Memories (2002) (Part of Three Extremes 2)
Director and writer: Kim Jee-WoonStarring: Kim Hyu-su, Jeong Bo-seok
Running Time: 40 mins (Total length of Three extremes 2 is 128 mins)
UK Distributor: Tartan Films
Tartan have recently released Kim Jee-woon’s short as part of the Three Extremes 2 collection, which like the Three Extremes 1, features a total of 3 shorts from influential filmmakers who reside in Asia. Unlike the first edition, however, it follows the popular genre of horror.
As you probably know, Kim explores the horror avenue in A Tale of Two Sisters and skilfully uses his expertise to devise his noir masterpiece, A Bittersweet Life in 2005. In Memories, he takes a theme that is not too dissimilar to A Tale of Two Sisters and gives it a noir punch. This results in a piece of work, which effectively functions as an experimental piece.
The plot is reasonably straight forward, though he doesn’t follow the linear narrative, so for a while you become a little confused, but as time folds Kim reveals all we need to know. Essentially it begins with a husband on a sofa trying to establish what exactly has happened to his wife. Meanwhile his wife is walking the streets only aware of a telephone number she has remembered. When a body turns up in the back of the husband’s car, things begin to take a rather unpleasant turn – as if it hasn’t already.
"Memories may not be a superb film, but it is a great study of its director"
Whilst watching this short feature, it felt a little bit lake déjà vu. Although it was made prior to A Tale of Two Sisters and A Bittersweet Life, it was only released on DVD in the UK on 25 September 2006. The methods devised, particularly his visual style – slow zooms and pans, stills and his iconic shots that follow the character at his/her height, thereby losing spatial awareness are reminiscent of A Bittersweet Life. Likewise his use of editing, which is full of interruptions to make the viewer increasingly more uncomfortable are not only apparent, but also in large number are indications these pieces of work are linked. The composition of sound is also very unique - he drains the exterior sound to ensure the viewer is drawn into the scene. The sound is so compact, that you almost feel claustrophobic. This is arguably one of the winning formulas that allowed The Tale of Two Sisters to do so well.
So, is the film any good? Well, on its own it fails to compel you in the ways A Bittersweet Life and A Tale of Two Sisters did (that’s providing you have seen them), which would suggest he had learn some lessons by making this film. And let’s not forget this is a short film, so he does have limitations with the narrative.
It is not quite as interesting as Park Chan-wook’s short, however, by placing this film in the context of the two films he made shortly after, it is clear not only how his talent progressed by studying this film in comparison to the films he made later, but also his ability as a film auteur. Auteurism is a very complex study, but despite the fact that the amount of films he has made has not been extensive in any way, Memories highlights the fact that even 4 years ago, there is enough evidence to suggest he was becoming an auteur. Perhaps he has now become one. Memories may not be a superb short film, but it is a great study of its director.
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Special Features
Other than a trailer reel and some film notes, there is nothing really on show.
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JASON BECHERVAISE
The Coastguard (2002) (해안선)
Director and writer: Kim Ki-duk
Starring: Jang Dong-gun & Kim Jeong-hak
Running Time: 94 mins
Cert: 18
UK Distributor: Tartan
UK Theatrical Release: No theatrical release in the UK
Synopsis
Private
Kang (Jang Dong-kun) is motivated by killiing a spy, which is the
highest honor in the Korean army and if one meets this challenge, he is
honorably discharged. But one night, he mistakes an innocent civilian
as a spy and as a result kills him. His life takes a sudden fall and we
as viewers follow him slowly but surely lose grip on reality.
Review
After the success of Kim ki-duk’s Spring, Summer, Autumn, Winter and Spring,
a catalogue of his work has begun to emerge – some may even see it as
ironic that it comes at a time when Kim ki-duk has announced his
retirement from the Korean film industry following heavy criticism of
his remark of the smash hit, The Host. Nonetheless as controversial as his work maybe, it deserves a great deal of attention.
The Coastguard
is evidently the most nationalist film he has made. Some may argue it
is the only nationalist film he has written and directed, but in my
opinion in most of his films there is evidence of some kind of
independence, whether it is political or social, it a theme he has had
a burden to follow. That said; however, as with the success of a
significant number of Korean films, it is the only film of his that has
really explored the North and South divide.
