on a pair of grandpa's glasses. I have seen this picture perfect model in three dramas now, but it is here, not in his 'breakout' performance as the lead of F4 in Boys over Flowers, or the lame architect in Personal Preference, that Lee Min-ho proves his star power, to me.
PS: I have always thought that Lee Min-ho looks vaguely familiar whenever he wears a pair of glasses to impersonate some intellectual or top executive. Now I know: though at least two decades younger, he bears striking resemblance to some of my favourite actors such as Francis Ng in Infernal Affairs II as an underworld boss; Raoul Bova in Facing Windows as the love interest of the protagonist; and the late Ulrich Muhe in real life!
The ethics, to fight for a good cause for the benefit of the general public, and the physical grace is entirely oriental, and yet the charisma is without doubt that of the agent with a licence to kill. Like a master of martial arts, the hero wins just any fights, well, except when his love interest is shooting him; and like the world's most prolific agent, he is always equipped with the most up to date gadgets at the snap of a finger. The only difference is while 007 tends to spill bloods and blow away anything in his way, the city hunter exposes the evils and crime of the public enemy through hacking into their computing system, or installing a spying device at the right place, which proves to be just as lethal as the, well, ordinary explosives and weapons.
And similar to the martial arts master and Jame Bond, the city hunter's strength is in doing what the law promises but fails to execute. And as if this is not clear enough, the city hunter is praised by the prosecutor himself, who has been trying to catch him from early episodes.
Like Queen of Reversals, it is another example of how an old formula that has been repeated in different languages and cultures can still draw thousands of fans. And typical of Korean drama, the hero is extremely young, handsome, affluent, well-educated, athletic, and, adorable, especially when he puts on a pair of grandpa's glasses. I have seen this picture perfect model in three dramas now, but it is here, not in his 'breakout' performance as the lead of F4 in Boys over Flowers, or the lame architect in Personal Preference, that Lee Min-ho proves his star power, to me.
PS: I have always thought that Lee Min-ho looks vaguely familiar whenever he wears a pair of glasses to impersonate some intellectual or top executive. Now I know: though at least two decades younger, he bears striking resemblance to some of my favourite actors such as Francis Ng in Infernal Affairs II as an underworld boss; Raoul Bova in Facing Windows as the love interest of the protagonist; and the late Ulrich Muhe in real life!
October 19, 2011
Personal preference
I have watched Son Ye-jin in April Snow and My Wife Got Married, in both of which, she plays a morally 'dubious' role, one by fate, the latter by free spirit. She seems to be an actress who is prepared to do just anything for her roles, and yet somehow her face fails to register and I fail to understand the hype on her. But even so, I can tell what a sheer waste of her talents in casting her as a naive young woman in the limp Personal Preference. Though teemed with a very likeable Lee Min-ho and she doesn't seem to give a damn on how she looks in ugly clothing, her acting is not over the top and one even got the impression that she is constantly peering at the the camera to check whether she is silly enough. It is a fiasco.
It is a myth that an actress of her standing would pick such a half-baked script, let alone so badly directed.
Her role, a budding furniture designer, reminds me of the heroine of Prosecutor Princess. Despite her supreme education background and, presumably, exceptionally high IQ, has zero EQ when it comes to social interactions.
I have abandoned Prosecutor Princess after episode 4, and Personal Preference after episode 10. Part of the reason I put up with the latter one so much longer was due to my utter disbelief that the producer would allow Son's role to stay so dim for so long and I kept hoping that there would be turning point at mid-series. It is a painful experience to see how such women are ridiculed and portrayed in popular culture.
It is a myth that an actress of her standing would pick such a half-baked script, let alone so badly directed.
Her role, a budding furniture designer, reminds me of the heroine of Prosecutor Princess. Despite her supreme education background and, presumably, exceptionally high IQ, has zero EQ when it comes to social interactions.
I have abandoned Prosecutor Princess after episode 4, and Personal Preference after episode 10. Part of the reason I put up with the latter one so much longer was due to my utter disbelief that the producer would allow Son's role to stay so dim for so long and I kept hoping that there would be turning point at mid-series. It is a painful experience to see how such women are ridiculed and portrayed in popular culture.
October 17, 2011
Queen of reversals
This is one of those run-of-the-mill drama at the first few episodes and yet as it develops, it grows on you and before no time, you find yourself staying tuned till the wee hours for it. In this particular instance, it was much thanks to a review that helped me to get over the first few mediocre episodes.
Like that convincing review puts it, QoR falls into a familiar category with rather predictable plots, and yet this doesn't mean it is boring. Indeed, it is a case in point on how a good execution on all fronts can save an otherwise mediocre script about how a woman goes against all odds to, lead an ordinary life.
Jung Joon-ho, whom I first saw in Iris as its second lead, appeared to have a limited range in his acting - but as the story evolves, his character becomes more interesting and his acting more versatile.
It is probably the first time that a second lead lands such a meaty role in a drama. The single eyelid looker Park Si-hoo, who stole the show at the second half of the 31 episode drama, somehow succeeds in transforming himself from when he stars in Prosecutor Princess, a sleeper drama I gave up after 4 episodes.
Poking jokes at a number of times on Korean drama, in particular, the ever popular Cinderella genre, the script has many feminine touches. It is hard to imagine such a character with feminist tint can be written by a man. And knowing what Kim Nam-joo can do, she is shamefully underused in Voice of Murderer.
Like that convincing review puts it, QoR falls into a familiar category with rather predictable plots, and yet this doesn't mean it is boring. Indeed, it is a case in point on how a good execution on all fronts can save an otherwise mediocre script about how a woman goes against all odds to, lead an ordinary life.
Jung Joon-ho, whom I first saw in Iris as its second lead, appeared to have a limited range in his acting - but as the story evolves, his character becomes more interesting and his acting more versatile.
It is probably the first time that a second lead lands such a meaty role in a drama. The single eyelid looker Park Si-hoo, who stole the show at the second half of the 31 episode drama, somehow succeeds in transforming himself from when he stars in Prosecutor Princess, a sleeper drama I gave up after 4 episodes.
Poking jokes at a number of times on Korean drama, in particular, the ever popular Cinderella genre, the script has many feminine touches. It is hard to imagine such a character with feminist tint can be written by a man. And knowing what Kim Nam-joo can do, she is shamefully underused in Voice of Murderer.
October 11, 2011
Addicted to Korean drama
It is six month since I succumbed to this drug called Korean drama, an uncharted water for someone who favoured French cinema and Johnnie To's cop series. Since I took the first dose, mainly to diagnose its popular appeal, I have watched, flipped through or sampled over 40 of them, a staggering number given its side effect that I have also since become fascinated by Korean New Wave cinema, a completely different territory. Before dipping into the eight 'new' ones lining up in my desktop, it is a great time to take stock of those that have kept me awake until the wee hours many a night.
1 My lovely Kim Sam-soon
Forty Korean dramas later, this is still my favourite. No competition, yet.
I told a friend earlier that if she had got time for only one Korean drama, then check out this one. A couple of weeks later, she remarked that it was indeed an alternative, and an excellent one at that. Not only that the heroine has a job she is passionate about (rather than one just to keep her occupied, say), she is plump ('fat') and plain (far from being immaculate, a prerequisite for Korean female leads). Atypical of Cinderella, it presents love as it is experienced; unpredictable, confusing, and made the more complicated by one's past or current relationships. There are also many scenes describing the physical desire between the couple, hilariously funny, they are a fresh air in its Korean genre. The drama concludes with an uplifting image of the couple kissing mid-way through their arguments on the steep stairs, following an voiceover from the heroine if they might break up. In order words, while it rejects a straightforward happy ever after finale, its heroine is charging ahead to peruse her share of happiness nevertheless.
An added bonus for woman audience is; every time when the arrogant hero slightly misbehaves, he gets punished one way or the other, sometimes at the hands of his manipulating and abusive mother! Infused with hilarious comic and poignant moments, it launches two of the best actors into much deserved stardom. One only wishes that they can continue to find materials that match their talents.
Well-written script and a great ensemble on both sides. Brilliant soundtrack.
2 Coffee Prince
Another less than immaculate female lead yet it is hard to see who can resist her acting and boyish charm. Besides, the way it deals with homosexuality is cliche-free, human and cool. The sparks between Yoon Eun Hye and Gong Yoo is simply unbeatable. If the portrait of the secondary couple takes up less screen time, it will be more engaging.
3 My girl
A funny and innocent con girl and an upright man who never lies (not even white lies?), surely their worlds cannot be further apart. Yet somehow, you just want the girl to inject some life to the man and 'steal' his heart from his star-sportswoman. Episode 12 and 23 are particularly addictive. When can Lee Da-hae be this effortlessly funny and immaculate again? A hardcore feminist might not like it though. A pity that the character of the secondary leads are so dull. Like Kim Sam-soon, it is a drama I can watch again and again without getting bored as long as I am holding a remote control to skip those sequences on the gambling father and the secondary leads.
4 Winter sonata (Doesn't the poignant finale resemble that of Jane Eyre?)
5 Beautiful days (Sacrifice, sacrifice and sacrifice. All in the name of love.)
6 Stairways to heaven (Kwon Sang-woo proves himself coolest of all. Hints: Do fast forward those scenes when the evil stepmother is present for you have watched them in many other places.)
The three classic tear jerkers all stars a leading lady CJW and lucky to her, playing opposite to three of the most charismatic Korean actors. While CJW's portraits are consistent and convincing in all three parts, it does feel as if she is playing the same role when, if like me, watching them one immediately after the other. I also lost my patience a little bit at the portrait of an 'ideal' woman whose happiness derives exclusively from putting the others before her own ambition and desire. Surely her life and ambition is just as deserving as the others'?
7 Full house
Rain might not be the handsomest or the best of actors, he is certainly one of the rare specimens that can ignite the screen with a mere hint of movement by his toned muscle. To say that he is sexy is an understatement. Despite the patchy script and repetitions in the last few episodes, it has got that trick to make you glue to the screen until the finale. A good case study when it comes to star power.
8 Brilliant legacy
The four leads might not the most glamourous, but together they make this drama work. Very educational for the growing new middle class in the region.
9 Sungkyunkwan scandal
Albeit a copycat of some popular Korean dramas, such as Coffee Prince (on homosexuality), Boys over Flowers (cross dressing to gain access to an exclusive boy/man territory), and that it is extremely loose with historical truth, this costume drama (a genre I incline to stay away for its twisted representations) is a gripping modern story in disguise, especially in its depiction of gender roles. It is unusual that the secondary 'gay' couple are also rather well written. The joke planted at the last minute on the poor bookish protagonist is a naughty surprise comic moment.
10 The first love of royal prince
Having watched Snow Queen first and hated every minute of it, it is a delightful and refreshing to find the arrogant 'Snow Queen' in the adorable girl-next-door role.
11 Coffee house
Like My Lovely Kim Sam-soon, the lead couple have to deal with the legacy of their respective past before they are ready to commit. Patchy at parts but sufficiently engaging to keep you stay tuned till the very end. Kang Ji-hwan is cute here.
12 Wedding
An underrated drama with unexpected depth in its interesting depiction of the bumpy road for the newly-wed to build trust and an meaningful relationship. Ryn Shi-won gives a very steady performance as an diplomat who knows nothing about a woman's heart.
