Thirst / 박쥐

Director: Park Chan-wook (박찬욱)
Starring: Song Kang-ho (송강호), Kim Ok-bin (김옥빈), Kim Hae-sook (김해숙) and Sin Ha-gyoon (신하균)
Running Time: 133 min
Korean Release Date: 30/04/2009
Number of Korean Admissions: 2,223,077
UK Release Date: 16 October 2009
UK Distributors:Tartan Pallisades & Metrodome.

Synopsis
Beloved and devoted priest from a small town volunteers for a medical experiment which fails and turns him into a vampire. Physical and psychological changes lead to his affair with a wife of his childhood friend who is repressed and tired of her mundane life. The one-time priest falls deeper in despair and depravity. As things turn for worse, he struggles to maintain what’s left of his humanity.
Source: KOFIC

Review and some thoughts on the Q&A at the Curzon and Korean Cultrual Centre

Park Chan-wook (박찬욱) came to town last week to answer some questions on his latest film, Thirst. Premiered at the Curzon, Soho, it was completely sold out, as expected – his last Q&A at the Curzon, Soho was sold out in minutes, allegedly – and so it was hardly surprising to see a full house. The Q&A lasted around 30 minutes and to be honest, the questions were, for the most part, pretty lame – I become a little frustrated when people always feel compelled to ask questions about Oldboy / 올드보이 - (2003) and his other films in his Vengeance trilogy especially when we have just seen Thirst, but perhaps I am being a little unfair.

Park Chan-wook at the Q&A at the Curzon, Soho, London on 5 October 2009

The following night, Park Chan-wook generously gave up a whole hour to answer questions following a screening of Sympathy of Mr. Vengeance / 복수는 나의 것 (2002) at the Korean Cultural Centre, which was a much more fruitful session with a variety of different and intriguing questions. The session also lacked a facilitator, but Park seemed very content in choosing which question to answer next  - he in fact seemed to be more comfortable doing it this way and hence the rather long Q&A. It seemed more personal. The Q&A with Im Sang-soo (임상수) at the Korean Cultural Centre last year was quite similar. Park then spent time to mingle and take pictures with his devoted fans.

Park Chan-wook at the Q&A at the Korean Cultural Centre, London

In this review, I am going to try and incorporate some of what Park said in the Q&As while reviewing the film. Time doesn’t permit me to do separate articles, but hopefully combining the review with what he said will give you some insight.

 Some have labelled Thirst as a return to form and given the review sizes in some of the UK’s film magazines, some could see it that way. Empire, for example, gave it 4 stars with a reasonably sized write-up. Only a handful of Korean films have received a decently sized review in Empire; these include The Host, Oldboy and  Lady Vengeance / 친절한 금자씨 (2005). But this is as much about how many screens the film will be shown on – i.e bigger releases – and advertisements in the magazine are also a factor as it is about the film itself. Nevertheless, the larger scale media coverage signifies Park Chan-wook returning to the familiar ground of gratuitous violence and eye-popping narratives. Compared to I'm a Cyborg, But That's OK / 싸이보그지만 괜찮아 (2006) which not only flopped in Korea, but also received a much smaller release – i.e on the festival circuit, one or two other screenings here and there, and then straight on to DVD - this marks a return to the fame and high profile releases of Oldboy and Lady Vengeance.  It is hardly surprising; therefore, that Park is anxious to come back on to the world stage to build his reputation as a cutting edge and controversial director. 

Thirst is almost guaranteed to be some sort of success for those who have invested in it, at least on the world stage. Whilst its success in Korea was short-lived  - it made over a million admissions in its opening weekend, but only took a total of 2,223,077 admissions – its popularity abroad is likely to grow and grow as the film appeals to his key demographic: males in their teens through to their 30s. Although, of course, there will be others that will enjoy his work.

Thirst is extremely well made from the sophisticated camera work to the exquisite mise-en-scene. The narrative too has been clearly well thought out and takes more than one viewing to fully grasp what is really going on thematically, although I am not sure it is complex as some make it out to be. It is very humorous and from the very word go, Park is intent on bringing in some humour. In fact before the film started at the Curzon, Park said he always appreciated the UK audiences the most because we are the only ones who seem to understand his humour. So, it was hardly surprising to hear many people laughing throughout the film, and understandably so. In places, it is very witty.  He said in the Q&A afterwards that he doesn’t like long pauses of sorrow or fear and therefore, likes to “break that kind of moment with my humour.” I think he shares some similarities to Bong Joon-ho (봉준호) in this respect.