Although
thematically it is a little different from his usual narratives, he
doesn’t fail to get if it a shocking, absorbing and an unpredictable
edge. It is not long after the film has commenced that Kim delivers an
image that you will never forget. As the film progresses Kim draws you
into a field of torment and mixed emotions and like all his work he
asks you as the viewer to see the film from a different prospective.
Throughout
the film it is clearly evident that Kim has played a great deal of
focus and attention to detail. From the use of weapons to uniforms, Kim
is delivering the viewer with a clear picture of the Korean military
service and its demands. No doubt he has drawn from his own experiences
from his military service to try and make the film as authentic as
possible.
"All
in all, this is a very different film, not only compared to films the
form of motion picture has to offer or even compared to Korean cinema
for that matter, but for Kim himself."
Since
this is one of Kim’s earlier films there is a sense that there is more
freedom and flexibility to his filming. This is not to say that in his
later he films he has had to compromise the harsh realities he is
trying to depict, but in recent films, there is a strong sense that he
feels restricted, but in this film he seems to be far more content and
relaxed not only in the final result, but also in the methods he has
devised to produce the film.
Unfortunately, one of Kim’s
weaknesses I have noticed from watching his films is that he sometimes
looses a bit of momentum or as the Americans would say, “there is no
gas”, which makes the film feel a great deal longer than it actually
is. Although the film lays a strong foundation in the opening 20/25
minutes or so, the second half of the film, lacks some legitimate flow.
He spends too much time exploring the dilemmas the protagonist is
facing as well as the people he comes in contact with, but as a result
the drive behind the narrative is pulled further and further away.
That
said though, the harrowing depiction of the paranoid soldier is
wonderfully played by Jang Dong-gun and is evidently reminiscent of
some the work by some of Hollywood’s best, like Marlon Brando and
Robert De Niro. It is also very interesting to watch a film that deals
with the psychology behind a soldier enlisted to the army and the
subsequent consequences of his experiences. Mental torment is a key
theme Kim explores so much so he puts a female into the equation, which
gives the film that added punch.
All in all, this is a very
different film, not only compared to films the form of motion picture
has to offer or even compared to Korean cinema for that matter, but for
Kim himself. In some ways it highlights his strengths, but in others is
draws on his weaknesses. Not a film I would recommend to anyone, but
for those who are fascinated with Kim’s work or who are interested in
seeing a different prospective on the North and South divide, you will
probably want to have a look.
* * *
Extras.
The introduction by Kim Ki-duk is quite interesting, not so much by what he says, but how he says it. Like Coastguard
he is very content and relaxed, yet in recent interviews he appears
very drawn and exposed. My only criticism is its very short length.
Granted it is an introduction, but a very brief one at that. Perhaps it
would have been a good idea to have a full-length interview somewhere
along the lines, but at least there is something. Other than that, the
only features on offer are a trailer reel.
As a whole, a little
disappointing really, but like I said at least there is something and
when you are releasing older films, it is often difficult to produce
any extras. At the time of release, the DVD revolution as we know it
now hadn’t really hit the west. Nor was there a demand for Korean films
in the west. Consequently, especially for films with restricted
budgets, there wasn’t such an emphasis on producing extra features.
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JASON BECHERVAISE
Samaritan Girl (2004) (사마리아)
Director: Kim Ki-duk
Starring: Kwak Ji-min, Min Jeong-Seo & Lee Eol
Release Date (Kor): 5th March 2004
Distributor (Kor): Showeast
Distributor (UK): Tartan films/Tartan Video
Release Date (DVD -UK): 21st Aug 2006
Cert: 18 (TBC)
No theatrical Release in UK.
Synopsis
Two
young female adolescents start a prostitution business to raise money
in order to travel to Europe. Ye-Jin (Ji-min Kwak) is responsible for
the business side of things whereas her closest friend, Jae-young
handles the clients. Things seem to be running smoothly until Jae-young
falls into a spot of bother and as a result Ye-Jin seeks
self-punishment for what has happened though repaying each of the
clients. Meanwhile Yeo-Jin’s father discovers what she is up to and
takes out his anger on her clients, which subsequently leads them both
on the road to redemption.
Review
This is the latest release from the catalogue of Kim Ki-duk and like Bad Guy;
it looks at the sensitive issue of prostitution. But despite many
similarities this is very different to his other films – it is arguably
far more suggestive compared to his usual explicit method of filming.
From
the synopsis one gets the impression that there is a strong line up of
sex and nudity, something Kim ki-duk is hardly afraid of using, yet
there is no such scene in the entire film, though there is some mild
nudity. Each scene is carefully planned and executed in a way to imply
and suggest what is going to happen and what has happened.