13 Iris
Fresh in subject matters, the screen is brightened up whenever the reliable Lee Byung-hun shows up, smiles or grinding his teeth. I have seen him in many films and he is yet to fail to deliver, be it a soldier guarding the border (JSA), a rural teacher (The Harmonium in My Memory; Bumjee Jumping of Their Own), or a student activist during the political upheaval of the 1980s (Once in a summer). The only role I am not so convinced of is the 'weird' part in The Good, the Bad and the Weird, too much of a stereotype role for me.
14 East of Eden
The one who has the most fun must be Song Seung-hun who plays nearly all roles possible in one character; born underdog, reluctant desperado, over-achieving hero, mighty brother, long suffering son and lover in this 56 episode ambitious epic. The most interesting bit is its depiction of the drastic social and political evolution sweeping Korea society of thirty years, and how it parallels to recent Chinese history.
15 Women in the sun
A small lie to cover up a moment's lapse of sanity leads to a life of redemption and endless lies. How often is a Korean drama centred on a complicated character who is less than absolutely honourable and adorable? Thumbs up for Kim Ji-soo who dares to take up this challenge. Although this is a more complicated role, it is paralleled with her role in This Charming Girl.
16 Love and marriage
The leading man cannot act. But who cares when he has got such a handsome face?
17 Lie to me
Its script must have been scrabbled in a terrible hurry! What a waste on the chemistry between the lead couple Yoon Eun-hye and Kang Ji-hwan!
18 Secret garden
A flop. Can never understand the hype, even less on why Hyun Bin is in it. But then this is not the first time he strays to an implausible role since he proves his crafts in Kim Sam-soon at 23.
19 Snow queen
Another feeble script. Never warm to any of the characters. Hyun Bin's character feels too self-indulgent than sacrifice for the sake of his dead friend.
20 The world they live in
A great potential lost; it could have been an amazing in-depth portrait of lives on the other side of the camera.
21 Great great
An early one for a slim Kim Sun-ah. She is slim and unremarkable, and I have certainly expected something much more from her.
22 The fool
Is there such a fool in the world? The leading lady looks awkward at her role and is never convincing, not even in 200 Pounds Beauty.
23 My 19 year old sister-in-law
The opening scene is borrowed by a recent Taiwanese drama... that is what I can remember about it.
24 Wonderful life
Poorly executed on all accounts.
Some of those I have sampled but failed/didn't bother to finish:
1 Boys over flowers (The campus ruled by sheer evil is beyond my imagination and I struggle to suspend my disbelief. Though Lee Min-ho found his stardom from here, I fail to see why the hype on him or other members of F4).
2 You are beautiful (All seem to be geared up for a teenage audience. The pace too slow for my taste).
3 Pasta (Don't like the tyranny of the chef who thought he was the best)
4 Working mum
5 Slighshot
6 Sweet 18 (I have seen the leading couple in something better and that sums up my experience).
7 Prosecutor princess (It is stretching to see how come a highly intelligent and educated woman can be so downright stupid).
8 Goong S (A farce)
1 My lovely Kim Sam-soon
Forty Korean dramas later, this is still my favourite. No competition, yet.
I told a friend earlier that if she had got time for only one Korean drama, then check out this one. A couple of weeks later, she remarked that it was indeed an alternative, and an excellent one at that. Not only that the heroine has a job she is passionate about (rather than one just to keep her occupied, say), she is plump ('fat') and plain (far from being immaculate, a prerequisite for Korean female leads). Atypical of Cinderella, it presents love as it is experienced; unpredictable, confusing, and made the more complicated by one's past or current relationships. There are also many scenes describing the physical desire between the couple, hilariously funny, they are a fresh air in its Korean genre. The drama concludes with an uplifting image of the couple kissing mid-way through their arguments on the steep stairs, following an voiceover from the heroine if they might break up. In order words, while it rejects a straightforward happy ever after finale, its heroine is charging ahead to peruse her share of happiness nevertheless.
An added bonus for woman audience is; every time when the arrogant hero slightly misbehaves, he gets punished one way or the other, sometimes at the hands of his manipulating and abusive mother! Infused with hilarious comic and poignant moments, it launches two of the best actors into much deserved stardom. One only wishes that they can continue to find materials that match their talents.
Well-written script and a great ensemble on both sides. Brilliant soundtrack.
2 Coffee Prince
Another less than immaculate female lead yet it is hard to see who can resist her acting and boyish charm. Besides, the way it deals with homosexuality is cliche-free, human and cool. The sparks between Yoon Eun Hye and Gong Yoo is simply unbeatable. If the portrait of the secondary couple takes up less screen time, it will be more engaging.
3 My girl
A funny and innocent con girl and an upright man who never lies (not even white lies?), surely their worlds cannot be further apart. Yet somehow, you just want the girl to inject some life to the man and 'steal' his heart from his star-sportswoman. Episode 12 and 23 are particularly addictive. When can Lee Da-hae be this effortlessly funny and immaculate again? A hardcore feminist might not like it though. A pity that the character of the secondary leads are so dull. Like Kim Sam-soon, it is a drama I can watch again and again without getting bored as long as I am holding a remote control to skip those sequences on the gambling father and the secondary leads.
4 Winter sonata (Doesn't the poignant finale resemble that of Jane Eyre?)
5 Beautiful days (Sacrifice, sacrifice and sacrifice. All in the name of love.)
6 Stairways to heaven (Kwon Sang-woo proves himself coolest of all. Hints: Do fast forward those scenes when the evil stepmother is present for you have watched them in many other places.)
The three classic tear jerkers all stars a leading lady CJW and lucky to her, playing opposite to three of the most charismatic Korean actors. While CJW's portraits are consistent and convincing in all three parts, it does feel as if she is playing the same role when, if like me, watching them one immediately after the other. I also lost my patience a little bit at the portrait of an 'ideal' woman whose happiness derives exclusively from putting the others before her own ambition and desire. Surely her life and ambition is just as deserving as the others'?
7 Full house
Rain might not be the handsomest or the best of actors, he is certainly one of the rare specimens that can ignite the screen with a mere hint of movement by his toned muscle. To say that he is sexy is an understatement. Despite the patchy script and repetitions in the last few episodes, it has got that trick to make you glue to the screen until the finale. A good case study when it comes to star power.
8 Brilliant legacy
The four leads might not the most glamourous, but together they make this drama work. Very educational for the growing new middle class in the region.
9 Sungkyunkwan scandal
Albeit a copycat of some popular Korean dramas, such as Coffee Prince (on homosexuality), Boys over Flowers (cross dressing to gain access to an exclusive boy/man territory), and that it is extremely loose with historical truth, this costume drama (a genre I incline to stay away for its twisted representations) is a gripping modern story in disguise, especially in its depiction of gender roles. It is unusual that the secondary 'gay' couple are also rather well written. The joke planted at the last minute on the poor bookish protagonist is a naughty surprise comic moment.
10 The first love of royal prince
Having watched Snow Queen first and hated every minute of it, it is a delightful and refreshing to find the arrogant 'Snow Queen' in the adorable girl-next-door role.
11 Coffee house
Like My Lovely Kim Sam-soon, the lead couple have to deal with the legacy of their respective past before they are ready to commit. Patchy at parts but sufficiently engaging to keep you stay tuned till the very end. Kang Ji-hwan is cute here.
12 Wedding
An underrated drama with unexpected depth in its interesting depiction of the bumpy road for the newly-wed to build trust and an meaningful relationship. Ryn Shi-won gives a very steady performance as an diplomat who knows nothing about a woman's heart.
13 Iris
Fresh in subject matters, the screen is brightened up whenever the reliable Lee Byung-hun shows up, smiles or grinding his teeth. I have seen him in many films and he is yet to fail to deliver, be it a soldier guarding the border (JSA), a rural teacher (The Harmonium in My Memory; Bumjee Jumping of Their Own), or a student activist during the political upheaval of the 1980s (Once in a summer). The only role I am not so convinced of is the 'weird' part in The Good, the Bad and the Weird, too much of a stereotype role for me.
14 East of Eden
The one who has the most fun must be Song Seung-hun who plays nearly all roles possible in one character; born underdog, reluctant desperado, over-achieving hero, mighty brother, long suffering son and lover in this 56 episode ambitious epic. The most interesting bit is its depiction of the drastic social and political evolution sweeping Korea society of thirty years, and how it parallels to recent Chinese history.
15 Women in the sun
A small lie to cover up a moment's lapse of sanity leads to a life of redemption and endless lies. How often is a Korean drama centred on a complicated character who is less than absolutely honourable and adorable? Thumbs up for Kim Ji-soo who dares to take up this challenge. Although this is a more complicated role, it is paralleled with her role in This Charming Girl.
16 Love and marriage
The leading man cannot act. But who cares when he has got such a handsome face?
17 Lie to me
Its script must have been scrabbled in a terrible hurry! What a waste on the chemistry between the lead couple Yoon Eun-hye and Kang Ji-hwan!
18 Secret garden
A flop. Can never understand the hype, even less on why Hyun Bin is in it. But then this is not the first time he strays to an implausible role since he proves his crafts in Kim Sam-soon at 23.
19 Snow queen
Another feeble script. Never warm to any of the characters. Hyun Bin's character feels too self-indulgent than sacrifice for the sake of his dead friend.
20 The world they live in
A great potential lost; it could have been an amazing in-depth portrait of lives on the other side of the camera.
21 Great great
An early one for a slim Kim Sun-ah. She is slim and unremarkable, and I have certainly expected something much more from her.
22 The fool
Is there such a fool in the world? The leading lady looks awkward at her role and is never convincing, not even in 200 Pounds Beauty.
23 My 19 year old sister-in-law
The opening scene is borrowed by a recent Taiwanese drama... that is what I can remember about it.
24 Wonderful life
Poorly executed on all accounts.
Some of those I have sampled but failed/didn't bother to finish:
1 Boys over flowers (The campus ruled by sheer evil is beyond my imagination and I struggle to suspend my disbelief. Though Lee Min-ho found his stardom from here, I fail to see why the hype on him or other members of F4).
2 You are beautiful (All seem to be geared up for a teenage audience. The pace too slow for my taste).
3 Pasta (Don't like the tyranny of the chef who thought he was the best)
4 Working mum
5 Slighshot
6 Sweet 18 (I have seen the leading couple in something better and that sums up my experience).
7 Prosecutor princess (It is stretching to see how come a highly intelligent and educated woman can be so downright stupid).
8 Goong S (A farce)
October 04, 2011
Constant craving
In his best selling autobiography Life, the Rolling Stones guitarist Keith Richards recalled in minute details how he was addicted for over a decade to heroin and how that constant craving for a sniff had ruined a good part of youth.
Over the weekend, I experienced that constant craving, for Korean drama and (modern) cinema.
The incident was triggered by a faulty hard disk storing all the Korean dramas uploaded from a friend's latest collection. I was watching Lie to Me last Thursday when a message on the screen said that it could not read the files. Within 10 minutes, everything disappeared and soon the laptop could not even identify the hard disk. Given that hard disk costing some S$200 barely five years ago, it was the last thing I had expected.
That was when I gave it a try to visit the two internet sites that appear to store thousands of dramas and films from the globe, catering especially to the growing communities in East and Southeast Asia of cineasts and drama lovers. My effort was awarded by an early success with an episode of Lie to Me, and despite the annoying advertisements every 15 minutes and the poor quality of the English subtitles, its sheer availability eased my hunger a bit. Since then however everything went downhill. First I found that not all the listed episodes are available for download, then I realised even if you have the luck watching one segment of an episode, there is no guarantee that the full episode can be downloaded within the limit of your patience. It is an perpetual testing and stretching of one's stamina. In addition, the battery drains real fast.