Thematically, it deals with faith, salvation and temptation. Though as a Christian, I do struggle with some of the issues Park is putting forward. Park said the idea of tackling Catholicism began when he was a child when a priest told him and his family that he would be a great priest. At that moment, he gave up going to church and wondered what kind of life a priest would live and what temptations one should avoid. He then thought about how the blood of Christ reminded him of vampirism, rather than signifying the death of Christ. And hence the story of a priest who becomes a vampire who then struggles with his new biological status as a vampire verses his moral and spiritual obligation as a priest. His greatest temptation resides the in the character of Tae-ju, who is it at the heart of his relapse. Parallels to the story of Adam and Eve are clearly evident. Whilst the narrative is complex and almost feels like a rollercoaster ride, the central theme to Thirst is surprisingly simple. This is perhaps the film’s greatest strength; on the one hand it is dense and complex, yet on the other, quite simplistic.

Performances are flawless throughout. Song Kang-ho has yet again demonstrated why he is one of the most sought-after actors in Korean cinema and unafraid to raise the bar. Kim Ok-bin, who is relatively new compared to Song, courageously gives her all, although she does seem a little uncomfortable in places. Nevertheless, she has demonstrated that she is an actress to watch in the future as she delivered a convincing and extremely intense performance. The remaining cast members are all superb; Sin Ha-gyoon is sensational as Kang-woo (Tae-Joo’s husband) and Kim Hye-sook is brilliant as Lady Ra (Tae-joo’s mother-in-law).

Whilst this is certainly an accomplished piece of work and I don’t want to take away from what I think is a compelling film, if I am honest, however, in the context of Park Chan-wook, I did find it a little repetitive. Although I continue to admire Park Chan-wook and I remain steadfast in saying that he is a very talented director whom I respect enormously and therefore would differentiate myself from those who loathe him; to me, however, this is a film very much tailored to cement his reputation as a director who is inclined to use explicit violence and controversial story-lines, primarily aimed at an international audience. In the Q&A at the Korean Cultural Centre (KCC), he even paused for a while when asked whether he could make a film without violence. To me, after watching Thirst, ironically, I have come to admire I’m a Cyborg, but I’m OK more.  At KCC, he said that a journalist from the Guardian told Park that her favourite film of all time was I’m a Cyborg, But I’m Okay. He then said he tried to give her the best interview ever. It is my impression therefore that he is disappointed with the poor reception of I’m a Cyborg, But I’m OK, especially given that he has said on more than one occasion that this is his favourite film. It seems after I’m a Cyborg, But I’m OK, he decided to return to familiar ground, but I would like him to continue to experiment a little more and not make films that are appealing to his core audience who see him as a cult director with a distinctive style. Even in I’m a Cyborg, although it was different to the Vengeance trilogy, it still feels like a Park Chan-wook film through its emphasis on style. In Thirst, the colours and mise-en-scene, although masterfully put together, I would have come to admire this film more, had he tried something a little different and innovational. It is interesting that Park said that “I’m a Cyborg is apparently gaining a slow-burn popularity” – I think this will continue as people see Thirst.

So what is next for Korea’s most popular director on the word stage? In the Q&A he said he wants to attempt to look at marriage.  "In my next film, my main character is going to be married.”  This sounds very interesting – I only hope he tries to do something a little different and unexpected and I have a feeling he will.

So in short, yes, it is a strong piece of work and will no doubt please, if not excite those who have come to admire his vengeance trilogy, but those looking for something a little more experimental will feel a little disappointed, whilst at the same time accepting and acknowledging his extraordinary ability as a director.

Before I close, I just want to include one good question that was asked in the Q&A at the Korean Cultural Centre: “Who are the current directors you are most jealous of?” Here is what he said:

"Bong Joon –ho: for the locations he finds and for his absolute perfectionism"He talked about how Bong will take months writing a script  (Memories of Murder took six months) whereas Park takes a matter of weeks.

"Hong Sang-soo: because he’s created his own style, a formula that works for him and him alone. I’m really envious of him (some though would argue you could say the same about Park)

Kim Ki-duk: because he produces films so quickly with so little money. That’s a real skill.

And Kim Je-woon: because he is not married"

Director Park with cast in Korea earlier on this year.