As
a whole the film is compelling, but at the same time it is
heartbreaking and it difficult to be unmoved as the story unfolds. In
the later stages of the film it is almost as if you as the viewer are
being drawn into this small family and facing the redemption Yeo-Jin
and her father are experiencing.
"this film clearly demonstrates why there is no other director like Kim Ki-duk."
There
is no indication that this sort of prostitution is a common occurrence
in Korea, however, nor does Kim suggest it is a matter of fiction. Kim
is keen to raise issues that more often than not are left hidden in a
rich culture and to highlight the tragedy it brings to those involved.
Kim is constantly asking the viewer what he/she would do put in the
same position.
Kim has a habit of using motifs and Samaritan Girl
is by no means an exception. The use of water appears towards the
conclusion, as does his style of editing, which is in one sense
simplistic, yet at the same time unusual. His reliance on sound is
evermore prevalent and the music throughout is as always very mellow
and thought provoking. As with some of his features there is also a
sense of restraint on the amount of dialogue used. Perhaps this is to
avoid translating errors or/and to allow the viewer to really take on
board the depth of the film.
All of these attributes combined
with strong performances from the whole team of actors have produced an
uncompromising film, which will leave you drawn and moved. Although at
times Kim does loose his way a bit and for those expecting the magic
of Spring, Summer, Autumn, Winter and Spring will
probably be a little bit disappointed, there is a lot here to take away
and this film clearly demonstrates why there is no other director like
Kim Ki-duk.
* * * *
Extra Features
Unfortunately,
although it says on the back of the DVD there is a director
introduction in addition to an interview with Kim Ki-duk, it appears
they are not on the DVD for some reason. Perhaps I missed it, but after
searching I couldn’t find it. However there is a trailer reel, which
includes some of Kim Ku-duk films like Spring, Summer, Autumn, Winter and Spring as well as a preview of their 3 extremes DVD (reviewed above). A little bit disappointing really.
*
Jason Bechervaise
Cut (Part of Three Extremes) (2004)
Director: Park Chan-wook
Starring: Lee Byoung-hun, Lim Won-Hee & Gang Hye-Jung
Running Time: 40 mins
Cert: 18
Release Date: 21/08/2006
RRP: £19.99 (also includes Dumplings (Chan) and Box (Miike))
Synopsis
The
short film follows a director who seems to have no bad bone in his
body, but when he is faced with a film extra that has a grudge, he
begins to show a darker side.
Review
This
collection brought together by three directors from the three tigers of
the Asian film market, Park Chan-wook (goes without saying, Korea),
Miike Takashi (Japan) and Fruit Chan (Hong Kong).
The piece by Park Chan-Wook sounds a little like a violent episode of Star Wars with
a piercing after taste. Instead of Anakin Skywalker turning to the dark
side it is a reputable film director (Lee Byong-hun) who is forced to
make life-changing decisions, which have drastic consequences.
One
of the beauties of this short film is its unpredictability so I am not
going to reveal any spoilers for you, though if you are familiar with
Park’s work, no doubt you will come to expect the shocking surprises,
which lie around the corner.
“In western terms, this is kind of like Star Wars meets Saw.”
Unsurprisingly
the short narrative follows the theme of revenge but this latest mini
instalment reveals more of his comical side and a further desire to
turn the theme of revenge on its head. In western terms, this is kind
of like Star Wars meets Saw.
What I personally liked about this film was the black humour. This has always been evident, particularly in Lady Vengeance,
but here he goes beyond his normal boundaries and almost experiments a
little to see how much he can get away with. It is cruel, but you can’t
help laugh at the sadistic tone.
As always with Park
Chan-wook there is always a philosophical feel to his films and this is
no exception. Underneath the blood bath, perhaps he is highlighting we
are all mad in some way, despite our friendly faces and more notably
despite our class or social status. Perhaps Park is suggesting,
although society sees the working and upper classes in different
leagues, they are very much in the same one.
It may only be 40
minutes or so, but it will play with your mind for hours. It is not a
complex story, but Park’s ability to balance humour alongside sadism
and tragedy is extremely thought provoking.
As expected the
cinematography, despite its almost sole location is exquisite. The
balance between wide-angled and close-up shots provides uneasy viewing
to capture the audience. Likewise his use of lighting and sound follow
suit. Although much of the film is filmed on one set, the sound never
feels boxed in. Performances are nothing less than perfection from all
areas of the crew.