The Chinese site is even worse; most of them are dubbed in the most put-off phoney Chinese, an offence to most fans.
I persisted, wishing that even if I failed at one drama, the chance might be better with another. But my stamina didn't get me anywhere; all I could see was but the revolving circle; a tell-tale that it is getting nowhere.
OK, no pain no gains. Four days, I lived in hope that things might turn for the better if I avoid the 'rush hours' or the hits. Four days I was told that I should not keep my hope high.
Watching media products on line has been the major source of entertainment and, to a large extent the only means to keep up for my friends back in China. Now that I have tried it, I wonder how much time have been wasted collectively and how come they can put up with it all; the poor quality of dubbing or subtitling, the snake speed downloading if at all, etc. Is it a case of better than none? Perhaps I am not that addicted after all.
After ranting this out with the friend who introduced me to Korean drama, I tried a 'quality' site she hence recommended. This one is dedicated to Korean drama and has in comparison, very limited stocks. So far though, it seems that it offers a much better option. Fingers crossed.
PS: I learnt from another long term 'drug addict'that if you have an iPhone, then you can subscribe to follow the latest Korean drama live! 'How do you manage? The screen is so small!' 'It is OK for me', the drug addict responded. To her, I am still an 'fair weather supporter'.
Over the weekend, I experienced that constant craving, for Korean drama and (modern) cinema.
The incident was triggered by a faulty hard disk storing all the Korean dramas uploaded from a friend's latest collection. I was watching Lie to Me last Thursday when a message on the screen said that it could not read the files. Within 10 minutes, everything disappeared and soon the laptop could not even identify the hard disk. Given that hard disk costing some S$200 barely five years ago, it was the last thing I had expected.
That was when I gave it a try to visit the two internet sites that appear to store thousands of dramas and films from the globe, catering especially to the growing communities in East and Southeast Asia of cineasts and drama lovers. My effort was awarded by an early success with an episode of Lie to Me, and despite the annoying advertisements every 15 minutes and the poor quality of the English subtitles, its sheer availability eased my hunger a bit. Since then however everything went downhill. First I found that not all the listed episodes are available for download, then I realised even if you have the luck watching one segment of an episode, there is no guarantee that the full episode can be downloaded within the limit of your patience. It is an perpetual testing and stretching of one's stamina. In addition, the battery drains real fast.
The Chinese site is even worse; most of them are dubbed in the most put-off phoney Chinese, an offence to most fans.
I persisted, wishing that even if I failed at one drama, the chance might be better with another. But my stamina didn't get me anywhere; all I could see was but the revolving circle; a tell-tale that it is getting nowhere.
OK, no pain no gains. Four days, I lived in hope that things might turn for the better if I avoid the 'rush hours' or the hits. Four days I was told that I should not keep my hope high.
Watching media products on line has been the major source of entertainment and, to a large extent the only means to keep up for my friends back in China. Now that I have tried it, I wonder how much time have been wasted collectively and how come they can put up with it all; the poor quality of dubbing or subtitling, the snake speed downloading if at all, etc. Is it a case of better than none? Perhaps I am not that addicted after all.
After ranting this out with the friend who introduced me to Korean drama, I tried a 'quality' site she hence recommended. This one is dedicated to Korean drama and has in comparison, very limited stocks. So far though, it seems that it offers a much better option. Fingers crossed.
PS: I learnt from another long term 'drug addict'that if you have an iPhone, then you can subscribe to follow the latest Korean drama live! 'How do you manage? The screen is so small!' 'It is OK for me', the drug addict responded. To her, I am still an 'fair weather supporter'.
October 03, 2011
Asako in ruby shoes / Virgin stripped bare by her bachelor
Since I was introduced to Korean dramas, I became quickly hooked to modern Korean cinema which was soon turned into an obsession of kind to watch all of those 'well-made' ones since 1999. In explaining it, I often quote genre hybridity and quality performance of all sides in the Korean new wave cinema the source of inspiration, sustained fascination and great entertainment. Unlike many obscure French art cinema and Hollywood mainstream outputs, Korean new wave cinema embodies the magic touch of 'art' with a popular touch.
This perception has been challenged once or twice, by films such as 3-Iron (a film with barely any dialogues), I Am A Cyborg, but That is Alright, and some unconventional romance like One Fine Spring Day. However it had never reached such a disturbing degree as that by the two films I watched over the weekend: Virgin Stripped Bare by Her Bachelors, and Asako in Ruby Shoes, both made and released in 2000, by two, arguably the most 'cerebral', directors of the 396 generation.
Shot in black and white, Virgin feels like a typical Jacque Rivette film that is known for its non-conventional narration. We are not sure from whose point of view the story is related, and to make it even more challenging, the film presents two different versions of the same events, making it even more confusing as to what has actually happened, least of all, what is in the mind of the protagonists. In both versions, the relationship between the couple appears superficial and mysterious, and the female character a mere object of desire. It was no wonder if the nude scenes triggered the suicide of its actress some five years later. She has bared it all in the name of 'art', but owed to the weak narration, her 'sacrifice' does not seem to serve any purpose. The film was said to be a 'hit' with its home audience and was awarded internationally but she appears more like a porn star in it.
If in shooting it in an austere way Virgin has at least the claim for its striking 'aesthetic' values, Asako poses a completely different challenge to audience. The blank face of the protagonist, the wastefulness of his life, the frequent resort to the most unglamorous parallel to any of a Jia Zhangke's works. A civil servant in a provincial town, Lee's character is bored by the petty and insipid assignments at work. A lost soul, his unrequited love for a red-hair migrant girl leads him to an internet porn star Asako. At the meanwhile in a provincial town in Japan, a teenage girl from a middle class family decides to quit school to earn her pocket money, which eventually leads her to perform for the porn site, which her younger brother frequents. Thousands of miles apart, the two suffer from the lack of aspirations and purposes in life and it does appear that they are the making of their own misfortunate. It is hard to identify with or empathise with the protagonists.
While I feel depressed and puzzled watching them, such films offer an entirely different view on Korea and its people from those of the popular Korean dramas. If the depiction of the bored middle class is a indication of its modernisation process, then Korea has indeed arrived; at a similar stage made apparent in the French new wave or Italian neo-realism cinema back in the later 1950s. Like it or not, these offbeat films offer a glimpse into the lives of the contemporary Korean society.
This perception has been challenged once or twice, by films such as 3-Iron (a film with barely any dialogues), I Am A Cyborg, but That is Alright, and some unconventional romance like One Fine Spring Day. However it had never reached such a disturbing degree as that by the two films I watched over the weekend: Virgin Stripped Bare by Her Bachelors, and Asako in Ruby Shoes, both made and released in 2000, by two, arguably the most 'cerebral', directors of the 396 generation.
Shot in black and white, Virgin feels like a typical Jacque Rivette film that is known for its non-conventional narration. We are not sure from whose point of view the story is related, and to make it even more challenging, the film presents two different versions of the same events, making it even more confusing as to what has actually happened, least of all, what is in the mind of the protagonists. In both versions, the relationship between the couple appears superficial and mysterious, and the female character a mere object of desire. It was no wonder if the nude scenes triggered the suicide of its actress some five years later. She has bared it all in the name of 'art', but owed to the weak narration, her 'sacrifice' does not seem to serve any purpose. The film was said to be a 'hit' with its home audience and was awarded internationally but she appears more like a porn star in it.
If in shooting it in an austere way Virgin has at least the claim for its striking 'aesthetic' values, Asako poses a completely different challenge to audience. The blank face of the protagonist, the wastefulness of his life, the frequent resort to the most unglamorous parallel to any of a Jia Zhangke's works. A civil servant in a provincial town, Lee's character is bored by the petty and insipid assignments at work. A lost soul, his unrequited love for a red-hair migrant girl leads him to an internet porn star Asako. At the meanwhile in a provincial town in Japan, a teenage girl from a middle class family decides to quit school to earn her pocket money, which eventually leads her to perform for the porn site, which her younger brother frequents. Thousands of miles apart, the two suffer from the lack of aspirations and purposes in life and it does appear that they are the making of their own misfortunate. It is hard to identify with or empathise with the protagonists.
While I feel depressed and puzzled watching them, such films offer an entirely different view on Korea and its people from those of the popular Korean dramas. If the depiction of the bored middle class is a indication of its modernisation process, then Korea has indeed arrived; at a similar stage made apparent in the French new wave or Italian neo-realism cinema back in the later 1950s. Like it or not, these offbeat films offer a glimpse into the lives of the contemporary Korean society.
September 26, 2011
The first love of royal prince
Unlike those popular Korean dramas, this one doesn't get much Internet coverage. If this is a measure for its lukewarm reception, then it is underrated.
Though it is another Cinderella story flooding the Korean television screen, and the heroine is no more than a vase as an secretary, this one stands out from its competitors with a tight script and consistent performance from the leading couple. Though it is a case of selling old medicine in a new bottle, it works.
Though it is another Cinderella story flooding the Korean television screen, and the heroine is no more than a vase as an secretary, this one stands out from its competitors with a tight script and consistent performance from the leading couple. Though it is a case of selling old medicine in a new bottle, it works.
Women in the Sun
Despite some oversights in the script, this is a great drama on thirst for love, sibling rivalry, revenge and redemption, with convincing performance from all on board.
A media icon, the heroine has everything one could ever dreamt of: intelligence, glamour, an affluent and intellectual background, and engaged to a handsome and successful acquisition professional. She is also a role model for her unusually strong work ethics. Behind the scene though, she looks pensive, sad and insecure, with secrets to hide; not only she is adopted, she had, 20 years ago, tried and succeeded in abandoning the daughter of her foster parents, the cause of her well-disguised guilt, self-imposed isolation, and a dedication to redemption by way of devoting herself to work and good cause. Despite being engaged, she never shares her secrets with her fiancé, whom she barely sees much thanks to their devotion to their careers.
Far away from the spotlight and in a rare moment of being her true self, down and lonesome, she is chanced upon by an expat when paying a farewell visit her dying mother in Hong Kong, and through him, she is reunited, unknowingly, with her sister she would never like to meet again. The sisters hit it off nearly straightaway, and soon the real identity of this new friend is unveiled and from then on it is a string of events that see the role model of all Korean schoolgirls sparing no tricks to stop that truth from being known by anyone.
What is most amazing is when the truth is discovered by the victim and later shared with her orphan friend, all he asks of her is but forgiveness on the evil sister; he accepts the impostor unconditionally and the drama finishes with hints that they are a happy and contented couple. On the other hand, the other couple - the victim and her love interest since childhood, are separated again, as if they don't deserve to have the same blessing from the audience.
Hats off to Kim Ji-soo who also stars in This Charming Girl. It isn't a typical 'adorable' figure one normally come across in Korean drama. She carries the role competently. The scene stealer though is Lee Ha-na who plays the victim, especially in the second half of the series.