Excellent stuff! You can find out what Bong Joon-ho envies about other Korean film directors at the BFI next month.


*  *  * 

Jason Bechervaise

The Good, The Bad, The Wierd 좋은 놈, 나쁜 놈, 이상한 놈
Director:  Kim Jee-woon (김지운)
Starring: Song Kang-ho (송강호), Lee Byeong-Heon (이병헌), Jeong Woo-seong (정우성)
Running Time: 139 min
Korean Distributor: CJ Entertainment
UK Distributor: Icon Films
Korean Release Date: 17th July 2008
UK Release Date: 6th February 2008 - I will do a post next week as to where the film will be shown, though I do know it will open at the Shaftesbury Avenue (London) Cineworld and will then play at other major cities including Dublin, Birmingham, Manchester, Glasgow, Edinburgh and Sheffield

Synopsis

With the Korean Peninsula under Japanese rule in 1930s, many Koreans flock to Manchuria for refuge. Some become bandits, some train robbers and yet others bounty hunters. While the Weird, a notorious train robber, is stealing from a Japanese train crossing the Manchurian plains, he discovers a treasure map. But the map is also sought after by the Bad, a merciless gang leader. Coincidentally, the Good, a bounty hunter, is on the train, and he is after the Bad. The three engage in a spectacular chase with the Japanese Army, the Korean independence fighters, and the Chinese bandits all looking to get their hands on the prized map

Review

The biggest hit and most hyped Korean film of 2007 is about to hit the UK screens. Ever since it emerged that Kim Jee-woon (김지운) was going to direct a Korean western, many, if not everyone interested in Korean cinema has had some interest in this film, or at least some curiosity. At the very least, it is interesting to see a Korean director attempting to remake a Western film, not just for Korean audiences, but also for international audiences – there are two versions of this film: a Korean version and an international version. Unsurprisingly, the version being released in the UK is the international version.

So, is it any good? Does it live up to all the hype? Well, the answer to these questions is neither a yes nor no. Lets look at what it does well first… The film looks outstanding. Visually, it is one of the most impressive films you will see at the present time. Whilst special effects obviously play a part, Kim Je-woon’s superb directing produces some spectacular set-pieces from the word go right through to its conclusion. Even the most cynical won’t fail to be entertained in some shape or form as the relentless action keeps you glued for the over two hour duration. Those who know Kim’s work well will know he is one of the most innovational and stylish directors around, not least in his ability to move the camera around and place it in locations few would dare. The Good, The Bad, The Weird (좋은 놈, 나쁜 놈, 이상한 놈) is no exception is this regard; there are numerous scenes in which he raises the bar for himself and other directors looking to imitate his stylish techniques.

The actors’ too have played a key part in the action sequences and no doubt Lee Byung-hun (이병헌), Song Kang-ho (이병헌) and Jung Woo-sung (정우성) all had their work cut out in delivering the necessary performances, which they all excel in. Lee Byung-hun turns nasty in a very impressive manner; Song Kang-ho continues to do what he always does so well – playing rather strange characters; and last, but by no means least Jung Woo-sung while quite bland, his action sequences are breathtaking and although many have criticised his acting, his ability to be so agile on screen is something to be envied.

A Kim Jee-woon film wouldn’t be complete without a vibrant soundtrack and even from the trailer one can see that no expense has been spared, not only in how the film looks, but also equally in how it sounds. And arguably, it’s money well spent as it proves to be an invaluable asset to the film.

Whilst there are many achievements, the film does unfortunately slip-up in one or two areas. Most notably in this regard is the plot. Not only does the film suffer from a lack of character development, it has no depth at all. Although, one doesn’t expect a great deal of depth from Kim Jee-woon; his films have always had a greater emphasis on style, but given that the story does involve Korean independence fighters and indeed, given that the central 3 characters have moved from Korea to Manchuria to escape Japanese rule, one does expect the narrative to explore this more than it did, if it did at all. In fact, in the Korean version, the independence fighters have more screen time and therefore this is something that the domestic version explores, although the freedom fighters still fail to play a significant part. Furthermore, the character of The Good, played by Jung Woo-sung is also expanded in the Korean version as it explains some of his background, which is very useful.

I would have also liked to see more humour, which again is found more in the Korean version, though there are funny moments in the international version. But Kim has a great sense of humour, which is illustrated in The Quiet Family (조용한 가족) and A Foul King (반칙왕); so personally, I would have liked to laugh more.