As for short films, this is one of the
best I have ever seen. Not that I have seen a vast amount, but short
films are always quite tricky. In one sense it is no different to a
regular 90 min film, yet in another sense it half the length so to fit
a short narrative with strong characterizations, tension and with some
kind of closure in a 40 minute period is an achievement in itself. It
also fits perfectly well amongst the other 2 short films, which offer
similar class, but lets be honest, there is only one Park Chan-wook out
there and this short film shows he is still on very fine form indeed.
* * * *
Jason Bechervaise
A Bittersweet Life (달콤한 인생)
Director: Kim Ji-woon (김지운)
Starring: Lee Byeong-Heon (이병헌), Sin Min-ah (신민아), Kim Young-cheol (김영철), Kim Roi-ha (김뢰하) & Hwang Jeong-min (황정민)
Running Time: 120 mins
Cert: 18
Korean Distributor: CJ Entertainment
Korean Release Date: 4 Jan 2005
UK Distributor: Tartan Films
Theatrical Release Date: 20 January 2006
DVD Release Date: 24 April 2006
Synopsis:
Kim Sun-woo is a enforcer of a top gangster. After being given a seemingly simple take – to spy on the bosses girlfriend, Sun-woo makes a fatal decision which leads a once successful man on the downward spiral.
Review:
After the success of A Tale Of Two Sisters, it perplexed many people when Kim Jee-woon announced he was going to be doing a gangster film next. When the revenge story, and stills of leading man Lee Byung-hun in a black suit were revealed, many felt Kim Jee-woon was jumping on the stylised violence bandwagon, made famous by the like of Tarantino, and more recently, Park Chan-wook. However, A Bittersweet Life is a very different animal to those mentioned. Kim Jee-woon instead offers to delve much deeper into the consequences of decisions and the reality of revenge. All this may sound very similar to another recent Korean film – Old Boy, however, it is the character of Kim Sun-woo, a once beloved apprentice, now a fierce enemy, that divides the films.
The film can be divided into two chapters – the celebration of Kim Sun-woo and the destruction of Kim Sun-woo. In the first half of the film, Sun-woo is a polished, sexy, well dressed killing machine. The opening sequence shows him in martial arts action, taking out three troublemakers in his hotel, while never even creasing his suit. Another scene depicts him beating the hell out of two joy riders who throw a cigarette at his car. Apart from this, he is obviously the apple of his boss’s eye and the well articulated head enforcer. What a guy! However, when he defies the instructions of his boss, it leads to total elimination of the character which has been built up. It is a bold move by Kim Jee-woon, and certainly wouldn’t be seen in a Hollywood movie. From the point where Sun-woo is beaten in his flat, he is then continually tortured. How many Hollywood films would feature their lead hero, a king of cool just 5 minutes ago, being hung up and vomiting while being prepared to be cut up? The slick martial arts which existed in the first half of the film disappears in an escape sequence, in which Sun-woo has to use the likes of bricks, 2x4’s, a mobile phone battery and a car to battle the opposition. Gone is the slick choreography, in is the down and dirty reality violence, which then carries the film into its grizzly climax.
There are however, a few plot holes. The romance in particular leaves a little character development to be desired and also leaves us with a lasting feeling of bewilderment. The love interest, Hee-soo (Shin Mina), infatuates most of the men around her, but what their exact attraction is to her is not really developed, as is the feeling of the men who are attracted to her. However, a debatable issue is whether her character is really important, despite her proving the catalyst for Sun-woo’s demise. This leads to a certain level of ambiguity concerning the underworld’s attack on Sun-woo, and leads us to think about the real pivotal relationship of the movie, which is between Sun-woo and his boss, in essence, the teacher/sudent relationship.
The real spirit of this film however, is Kim Sun-woo, played brilliantly by Lee Byung-hun. This is a truly outstanding performance by Lee, as he characterizes the betrayal and struggle which his character goes through. Two particular moments capsulate Sun-woo’s journey through the film. One in which he is about to embark on the final onslaught and stands in front of a mirror telling himself everything will be ok, emphasizing Sun-woo’s silent yet passionate nature. The final scene of the film brings together the bittersweet nature of Sun-woo’s life, which also recalls Kim Jee-woon’s style of filmmaking. The wonderful cinematography and well rounded story makes this an instant classic Korean noir which would be enjoyed even by film fans alien to Korean films.
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