A media icon, the heroine has everything one could ever dreamt of: intelligence, glamour, an affluent and intellectual background, and engaged to a handsome and successful acquisition professional. She is also a role model for her unusually strong work ethics. Behind the scene though, she looks pensive, sad and insecure, with secrets to hide; not only she is adopted, she had, 20 years ago, tried and succeeded in abandoning the daughter of her foster parents, the cause of her well-disguised guilt, self-imposed isolation, and a dedication to redemption by way of devoting herself to work and good cause. Despite being engaged, she never shares her secrets with her fiancé, whom she barely sees much thanks to their devotion to their careers.
Far away from the spotlight and in a rare moment of being her true self, down and lonesome, she is chanced upon by an expat when paying a farewell visit her dying mother in Hong Kong, and through him, she is reunited, unknowingly, with her sister she would never like to meet again. The sisters hit it off nearly straightaway, and soon the real identity of this new friend is unveiled and from then on it is a string of events that see the role model of all Korean schoolgirls sparing no tricks to stop that truth from being known by anyone.
What is most amazing is when the truth is discovered by the victim and later shared with her orphan friend, all he asks of her is but forgiveness on the evil sister; he accepts the impostor unconditionally and the drama finishes with hints that they are a happy and contented couple. On the other hand, the other couple - the victim and her love interest since childhood, are separated again, as if they don't deserve to have the same blessing from the audience.
Hats off to Kim Ji-soo who also stars in This Charming Girl. It isn't a typical 'adorable' figure one normally come across in Korean drama. She carries the role competently. The scene stealer though is Lee Ha-na who plays the victim, especially in the second half of the series.
September 09, 2011
The good, the bad, the weird
With two of the best Korean actors (Song Kang-ho and Lee Byung-hun) on board, the film, on paper, appealed to me instantly. Yet like a lot of films with high profile actors and yet following a strict genre framework, it didn't work for me. It was a poor copycat of an typical western. And the character played by Lee was a total failure. This was particularly poignant after watching his subtle performance in The Harmonium in My Memory barely 24 hours ago.
September 08, 2011
The harmonium in my memory
I have seen her in The Housemaid, then, My Dear Enemy. It was the early stage of my encounter with Korean media products, and since her character in The Housemaid was a bit confusing to say the lest, I regarded her one of those fading actresses who conveniently resorted to nude scenes to boost her career. She won me over in the sleeper My Dear Enemy, however. Compared to her many colleagues with immaculate skin and an attractive defined face, she seems 'plain' as a leading lady yet strong enough to carry a film through to success.
It was however her earlier work, The Harmonium in My Memory (1999) that opened my eye to her versatile talents. Here, she was a shy yet headstrong overage village girl who fell for a young trainee teacher from Seoul, and would do anything to turn his head and win his affection. With hindsight, her range and composure reminds me of Isabelle Huppert who is never shy of taking a complicated or even despicable role.
It was not just her natural performance that made this film such a warm and enjoyable experience. Lee Byung-hun, one of the most versatile Korean actors, was in a role similar to his later ones in Once in a Summer (a university student in a remote village), and Bunjee Jumping of Their Own (a school teacher who discovers his hidden self through a student). His underrated performance was just right for the film.
It was however her earlier work, The Harmonium in My Memory (1999) that opened my eye to her versatile talents. Here, she was a shy yet headstrong overage village girl who fell for a young trainee teacher from Seoul, and would do anything to turn his head and win his affection. With hindsight, her range and composure reminds me of Isabelle Huppert who is never shy of taking a complicated or even despicable role.
It was not just her natural performance that made this film such a warm and enjoyable experience. Lee Byung-hun, one of the most versatile Korean actors, was in a role similar to his later ones in Once in a Summer (a university student in a remote village), and Bunjee Jumping of Their Own (a school teacher who discovers his hidden self through a student). His underrated performance was just right for the film.
September 07, 2011
If you die before me, I will kill you
This is possibly the best quote from the Korean film More than Blue.
The story is related twice - first from the eyes of the dying, and apparently lovelorn K, then that of blissfully 'innocent' Cream. While the structure might have taken inspiration from the 2002 French film He Loves Me, He Loves Me not, it feels refreshing and gripping as it is in the latter part we realise how little both K and we know about Cream, who otherwise might have appeared heartlessly indifferent to K's care, affection and love. The scene following her accidental discovery of K's fatal illness is most heartbreaking: there she is standing on her own in a cold day - with the background dissolving to darkness, and in her front, a car is driving away with K looking back with her deceased mother and sister.
More than Blue provides ample room for Kwon Sang-woo to showcase his versatility as an actor in this considerate and gentle character K. His confident performance has certainly added emotional depth to the sad romance between two orphans.
The story is related twice - first from the eyes of the dying, and apparently lovelorn K, then that of blissfully 'innocent' Cream. While the structure might have taken inspiration from the 2002 French film He Loves Me, He Loves Me not, it feels refreshing and gripping as it is in the latter part we realise how little both K and we know about Cream, who otherwise might have appeared heartlessly indifferent to K's care, affection and love. The scene following her accidental discovery of K's fatal illness is most heartbreaking: there she is standing on her own in a cold day - with the background dissolving to darkness, and in her front, a car is driving away with K looking back with her deceased mother and sister.
More than Blue provides ample room for Kwon Sang-woo to showcase his versatility as an actor in this considerate and gentle character K. His confident performance has certainly added emotional depth to the sad romance between two orphans.
September 06, 2011
She is on duty
Watched She is on Duty last night starring two of my favourite Korean actors, Kim Sun-ah and Gong Yoo, and was saddened by how an underdeveloped script could 'bury' one's acting talents.
Made in the same year that would shoot her to international stardom by television drama My Lovely Sam-soon, the film invited comparison to Kim's performance between the two. Although different in profession, the two roles were similar in characters; brash and determined to get their ways. However while she was pulling off one after another comic moments in the drama, she seemed half-hearted in her performance in the film, albeit with identical body languages. It was a crying shame to see an actress with such immaculate comic timing was acting like a dummy in the film.
Gong Yoo, who had mesmerising chemistry with his leading lady Yoon Eun-hye in Coffee Prince, also seemed a bit absent-minded and at times appeared to be waiting for the cue to start acting.
It is a bigger surprise to learn that I had never taken note of his role in My Tutor Friend, which I enjoyed a lot, especially the first half. There he is simply overshadowed by the unbeatable and quirky leading couple played brilliantly by Kwon Sang-woo and Kim Ha-neul.
Made in the same year that would shoot her to international stardom by television drama My Lovely Sam-soon, the film invited comparison to Kim's performance between the two. Although different in profession, the two roles were similar in characters; brash and determined to get their ways. However while she was pulling off one after another comic moments in the drama, she seemed half-hearted in her performance in the film, albeit with identical body languages. It was a crying shame to see an actress with such immaculate comic timing was acting like a dummy in the film.
Gong Yoo, who had mesmerising chemistry with his leading lady Yoon Eun-hye in Coffee Prince, also seemed a bit absent-minded and at times appeared to be waiting for the cue to start acting.
It is a bigger surprise to learn that I had never taken note of his role in My Tutor Friend, which I enjoyed a lot, especially the first half. There he is simply overshadowed by the unbeatable and quirky leading couple played brilliantly by Kwon Sang-woo and Kim Ha-neul.
August 27, 2011
Coffee Prince
I can do without a cup of coffee, but the taste of Coffee Prince is too strong to resist: it plays with the notion of gender performance, and pseudo-homosexuality, all in a fresh and enticing approach.
Yoon Eun Hye's natural talents shines through and her chemistry with Goog Joo is music to the ears.
Yoon Eun Hye's natural talents shines through and her chemistry with Goog Joo is music to the ears.
Christmas in August
I have just finished watching Christmas in August, a film that seems to belong to a most favoured genre in Korea: romance as lived in the mundane everyday life, narrated in a prose like style. Nothing catchy but the detailed delineation of those vivid in memories.
Contrast to its glossy television romance genre, the film one tends to feature a realistic look from settings to lighting, from the costume design to make-up etc. Though by and large employing the same pool of actors, they look more like your next door neighbours when they act on films.
But what really set this genre apart from their popular Hollywood counterparts is its narrative style; no conflict, no cinematic sensation, no particular camera movements that keep your head spinning.
It could feel like sipping a pot of lukewarm bland tea. For those who like the smell of it though, they would find residue of faint fragrance on their teeth for a few weeks to come.
Other works of such genre I have recently watched include:
A fine spring day (with sensual scenes especially when the protagonists are recording the sound of nature both in the bamboo forest and by the sea)
Once in a summer
Who are you?
Happiness
The bungee jumping of their own
April snow
Wanee and Junah
3-iron (an enigma with no dialogues between the two protagonists)
Not romance but in a similar narrative style:
My dear enemy
The way home
This charming lady
I am surprised by such a long list of films that resort mainly to the strength of the script and performance of the actors. It is a tell-tale sign that there is a critical mass of confident production team and performers who know their crafts well.
Contrast to its glossy television romance genre, the film one tends to feature a realistic look from settings to lighting, from the costume design to make-up etc. Though by and large employing the same pool of actors, they look more like your next door neighbours when they act on films.
But what really set this genre apart from their popular Hollywood counterparts is its narrative style; no conflict, no cinematic sensation, no particular camera movements that keep your head spinning.
It could feel like sipping a pot of lukewarm bland tea. For those who like the smell of it though, they would find residue of faint fragrance on their teeth for a few weeks to come.
Other works of such genre I have recently watched include:
A fine spring day (with sensual scenes especially when the protagonists are recording the sound of nature both in the bamboo forest and by the sea)
Once in a summer
Who are you?
Happiness
The bungee jumping of their own
April snow
Wanee and Junah
3-iron (an enigma with no dialogues between the two protagonists)
Not romance but in a similar narrative style:
My dear enemy
The way home
This charming lady
I am surprised by such a long list of films that resort mainly to the strength of the script and performance of the actors. It is a tell-tale sign that there is a critical mass of confident production team and performers who know their crafts well.
August 23, 2011
The Band's Visit
The Band's Visit is a little gem from Eran Kolirin.
At the beginning, one gets a sense that the stern head of the police ceremonial band will be a dominating figure throughout the story and you cannot help but empathise with those following him around, lost and financially stretched in a foreign land. The contrast of characters, and indeed in appearances, between him and a charming young member highlighted a question - how those older members have suffered over the years! The fact that the most obedient, and also the closest to him never manages to complete composing his oboe concerto is a symptom that life and creativity has been sucked out from the bunch of bored and stranded.
The story however has a surprising twist once the camera follows them into their hosting families. The middle age but alluring restaurant owner takes two - the pair that should never stay under the same roof for their disparities in all ways possible. To our utter surprise, it was the stern old man rather than the sexy young trumpet player who 'escorts' her to 'a fun and interesting area'. It is there we come to realise why, apart from a heart of gold, she has been so keen to offer free accommodation to the touring band gone astray in a foreign land; life is bleak there with barely anything of interest going on in the desert city. She is desperate for a bit of adventure and romance. The scene when she seats him on a bench at her 'park' is particularly poignant: in that eerily bare corner, imagination is in high demand to convince oneself you are sitting in a park. Under her charm though, the old man has not only removed his hat, but his rigidity and taciturnity and we find ourselves gradually warm up to him; for he too is a human being with desires and interest. And he even looks younger that night.