But this is not to say that the Korean version is a stronger version; it is just that the international version is tailored towards an audience less interested in some of the more Korean features. And I would add that the in the international version, there has been a great deal of effort in ensuring the subtitles are up to scratch and it is also as far as I am the first Korean film to have English credits, which is a nice touch to attract non-Korean audiences’.

It also interesting to see the number of influences Kim has used in the film. Obviously the original The Good, The Bad, The Ugly has had a significant impact, but also other films like Blade Runner, Star Wars and even older classics like Kurosowa’s Yojimbo, which instigated the use of widescreen that later became emblematic of the Leone’s Spaghetti Westerns’ have had some influence on Kim. In the interview I had with him, he also cites an older Korean western, Break The Chain  (쇠사슬을 끊어라) by Lee Man-Hee (이만희) as a film that has influenced him. I find it fascinating how this genre of the western has travelled from continent to continent and back again.   

One the whole then, it is neither a great film, but nor is it a bad film. It is somewhere in-between, which is obviously reflected in its 3 star rating. Had it had some more depth and character development, it potentially could have been superb, which is a great shame. However, I would certainly recommend it for those who just want to escape the doom and gloom that seems to be exhibited everywhere these days.  So if you want a dose of escapism, go to your nearest cinema that is showing this film, sit back and enjoy the ride!

* * * 

Jason Bechervaise

Hansel & Gretel 헨젤과 그레텔

Director: Lim Pil-seong (임필성)
Starriing: Cheon Jeong-myeong (천정명), Eun Won-jae (은원재), Sim Eun-kyeong (심은경), Jin Ji-hee (진지희) & Park Hee-soon (박희순)
Running Time: 116 min
Korean distributor: CJ Entertainment
UK Distributor: Terracotta Media
Korean Release Date: 27th December 2007
UK Release Date: 16th January 2009: To be screened at the ICA, London and then later at the Prince Charles Cinema.



Synopsis

A reckless youngster Eun-soo drives to his mother’s, and has a car accident. When Eun-soo wakes up, he meets a mysterious girl and is led to her fairytale-like house in the middle of the forest. There, Eun-soo is trapped with the girl and her siblings who never age. Soon he learns all the adults who visited or stayed in the house have met mysterious yet terrible ends. More shockingly, their cruel deaths are drawn in details and made into a fairytale book by the children. Scared Eun-soo tries to find the way out, but the house is secluded in the forest with no way out. And then, Eun-soo discovers a book which tells a brutal end of none other than himself!

Review

This is a very interesting film. To be honest with you, during the first hour, it was testing my patience and it is in some ways, very confusing. However, by the end of the film, it won me over.

It begins as the central protagonist has an accident, gets thrown from his car and gets taken to a house in a middle of a forest that seemingly has no exit. He gets increasingly anxious as he can’t find an exit and more questions seem to be raised rather than answered. The family that have taken him are not as they initially seemed and, so by the hour mark, if you are not confused, there is something wrong with you. But as the film moves on, you do become less frustrated, or at least I did. And by the conclusion, you become extremely satisfied; for many, I can see it being switched off half way through, but I strongly encourage you to be a little patient.

 

One of the key features and accomplishments of this film is its stylistic emphasis. It looks outstanding and there has clearly been a great deal of effort played to the aesthetics of this film. Each frame has been carefully put together and as a result, it looks amazing and visually extremely rich. The use of strong vibrant colours is captivating and will keep those who are beginning to fall asleep in the opening hour awake.

It is also nice to see the film exploring a mixture of genres: from horror to fantasy and even to drama. For those who are tired of the K-horror long black hair ghost type of film, this will offer some relief. Although at one point, I thought this was a route it was going to follow, as there are clear references to this group of films, however, it never follows this route.

One its great attributes to this film as always with Korean films, or at least usually, is the acting. From the whole cast, including the younger cast members, they all give faultless performances even though they are demanding roles. Director Lim Pil-seong (임필성) has evidently taken care in bringing out the best from his actors and actresses.

Whilst this film will demand a certain amount of patience and imagination, for those seeking something a little different from the world of Korean cinema, this is a film that will perhaps be of interest to you. Indeed, if it won me over by the end, there is no reason why it shouldn’t do the same for those who watch it. I would add though, it could be a little shorter, particularly the first half, but other than that, the film doesn’t really have many grave weaknesses, only in what it demands of its audience.

* * * *

Jason Bechervaise