Those who join a birthday party dinner feel awkward when crammed into a tiny living room with their hosts - who either don't speak to or disagree on even the most insignificant. They realise then and there that guests and hosts are united, most unexpectedly, by two things in common: their sense of isolation and desolation, and their love for an old tune 'Summertime'. The sequence when the unemployed host advises the oboe player how to end his concerto is telling: perhaps it should end just like the present: not too sad, not too happy, just glad for being alive.
Two other sequences confirm the taste of life in the desert: a man who is guarding a public phone booth every second just in case his girlfriend might call. Is he mental? Surely he has better ways to occupy himself at night?
At a 'night club' that looks as bare as a makeshift camp site, we are given a glimpse of how lives are like for those looking for romance and excitement. On one hand, there is a couple who dance so immaculately they might as well be lifted straight from Saturday Night Fever; on the other hand, this guy with heavy eyebrows needs, literarily, hand-in-hand guidance on seduction.
In the sequence where the band takes their departure from the desert city, the camera shows us what the restaurant owner and his two unemployed companions are facing day in day out: blankness, nothingness and boredom. When the camera pans over their faces, it become obvious that that the band's accidental visit is in no small way a relief for the desert dwellers from their mundane everyday routine.
The film finishes with the performance the band is invited for. For the first time the reason for the band's existence become apparent in their touching and harmonious performance. We are also reassured that the hot trumpet player will not be dismissed as threatened by his head at the opening sequence. Through the walks in the 'park', the human voice in the head has been awaken. The young one looks more like the son he has lost three years ago. Despite the dalliance with the restaurant owner, the head forgives trumpet player readily.
All packed within 87 minutes, the film is directed in great confidence. And the performance from the whole troupe is just understated and sublime.
At the beginning, one gets a sense that the stern head of the police ceremonial band will be a dominating figure throughout the story and you cannot help but empathise with those following him around, lost and financially stretched in a foreign land. The contrast of characters, and indeed in appearances, between him and a charming young member highlighted a question - how those older members have suffered over the years! The fact that the most obedient, and also the closest to him never manages to complete composing his oboe concerto is a symptom that life and creativity has been sucked out from the bunch of bored and stranded.
The story however has a surprising twist once the camera follows them into their hosting families. The middle age but alluring restaurant owner takes two - the pair that should never stay under the same roof for their disparities in all ways possible. To our utter surprise, it was the stern old man rather than the sexy young trumpet player who 'escorts' her to 'a fun and interesting area'. It is there we come to realise why, apart from a heart of gold, she has been so keen to offer free accommodation to the touring band gone astray in a foreign land; life is bleak there with barely anything of interest going on in the desert city. She is desperate for a bit of adventure and romance. The scene when she seats him on a bench at her 'park' is particularly poignant: in that eerily bare corner, imagination is in high demand to convince oneself you are sitting in a park. Under her charm though, the old man has not only removed his hat, but his rigidity and taciturnity and we find ourselves gradually warm up to him; for he too is a human being with desires and interest. And he even looks younger that night.
Those who join a birthday party dinner feel awkward when crammed into a tiny living room with their hosts - who either don't speak to or disagree on even the most insignificant. They realise then and there that guests and hosts are united, most unexpectedly, by two things in common: their sense of isolation and desolation, and their love for an old tune 'Summertime'. The sequence when the unemployed host advises the oboe player how to end his concerto is telling: perhaps it should end just like the present: not too sad, not too happy, just glad for being alive.
Two other sequences confirm the taste of life in the desert: a man who is guarding a public phone booth every second just in case his girlfriend might call. Is he mental? Surely he has better ways to occupy himself at night?
At a 'night club' that looks as bare as a makeshift camp site, we are given a glimpse of how lives are like for those looking for romance and excitement. On one hand, there is a couple who dance so immaculately they might as well be lifted straight from Saturday Night Fever; on the other hand, this guy with heavy eyebrows needs, literarily, hand-in-hand guidance on seduction.
In the sequence where the band takes their departure from the desert city, the camera shows us what the restaurant owner and his two unemployed companions are facing day in day out: blankness, nothingness and boredom. When the camera pans over their faces, it become obvious that that the band's accidental visit is in no small way a relief for the desert dwellers from their mundane everyday routine.
The film finishes with the performance the band is invited for. For the first time the reason for the band's existence become apparent in their touching and harmonious performance. We are also reassured that the hot trumpet player will not be dismissed as threatened by his head at the opening sequence. Through the walks in the 'park', the human voice in the head has been awaken. The young one looks more like the son he has lost three years ago. Despite the dalliance with the restaurant owner, the head forgives trumpet player readily.
All packed within 87 minutes, the film is directed in great confidence. And the performance from the whole troupe is just understated and sublime.
August 15, 2011
East of Eden
A 56 episode epic from Korea, this is an ambitious project that in its minute dramatisation of the the fate of a lower class family in a deprived mining village, relates and comments on the drastic changes of the political and social landscape of a half century. With a rather charismatic Song Seung-hun as its leading man and a strong team of supporting crew, in particular Lee Mi-sook as the strong willed mother, it is both entertaining and revealing for those who are vaguely interested in Korea and its culture.
As my exposure to Korean drama and films increase steadily, I am also becoming more convinced in my initial finding: that the Korean spoken language seems a rich kaleidescope of various Chinese dialects, with Hakka being the one of the key components, a fact that appears largely unknown to even those intellectual friends who have regular dose of Korean drama since Korean wave hit China in the early 2000s. I wonder if somewhere out there, someone has been working at it, especially why that the key component seems to be Hakka, a dialect originated mainly from the remote mountainous areas of Southern China. I wish I didn't given up Hakka so radically when I was little.
As my exposure to Korean drama and films increase steadily, I am also becoming more convinced in my initial finding: that the Korean spoken language seems a rich kaleidescope of various Chinese dialects, with Hakka being the one of the key components, a fact that appears largely unknown to even those intellectual friends who have regular dose of Korean drama since Korean wave hit China in the early 2000s. I wonder if somewhere out there, someone has been working at it, especially why that the key component seems to be Hakka, a dialect originated mainly from the remote mountainous areas of Southern China. I wish I didn't given up Hakka so radically when I was little.
July 02, 2011
Brilliant legacy
During the first three episodes, I could not see why it was the top rating Korean dramas in 2009. However it grew on me and in the end, I stayed up till 5:30 in order to find out what happened next!
I love it and I can see why it was awarded in China as well, if nothing else, one of the subject matters - the second generation of the super rich - must be quite an intriguing issue back in China.
I love it and I can see why it was awarded in China as well, if nothing else, one of the subject matters - the second generation of the super rich - must be quite an intriguing issue back in China.
June 26, 2011
3-iron / Bunjee jumping of their own
After watching nearly a dozen of Korean dramas, I got the impression that they are highly polished, commercialised, and cater predominantly to family audience with conservative values. In comparison, the Korean films I have watched so far, such as Shiri, 200 Pounds Beauty, Memories of Murder, Sad Movies, A Brand New Life, My Sassy Girl, The Servant, Wedding Dress and Once in a Summer, do not only have a more 'realistic' look but also far more diverse in terms of subject matters and styles. Overall though, they are commercially driven. It therefore comes as a surprise when I came across films like 3-iron and Bunjee Jumping of Their Own that are experimental, ambiguous and unconventional.
Noted for the complete lack of any verbal (or written for that matter) communications between its two protagonists, 3-iron hinders our understanding on why they act in the way they do: for example, why the smart college graduate in his twenties chooses to while away his life in such an unconventional manner; why he takes the risk of being imprisoned while he can free himself by revealing the simple truth to the police; why he chooses being beaten while it is such an easier option just to play by the rule in prison; and who is he trying to impress by adhering to his noncooperative prociple? The film ends with him living 'happily' as a ghost with his lover in her house shared with her husband. From their silent smiles, it appears that they enjoy the game they are playing but as an audience, it remains a myth as to why they refuse to follow conventions and give up the apparent freedom that is open to them? Is it so important to act on one's will and impulse to the extend of marginalising oneself? Is there something we do not know as an outsider of Korean society and its value in order to understand them?
In a society that is still deep rooted in its traditional family values (that is, based on what the popular Korean dramas have informed us), Bunjee Jumping of Their Own is singing a rather disconcerted tone. Although the 'gay' teacher is ousted by the principal, he is seen to be reunited with the reincarnation of the love of his life in a seventeen year old boy. Despite little indication of the exact nature of their relationship, it is clear that the ambiguity itself is bad enough and will never be tolerated in the mainstream culture. It is not clear if they have ended their lives together following the act of bunjee jumping far away from their homeland.
These two films, together with A Brand New Life, suggest to a new audience that there is much to be expected from contemporary Korean cinema.
Noted for the complete lack of any verbal (or written for that matter) communications between its two protagonists, 3-iron hinders our understanding on why they act in the way they do: for example, why the smart college graduate in his twenties chooses to while away his life in such an unconventional manner; why he takes the risk of being imprisoned while he can free himself by revealing the simple truth to the police; why he chooses being beaten while it is such an easier option just to play by the rule in prison; and who is he trying to impress by adhering to his noncooperative prociple? The film ends with him living 'happily' as a ghost with his lover in her house shared with her husband. From their silent smiles, it appears that they enjoy the game they are playing but as an audience, it remains a myth as to why they refuse to follow conventions and give up the apparent freedom that is open to them? Is it so important to act on one's will and impulse to the extend of marginalising oneself? Is there something we do not know as an outsider of Korean society and its value in order to understand them?
In a society that is still deep rooted in its traditional family values (that is, based on what the popular Korean dramas have informed us), Bunjee Jumping of Their Own is singing a rather disconcerted tone. Although the 'gay' teacher is ousted by the principal, he is seen to be reunited with the reincarnation of the love of his life in a seventeen year old boy. Despite little indication of the exact nature of their relationship, it is clear that the ambiguity itself is bad enough and will never be tolerated in the mainstream culture. It is not clear if they have ended their lives together following the act of bunjee jumping far away from their homeland.
These two films, together with A Brand New Life, suggest to a new audience that there is much to be expected from contemporary Korean cinema.
June 20, 2011
Once in a summer
Students' movement, political trauma, the intellectual youth visiting the rural areas, two young people from entirely different backgrounds/camps meet in a circumstance of instability, fall in love and are caught up in a social upheaval in an historical moment. The further into the film, the more it feels like a Chinese one that depicts the confusion, joys, suffering and pain of the youth who were sent down to the countryside during the Cultural Revolution. History can teach us nothing.
June 19, 2011
Signpost
Since I was introduced to Korean dramas a few months ago, I must have been lent more than a dozen of them by my neighbours. Some, like the highly popular You are Beautiful and Boys over Flowers, I dislike so much that I gave up after just one episode; some, like Pizza, I stopped watching after several episodes despite my best efforts to do otherwise. Some, like Coffee Shop, could keep me watching till the last episode but with the benefit of hindsight, does not register so well. The following is a list of Korean dramas that I would like to remember for various reasons:
1 My Lovely Sam Soon:
A 'fresh air' in Korean drama in many ways: a leading actress with less than perfect appearance, a 30 year old from the lower-middle class in pursuit of love and is never shy in fighting for what she wants. Great performance from all, especially that of Kim Sun-ah and the then, newcomer, Hyun Bin, with lots of memorable sequences and comic moments. A Cinderella story with lots of twists.
2 Wedding:
A surprisingly low profile one despite its excellent script and convincing performance, it is a focused and fine exploration on how we allow the past to haunt our relationships.
3 My Girl:
How two people fall in love despite their differences in background and temperaments and their determination to stay away from each other. The last two episodes are the most enjoyable one when the protagonist ignores the emotional blackmail of the patriarch and fights for himself. A typical Cinderella story. Lee Da-Hae is simply excellent.
4 Winter Sonata:
Doesn't the final scene look similar to that in Jane Eyre when the well-off hero becomes blind and the love of his life has risen to become, presumably, a successful architect?
5 Stairways to Heaven:
Again a typical Cinderella story albeit with a sad ending. An absolute tearjerker. I watched all the episodes when the heroine is tortured by her step mother and step sister in fast forward mode.
6 Full House:
Rain's performance is the highlight in a story that relies too much on impossible plots. It does grip you though despite the silly lines.
7 World within:
An unusual Korean drama in its exploration of the behind-the-scene stories of the making of Korean dramas. It is however not the sort of insightful story that one might expect. Could definitely have been much better if the director had better ideas of what he wanted and stayed focused on it.
8 Snow Queen:
The only reason I can come up with on why Hyun Bin picked this project is that the character he plays is almost the exact opposite of the one in his last project My Lovely Sam Soon. What kept me watching though was not just because of Hyun Bin, but also because I wanted to find out how long his character could keep on denying his own ambition and bury his talents.
9 Beautiful Days
In watching Korean dramas, I have been kept pleasantly surprised by just how closely related the Korean languages is to Chinese, or its dialects to be exact. The first time I realised this was when a character counted numbers from one to ten which sounds almost identical to Hakka. Due to the lack of fluency of Hakka, I cannot tell how close Korean is to it, but what I can tell is that while there are many words that share similar pronunciations with Hakka,there are times they sound like, say, Mandarin or Cantonese, such as the word for hubby. This keeps me wonder if there is a Chinese linguistics who knows all the dialect in China whether the myths would be solved in regard to the similarities between Korean and Chinese languages.
Another aspect of Korean drama that impresses me most is how talented those involved in the industry are: from screenwriter, director, music editor, to the actors and actresses. This high quality of the team has certainly contributed to the overall good quality of their production.
1 My Lovely Sam Soon:
A 'fresh air' in Korean drama in many ways: a leading actress with less than perfect appearance, a 30 year old from the lower-middle class in pursuit of love and is never shy in fighting for what she wants. Great performance from all, especially that of Kim Sun-ah and the then, newcomer, Hyun Bin, with lots of memorable sequences and comic moments. A Cinderella story with lots of twists.
2 Wedding:
A surprisingly low profile one despite its excellent script and convincing performance, it is a focused and fine exploration on how we allow the past to haunt our relationships.
3 My Girl:
How two people fall in love despite their differences in background and temperaments and their determination to stay away from each other. The last two episodes are the most enjoyable one when the protagonist ignores the emotional blackmail of the patriarch and fights for himself. A typical Cinderella story. Lee Da-Hae is simply excellent.
4 Winter Sonata:
Doesn't the final scene look similar to that in Jane Eyre when the well-off hero becomes blind and the love of his life has risen to become, presumably, a successful architect?
5 Stairways to Heaven:
Again a typical Cinderella story albeit with a sad ending. An absolute tearjerker. I watched all the episodes when the heroine is tortured by her step mother and step sister in fast forward mode.
6 Full House:
Rain's performance is the highlight in a story that relies too much on impossible plots. It does grip you though despite the silly lines.
7 World within:
An unusual Korean drama in its exploration of the behind-the-scene stories of the making of Korean dramas. It is however not the sort of insightful story that one might expect. Could definitely have been much better if the director had better ideas of what he wanted and stayed focused on it.
8 Snow Queen:
The only reason I can come up with on why Hyun Bin picked this project is that the character he plays is almost the exact opposite of the one in his last project My Lovely Sam Soon. What kept me watching though was not just because of Hyun Bin, but also because I wanted to find out how long his character could keep on denying his own ambition and bury his talents.
9 Beautiful Days
In watching Korean dramas, I have been kept pleasantly surprised by just how closely related the Korean languages is to Chinese, or its dialects to be exact. The first time I realised this was when a character counted numbers from one to ten which sounds almost identical to Hakka. Due to the lack of fluency of Hakka, I cannot tell how close Korean is to it, but what I can tell is that while there are many words that share similar pronunciations with Hakka,there are times they sound like, say, Mandarin or Cantonese, such as the word for hubby. This keeps me wonder if there is a Chinese linguistics who knows all the dialect in China whether the myths would be solved in regard to the similarities between Korean and Chinese languages.
Another aspect of Korean drama that impresses me most is how talented those involved in the industry are: from screenwriter, director, music editor, to the actors and actresses. This high quality of the team has certainly contributed to the overall good quality of their production.
Wedding
Exploring how far we can allow the past relationships to interfere with the new ones, Wedding, an 18 episode Korean drama, is well written and performed. Yet if the little on-line information or its non-existence on any of the top rating Koran drama lists are to go by, then it seems to have been overlooked.
The four protagonists are all honest,highly likable and well educated characters. However in their attempts to treat their loved ones in the kindest way possible, they end up distancing from and even hurting each other. Wedding follows their respective journeys to find truth happiness in fine and mundane details, and it is a rare example where the characters all behave in a measured way, and which does not rely too much on the immature bahaviours of its protagonist in the storyline.
The four protagonists are all honest,highly likable and well educated characters. However in their attempts to treat their loved ones in the kindest way possible, they end up distancing from and even hurting each other. Wedding follows their respective journeys to find truth happiness in fine and mundane details, and it is a rare example where the characters all behave in a measured way, and which does not rely too much on the immature bahaviours of its protagonist in the storyline.
May 30, 2011
Winter sonata
Staying up to finish a book or a film/drama can be an exhausting business, especially when one has to get up early for work five days a week as well as other business to attend to. After a few days like this, eye bags will appear/deepen, acnes show up, and one might even find it difficult to concentrate at work.
But then whenever this happens, it is also the moment when I feel exceedingly happy - for the fortune of coming across such a captivating work, be it a philosophical/painful reflection on life, or purely for its entertainment value.
I have had many such moments in life, and the most recent ones come from a surprise source (for me), that of Korean dramas. In my new and limited exposure to this genre (yes, they one of a kind), my favourites are:
My Lovely Sam Soon
Winter Sonata
My Girl
Full House
I should point out that in my eyes, none can compare to My Lovely Sam Soon - in its scripts, comic value and great performance from all sides.
But then whenever this happens, it is also the moment when I feel exceedingly happy - for the fortune of coming across such a captivating work, be it a philosophical/painful reflection on life, or purely for its entertainment value.
I have had many such moments in life, and the most recent ones come from a surprise source (for me), that of Korean dramas. In my new and limited exposure to this genre (yes, they one of a kind), my favourites are:
My Lovely Sam Soon
Winter Sonata
My Girl
Full House
I should point out that in my eyes, none can compare to My Lovely Sam Soon - in its scripts, comic value and great performance from all sides.
May 09, 2011
End of an era
I cannot remember when was the last time I watched a television drama for more than twice. When I watched My Girl for the third time, it felt as if I was on drug. Yet here I was, still laughing with the characters and feeling their agony at the fifth viewing.
It has never though been just the humour, jokes or the fact Samsi would always get punished by a woman one way or the other whenever he misbehaved. For me, it was a healing process: the way love or longing seemed to daunt at us so unpredictably; the pain that came with having to break away from an attachment in order to win a new love; the memory that haunts us after the break up... Memories kept flashing back while watching and digesting what the protagonists were going through. It was almost like re-experiencing the two years when my life was turned upside down.
Last Sunday, I returned the DVDs to its owner. Now that I am parted with My Lovely Sam Soon, it is like the old injuries have finally been healed, and I am ready to move ahead.
It has never though been just the humour, jokes or the fact Samsi would always get punished by a woman one way or the other whenever he misbehaved. For me, it was a healing process: the way love or longing seemed to daunt at us so unpredictably; the pain that came with having to break away from an attachment in order to win a new love; the memory that haunts us after the break up... Memories kept flashing back while watching and digesting what the protagonists were going through. It was almost like re-experiencing the two years when my life was turned upside down.
Last Sunday, I returned the DVDs to its owner. Now that I am parted with My Lovely Sam Soon, it is like the old injuries have finally been healed, and I am ready to move ahead.
April 22, 2011
World within
Given the enormous popularity of Korean drama in the region and beyond, a drama that captures the behind the scene stories, especially when starring by two of the 'most beautiful' actors/actresses, should sell like hot potatoes. Yet that has not been the case.
The drama, World Within, is punctuated by some fine details of how a typical drama was created, with the sequence where a playwright falling far behind schedule is distracted by some domestic duties being one of the most humorous. Following mainly the lives of three 'PDs' of a television station, it was also far more 'realistic' than most of the Cinderella stories, the fuel for continuous 'Korean wave' across the globe.
So what is lacking? I wonder if it suffers from too many parallel stories lines - most of which feel more like fillers; and the story of the protagonists too mundane. I also wonder if the script suffers from its eagerness to please the general public and therefore filled with too many small jokes rather than a reflective look on the making a popular cultural phenomenon.
Postnote: Clear of acne, Hyun Bin looks even better in this drama, but I am glad that I watched My Lovely Sam Soon first. To me, he still looks the best in that old drama - besides a good story, he has great chemistry with the two leading ladies.
The drama, World Within, is punctuated by some fine details of how a typical drama was created, with the sequence where a playwright falling far behind schedule is distracted by some domestic duties being one of the most humorous. Following mainly the lives of three 'PDs' of a television station, it was also far more 'realistic' than most of the Cinderella stories, the fuel for continuous 'Korean wave' across the globe.
So what is lacking? I wonder if it suffers from too many parallel stories lines - most of which feel more like fillers; and the story of the protagonists too mundane. I also wonder if the script suffers from its eagerness to please the general public and therefore filled with too many small jokes rather than a reflective look on the making a popular cultural phenomenon.
Postnote: Clear of acne, Hyun Bin looks even better in this drama, but I am glad that I watched My Lovely Sam Soon first. To me, he still looks the best in that old drama - besides a good story, he has great chemistry with the two leading ladies.
April 18, 2011
My lovely Sam-soon
I wasn't particularly interested when I read that it was a Korean version of Bridget Jone's Diary. It sounded to me to be lacking in creativity.
I am thrilled now that I have not let that remark to stop me from checking out what it is like. Within just one week, I have watched this 16 episode (1 hour each) twice.
Different from all three other Korean dramas that I have watched so far (Coffee House, My Girl and Full House), this one is a breath of fresh air. The heroine, though not embraced with a plastic surgery perfect face (or body, for she is plumb), is a strong lady that knows what she wants in life and will not let anything to get in her way. When she realises that she has fallen in love with the man of not her type, she chooses to tell him and later on, questions him if that feeling of hers is reciprocal. When she is asked by his soon-to-be-former girlfriend to give him up, she tells her (despite her plead and a 35% of chance to survive her illness) that it is up to him to make the decision whom he would like to be with, and that for her part, she is never going to give up just for her sake. When she thinks that she is being fooled (again) by her boyfriend, she goes out with another man to seek happiness rather than moaning on the loss of a true love... At the end of the film, we also learn that the mum of her boyfriend objects to their relationship but that they are still seeing each other and that despite the occasional worry if they will fall out, she is not going to let this concern to bother her too much and that she is getting on with her life as her heart is taking her to.
In short, different from those 'angelic' figures (usually in their late teens or early twenties with a perfect face and modern figure) who is willing to sacrifice their true love for the sake of his family or his career, this Sam-soon of no particular beauty or wealth, stands up for herself and fights for what she deserves. And where no physical relationship seems to be involved in those dramas focusing on first love, this one features a man (though with a perfect face and body but not a perfect character) who constantly desires the physical contact with his beloved and is sent out late at night to find 'it' by his girlfriend only to find her fast asleep when he returns.
It is not just the characters though that has made this drama stand out from the rest of the comic romance. The incredible performance, especially that from Kim Sun-ah, the leading lady; the comic scenes (Hyun Bin is getting better in later episodes), the romantic scenes (especially the 20 minutes sequence where Sam-soon sings a love tune when her then boss playing the piano), and the music, etc, also work extraordinarily well and magically to give it an exceptional quality that outshines its competitors. This is a drama of a real woman in the street with a scriptwriter that understands how it feels to be a 'plain looking' woman over her 'sell-by' date in Korea and knows a secret or two of how to lead a happy life ('Love, as if you have never been hurt; Sing, as if no-one is in the audience; Dance, as if you are on your own...'); and the words of wisdom from her father in the dream sequence when she meets him for the final time - to live happily everyday and not let any concerns to get in the way). All these make it little wonder for its huge success with its native audience (a 50% viewing rate for its finale) and the international ones.
If you have time for only one Korean drama, this is certainly one you cannot afford to miss.
I am thrilled now that I have not let that remark to stop me from checking out what it is like. Within just one week, I have watched this 16 episode (1 hour each) twice.
Different from all three other Korean dramas that I have watched so far (Coffee House, My Girl and Full House), this one is a breath of fresh air. The heroine, though not embraced with a plastic surgery perfect face (or body, for she is plumb), is a strong lady that knows what she wants in life and will not let anything to get in her way. When she realises that she has fallen in love with the man of not her type, she chooses to tell him and later on, questions him if that feeling of hers is reciprocal. When she is asked by his soon-to-be-former girlfriend to give him up, she tells her (despite her plead and a 35% of chance to survive her illness) that it is up to him to make the decision whom he would like to be with, and that for her part, she is never going to give up just for her sake. When she thinks that she is being fooled (again) by her boyfriend, she goes out with another man to seek happiness rather than moaning on the loss of a true love... At the end of the film, we also learn that the mum of her boyfriend objects to their relationship but that they are still seeing each other and that despite the occasional worry if they will fall out, she is not going to let this concern to bother her too much and that she is getting on with her life as her heart is taking her to.
In short, different from those 'angelic' figures (usually in their late teens or early twenties with a perfect face and modern figure) who is willing to sacrifice their true love for the sake of his family or his career, this Sam-soon of no particular beauty or wealth, stands up for herself and fights for what she deserves. And where no physical relationship seems to be involved in those dramas focusing on first love, this one features a man (though with a perfect face and body but not a perfect character) who constantly desires the physical contact with his beloved and is sent out late at night to find 'it' by his girlfriend only to find her fast asleep when he returns.
It is not just the characters though that has made this drama stand out from the rest of the comic romance. The incredible performance, especially that from Kim Sun-ah, the leading lady; the comic scenes (Hyun Bin is getting better in later episodes), the romantic scenes (especially the 20 minutes sequence where Sam-soon sings a love tune when her then boss playing the piano), and the music, etc, also work extraordinarily well and magically to give it an exceptional quality that outshines its competitors. This is a drama of a real woman in the street with a scriptwriter that understands how it feels to be a 'plain looking' woman over her 'sell-by' date in Korea and knows a secret or two of how to lead a happy life ('Love, as if you have never been hurt; Sing, as if no-one is in the audience; Dance, as if you are on your own...'); and the words of wisdom from her father in the dream sequence when she meets him for the final time - to live happily everyday and not let any concerns to get in the way). All these make it little wonder for its huge success with its native audience (a 50% viewing rate for its finale) and the international ones.
If you have time for only one Korean drama, this is certainly one you cannot afford to miss.
April 12, 2011
Full house
It is official: I am addicted.
For the third Korean drama that I watched, I was so compelled to find out what happens next that I paused only for a few hours of sleep and a small breakfast. Not only my eyes felt sored, my stomach revolted as well.
So was the power of a gripping Full House, starring Korea's 'most beautiful woman' Song Hye-kyo and the then a new comer Rain, whose success in the drama would make him an international icon.
In order not to repeat what I did with My Girl, I returned the DVD straightaway so that I won't skip swimming for another viewing. When I revealed how I had enjoyed the drama, and felt a little bit childish for my behaviour, the owner of the DVD told me, to my relief, that she had watched it for no less than ten times.
Yeah, now I understand how come some Americans could watch Sound of Music for 66 times. It is an addiction.
For the third Korean drama that I watched, I was so compelled to find out what happens next that I paused only for a few hours of sleep and a small breakfast. Not only my eyes felt sored, my stomach revolted as well.
So was the power of a gripping Full House, starring Korea's 'most beautiful woman' Song Hye-kyo and the then a new comer Rain, whose success in the drama would make him an international icon.
In order not to repeat what I did with My Girl, I returned the DVD straightaway so that I won't skip swimming for another viewing. When I revealed how I had enjoyed the drama, and felt a little bit childish for my behaviour, the owner of the DVD told me, to my relief, that she had watched it for no less than ten times.
Yeah, now I understand how come some Americans could watch Sound of Music for 66 times. It is an addiction.
April 04, 2011
My girl
Television drama can be addictive. Even when they are silly, nonsensical, and when you struggle to suspend your disbelief. Back in the early 1990s, the whole population in China became hooked by Desire, the first soap opera in China...
Then there is Grey's Anatomy... which I never seem to have enough of.
I made a point not to follow television drama in the 1990s. Life is too short to spend hours on end to follow the multi-episode dramas, or to reschedule one's everyday routine to stay tuned. I much prefer listening to music or radio, activities that allow you to walk about and multi-task.
So this is new to me: after some mixed experience with Korean dramas barely a week ago, I found myself watching My Girl - for the third time in a row, well into the wee hours. Indeed like one of the reviews has it: it was well-written with good performance from all involved. A classic rom-com!
The heroine lies as freely as she breathes, and combined with frequent close up shots and monologues from her relating explicitly her inner thoughts (as if we cannot follow the plots without them), it was a total put-off for me at the beginning. But I was curious enough to persist - in the hope to work out how come such silly nonsense had been churned out at all, and I ended up watching the whole series with a fast-farward remote control in hand.
The last two episodes though changed my mind, and when I watched it a second time - this time, in normal play mode, I realised that once you could get over the initial shock (which takes about two episodes), it wasn't difficult to laugh all the way through with the heroine, while admiring the multi-talents of its actress - Lee Da-hea, who is capable of changing her facial expressions within the split of a second and seems to specialise in girlish charms of all kinds. And as if to reward those who, like myself, find the leading man a bit bland, Lee Dung-wook's character is transformed, in the last two episodes, into another man: one that knows exactly what he wants for himself and goes all his ways to get it. Despite his lack of athletics appearance, he looks manly in the last two episodes, and well deserves what he is after in the end.
My Girl relies heavily on stock of stereotyping in plots and characters; a dying grandfather whose wish rules the household; a gambling father who brings but debts to his daughter; a jealous girlfriend who cannot tolerate the sight of another pretty girl. Yet there are many elements which I find fascinating. Besides Lee Da-hea's versatility in appearing sweet, innocent, charming, yet mischievous and naughty almost all at the same time, Korean fashion, the way it projects its hero's image, use of western music throughout, hilarious references to popular Hollywood films/television dramas (such as 007 and X-file) , the status of woman in the modern society... are all subjects that can be looked into.
But perhaps the best thing is that there are only 16 episodes. Despite all the laughs that come with it, it is tiring to have to give up one's routine for too long. My Girl knows when to stop.
Then there is Grey's Anatomy... which I never seem to have enough of.
I made a point not to follow television drama in the 1990s. Life is too short to spend hours on end to follow the multi-episode dramas, or to reschedule one's everyday routine to stay tuned. I much prefer listening to music or radio, activities that allow you to walk about and multi-task.
So this is new to me: after some mixed experience with Korean dramas barely a week ago, I found myself watching My Girl - for the third time in a row, well into the wee hours. Indeed like one of the reviews has it: it was well-written with good performance from all involved. A classic rom-com!
The heroine lies as freely as she breathes, and combined with frequent close up shots and monologues from her relating explicitly her inner thoughts (as if we cannot follow the plots without them), it was a total put-off for me at the beginning. But I was curious enough to persist - in the hope to work out how come such silly nonsense had been churned out at all, and I ended up watching the whole series with a fast-farward remote control in hand.
The last two episodes though changed my mind, and when I watched it a second time - this time, in normal play mode, I realised that once you could get over the initial shock (which takes about two episodes), it wasn't difficult to laugh all the way through with the heroine, while admiring the multi-talents of its actress - Lee Da-hea, who is capable of changing her facial expressions within the split of a second and seems to specialise in girlish charms of all kinds. And as if to reward those who, like myself, find the leading man a bit bland, Lee Dung-wook's character is transformed, in the last two episodes, into another man: one that knows exactly what he wants for himself and goes all his ways to get it. Despite his lack of athletics appearance, he looks manly in the last two episodes, and well deserves what he is after in the end.
My Girl relies heavily on stock of stereotyping in plots and characters; a dying grandfather whose wish rules the household; a gambling father who brings but debts to his daughter; a jealous girlfriend who cannot tolerate the sight of another pretty girl. Yet there are many elements which I find fascinating. Besides Lee Da-hea's versatility in appearing sweet, innocent, charming, yet mischievous and naughty almost all at the same time, Korean fashion, the way it projects its hero's image, use of western music throughout, hilarious references to popular Hollywood films/television dramas (such as 007 and X-file) , the status of woman in the modern society... are all subjects that can be looked into.
But perhaps the best thing is that there are only 16 episodes. Despite all the laughs that come with it, it is tiring to have to give up one's routine for too long. My Girl knows when to stop.
March 29, 2011
The woman in the dunes
Although the title is The Woman in the Dunes, it is about an man who falls victim to a vicious trap set by a remote village council, becomes a virtual prisoner in an derelict isolated place, and strikes to reclaim his freedom with all means.
The surprising turn is, in the end, he chooses not to take up the route for freedom. And in a 'civilised' world he once occupied, he is reported as'lost'.
A visual treat of a kind, especially when the camera lingers on forms and shapes of the dunes - it reminds us of many a sensual pictures taken of sand, dunes, and deserts by the world's most talented photographers - the film is an allegory of the works of our minds and how even the most incidental event can disarm our innate desire and will to live to our fullest. A realistic film as well: it traces the minute struggles of an ordinary life - from an idealist to a realist, and how we eventually settle for the simplest pleasure available.
In The Woman in the Dunes, the dunes appear boundless, sensual, appealing and full of lives to an inquisitive visitor with an eye for exotic desert insects, which he keeps in a jar before displaying them in a glass front case. Soon however, it turns out to a silent accomplice of the vicious village council with a hidden agenda. In the end though, it loses the importance in the protagonist's search for freedom when it appears that it is the mind that determines one's fate.
The derelict house, that appears fascinating and welcoming for a tired traveler, has also changed its role many a times in the story. Soon after the man is fed, it first becomes a prison, then a battlefield for its occupiers, and eventually, a place the imprisoned man settles in at his own free will.
The use of space (the vast outdoors and the confined indoors) and the sparse dialogues, all reminds me, strangely, of Chen Kaige's Yellow Earth, made some 20 years afterwards in China. The difference is while in The Woman in the Dunes, it is the trapped woman and the discovery of water in the desert win the battle and get the man to leave civilisation behind, in Yellow Earth, it is an enlightened teenage girl who is devoured by the currents of the Yellow River in her desperate escape from an arranged marriage, is celebrated by everybody on the yellow earth.
The surprising turn is, in the end, he chooses not to take up the route for freedom. And in a 'civilised' world he once occupied, he is reported as'lost'.
A visual treat of a kind, especially when the camera lingers on forms and shapes of the dunes - it reminds us of many a sensual pictures taken of sand, dunes, and deserts by the world's most talented photographers - the film is an allegory of the works of our minds and how even the most incidental event can disarm our innate desire and will to live to our fullest. A realistic film as well: it traces the minute struggles of an ordinary life - from an idealist to a realist, and how we eventually settle for the simplest pleasure available.
In The Woman in the Dunes, the dunes appear boundless, sensual, appealing and full of lives to an inquisitive visitor with an eye for exotic desert insects, which he keeps in a jar before displaying them in a glass front case. Soon however, it turns out to a silent accomplice of the vicious village council with a hidden agenda. In the end though, it loses the importance in the protagonist's search for freedom when it appears that it is the mind that determines one's fate.
The derelict house, that appears fascinating and welcoming for a tired traveler, has also changed its role many a times in the story. Soon after the man is fed, it first becomes a prison, then a battlefield for its occupiers, and eventually, a place the imprisoned man settles in at his own free will.
The use of space (the vast outdoors and the confined indoors) and the sparse dialogues, all reminds me, strangely, of Chen Kaige's Yellow Earth, made some 20 years afterwards in China. The difference is while in The Woman in the Dunes, it is the trapped woman and the discovery of water in the desert win the battle and get the man to leave civilisation behind, in Yellow Earth, it is an enlightened teenage girl who is devoured by the currents of the Yellow River in her desperate escape from an arranged marriage, is celebrated by everybody on the yellow earth.
March 25, 2011
Korean dramas, first impression
Been lent three Korean television dramas by a neighbour. The first one I watched, Coffee House, felt like reading a the Taiwanese pop novelist Qiong Yao's romance - while none of the stories make sense, they grip you nevertheless and to your surprise, you suppress your disbelief and laughing along with it to the end.
I am still quite puzzled at the fact I was able to finish all eighteen 50 minute episodes within three days. The protagonist is a natural born sadist. Although he accepts to help out a total stranger, he lacks interest in carrying it through in a reasonable manner and marvels at thousands of tricks to 'torture' the poor secretary - who, despite her mature age of 25 and a degree in chemistry, is inexperienced and clueless to her surrounding world. Despite being an obvious laughing stock to her 'boss', she remains obedient, resilient, and accepts all the jokes played on her without queries. She appears dumb in front of a man in power.
I like the protagonist much. Though his given profession is a novelist, he behaves more like a spoilt superstar, lacking in depth and ingenuity, and after a little while, his facial expression become rather predicable.
But the story must have its charm - because not only I stayed till 2am to follow the story of romance, it is also the only one among the three dramas I was given that I felt inclined to watch.
I spent the following two nights trying to work out if I should respect my neighbour's wish and watch the other two, but I found them both far too slow in pace and the frequent use of close-repelling. Not only the stories did not seem to stand, the camera dwells on the face for far too long and it depends a lot on the exaggerating performance from all. If the two one hour per episode drama are to go by, Korea appears to a far cry from what might be called a modern society where fast-pace is the buzz word. And I am not sure if I like being the weaker sex there.
I am still quite puzzled at the fact I was able to finish all eighteen 50 minute episodes within three days. The protagonist is a natural born sadist. Although he accepts to help out a total stranger, he lacks interest in carrying it through in a reasonable manner and marvels at thousands of tricks to 'torture' the poor secretary - who, despite her mature age of 25 and a degree in chemistry, is inexperienced and clueless to her surrounding world. Despite being an obvious laughing stock to her 'boss', she remains obedient, resilient, and accepts all the jokes played on her without queries. She appears dumb in front of a man in power.
I like the protagonist much. Though his given profession is a novelist, he behaves more like a spoilt superstar, lacking in depth and ingenuity, and after a little while, his facial expression become rather predicable.
But the story must have its charm - because not only I stayed till 2am to follow the story of romance, it is also the only one among the three dramas I was given that I felt inclined to watch.
I spent the following two nights trying to work out if I should respect my neighbour's wish and watch the other two, but I found them both far too slow in pace and the frequent use of close-repelling. Not only the stories did not seem to stand, the camera dwells on the face for far too long and it depends a lot on the exaggerating performance from all. If the two one hour per episode drama are to go by, Korea appears to a far cry from what might be called a modern society where fast-pace is the buzz word. And I am not sure if I like being the weaker sex there.
March 21, 2011
Life is good
There are moments in life when the thought 'gosh, life is good' creeps into mind.
I had encountered such moments over the weekend - at Joanna Newsom's concert, then at Aphex Twin's.
Musically, and in stage persona, they can't be more different. They were both sublime.
I had encountered such moments over the weekend - at Joanna Newsom's concert, then at Aphex Twin's.
Musically, and in stage persona, they can't be more different. They were both sublime.
March 07, 2011
Possible loves
Judging from Possible Loves (Amores Possiveis), Murilo Benicio is capable of everything: a hopeless yet absolutely adorable mother's boy who refused to grow up and had his mum to run his life; a man who was confused of his sexual orientation after a hot dance with his ex-wife; and a successful yet rigid lawyer who became guilt-striken after initiating an affair with a girl who stood him up 15 years ago.
OK, when we really look deep into all three characters, there might be a lack of depth in characterisation in that they are all more about a particular moment in life, but the performance is of such sublime quality from all involved (the chemistry between mum and son being the most best), Possible Loves outshines most of its competitors in this genre from around the world. I got a sense as well - which was not dispelled even after second viewing, Possible Loves is a possible sequel to... In the Mood of Love from HK. While the latter dealt with love that was strictly bounded by morals, the former beg the question of what if... and comes up with three different answers. Though there was a romantic ending to one of the stories in Possible Loves, the overall mood is sadness, as in In the Mood of Love.
Murilo Benicio is, I know I am biased, probably one of the best of actors. It was a sad surprise to realise that he stars also in Woman on Top, a film that completely failed to impress me, possibly due to its annoyingly sexist and silly poor scripts. I am expecting more from him.
PS: I borrowed Orfeu in my next visit to the library and put it on the first chance that I had. Murilo Bencio played a gangster in a baggy jacket and a tight hat. But probably because he was playing the third fiddle to the pop idol and his Indian beauty queen girlfriend, he seemed eclipsed in it.
OK, when we really look deep into all three characters, there might be a lack of depth in characterisation in that they are all more about a particular moment in life, but the performance is of such sublime quality from all involved (the chemistry between mum and son being the most best), Possible Loves outshines most of its competitors in this genre from around the world. I got a sense as well - which was not dispelled even after second viewing, Possible Loves is a possible sequel to... In the Mood of Love from HK. While the latter dealt with love that was strictly bounded by morals, the former beg the question of what if... and comes up with three different answers. Though there was a romantic ending to one of the stories in Possible Loves, the overall mood is sadness, as in In the Mood of Love.
Murilo Benicio is, I know I am biased, probably one of the best of actors. It was a sad surprise to realise that he stars also in Woman on Top, a film that completely failed to impress me, possibly due to its annoyingly sexist and silly poor scripts. I am expecting more from him.
PS: I borrowed Orfeu in my next visit to the library and put it on the first chance that I had. Murilo Bencio played a gangster in a baggy jacket and a tight hat. But probably because he was playing the third fiddle to the pop idol and his Indian beauty queen girlfriend, he seemed eclipsed in it.
January 03, 2011
Infernal affairs
In My Name Is Fame, when Lau Chingwan's character - in an intoxicating state - wonders out loud how come a certain HK film can claim to have a Hollywood remake, and that isn't it true that most HK films copy Hollywood products, what springs to minds to most of the cineasts could well be the Infernal Affairs series and its Hollywood remakes The Departed.
Indeed, for those who have followed the 'original' HK version, The Departed is not exactly a most anticipated experience owed to the lack of suspension, a crucial ingredient the crime/cop genre. It is a little bit too long and the leading actors are certainly less charismatic than their HK counterparts.
But overall, it is a good remake - and credits should be given to the screenwriter who has adapted it so well into the American (sub)culture. The major 'flaw' I can spot is the scene where Chinese are involved. In that scene where a 'Chinese official' is supposed to be present at the illegal arms deal, one of the two being used on screen is Cantonese rather than Mandarin, and it is obvious that the interpreter struggles a little bit with the pronunciation! By 'opting' for Cantonese rather than Mandarin at this scene (assuming it was not a random decision), one might argue that the remake pays tribute to its HK blueprint. However, if the film wants to sustain its credibility throughout, in this scenario, the illegal arms deal is to do with China's long term ambition to reclaim Taiwan, then the 'Chinese official'(presumably a high ranking one otherwise it is difficult to get funded) could hardly be a Cantonese speaker. The reason behind this is ostensible to most Chinese 'experts', and it is puzzling that this is allowed in a film of such calibre.
I enjoyed watching this remake, that is, despite the weakest link - that of the only female character and her relationships with two men. Her characterisation is not sufficiently developed, and like most fans of the originals, I think it an error to combine two female characters into one.
As a fan of its second sequel, Tony Leung and Francis Ng, I definitely believe the original is far more superior and original!
Indeed, for those who have followed the 'original' HK version, The Departed is not exactly a most anticipated experience owed to the lack of suspension, a crucial ingredient the crime/cop genre. It is a little bit too long and the leading actors are certainly less charismatic than their HK counterparts.
But overall, it is a good remake - and credits should be given to the screenwriter who has adapted it so well into the American (sub)culture. The major 'flaw' I can spot is the scene where Chinese are involved. In that scene where a 'Chinese official' is supposed to be present at the illegal arms deal, one of the two being used on screen is Cantonese rather than Mandarin, and it is obvious that the interpreter struggles a little bit with the pronunciation! By 'opting' for Cantonese rather than Mandarin at this scene (assuming it was not a random decision), one might argue that the remake pays tribute to its HK blueprint. However, if the film wants to sustain its credibility throughout, in this scenario, the illegal arms deal is to do with China's long term ambition to reclaim Taiwan, then the 'Chinese official'(presumably a high ranking one otherwise it is difficult to get funded) could hardly be a Cantonese speaker. The reason behind this is ostensible to most Chinese 'experts', and it is puzzling that this is allowed in a film of such calibre.
I enjoyed watching this remake, that is, despite the weakest link - that of the only female character and her relationships with two men. Her characterisation is not sufficiently developed, and like most fans of the originals, I think it an error to combine two female characters into one.
As a fan of its second sequel, Tony Leung and Francis Ng, I definitely believe the original is far more superior and original!
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