backfisch Reviews

Gukgyeong-ui namjjok (2006)

Schmaltzy but has its moments

[5/10 · 21 February 2007]

There are probably a million great stories and hundreds of amazing films that can one day be made about the state of North Korea and its ultra-authoritarian government and repressive echo-chamber of a culture. Unfortunately, the real emotional push of this film is all about the clichéd romantic tragedy between Seon-ho and Young-hwa, so much so that it would easy to forget that this is a story about refugees from North Korea. The structured life of endless propaganda, the class divisions in the North, the trek across the Duman River, the storming of foreign embassies, the relocation camps, the alienation of a very different Korea, all this is more or less glossed over - you see the scenes and they advance the plot but you don't get much of a sense of how dramatic and agonizing these experiences must be. This approach can be called subdued or anthropological but there's no doubting that the central plot doesn't really have a lot going for it. Seon-ho is a trumpet player with a bumbling, indirect personality. Young-hwa is a cute museum guide who has a blunt personality. They make out on a ferris wheel (a highlight of the romance scenes), he asks her to marry him, his father has to leave the North, he promises to send for her later, he saves up money and get scammed, he's told she married, he gives up and gets married, she comes to the South and, what do you know, isn't married after all. Like a doofus, he doesn't spill the beans and drama ensues, and their love (always more adamant than you might have thought) is never fulfilled.

For those with an abiding interest in North Korea, this film is worth seeing, but prepared to be occasionally bored. For all others, I'd say avoid it.

Green Chair (2005)

beautiful, humane and funny romance

[9/10 · 4 July 2005]

The director being Park Chul-soo (301/302) and the plot being compared to the media-blitzed saga of Mary Kay Letourneau, it was hard to have any definite preconceptions about this film. Still, I didn't expect such humanity and, more importantly, the scope of the central relationship, which conveys the romantic idea that love is knowing and loving every last thing about your partner. Those expecting kinkiness and power dynamics will be disappointed, as the relationship is a model of unusual egalitarianism, and the sex scenes only confirm this. Their connection, rocky at first, becomes ever more real and intimate, even when faced with a Greek chorus of outsiders who would condemn their union. Also, a lot of hot sex scenes and a lot of tension-breaking humor. A true and real romance, highly recommended.

Sideways (2004)

OK what is the big deal?

[4/10 · 21 February 2005]

For a movie that almost every critic is rushing to nominate as the best of 2004, I certainly expected a lot more. I expected main characters that weren't two pointless stereotypes, at the very least. Or maybe, if it had to include an obscure passion, something less yuppie-ish than WINE TASTING (and endless boring discuss of). Or maybe a plot with more significance than how a few privileged middle-age white men don't feel fulfilled in their lives, oh boo hoo. Maybe it's just me, but if these characters existed in real life I certainly wouldn't hang out with them. This extends to all the supporting characters to produce zero (0) sympathy or empathy for anyone in the cast! Maybe if this film was actually funny that wouldn't be a problem, but, really, it isn't.

The reason I give it a four is because there are a few creative and a few genuinely heartbreaking scenes. In particular, Miles getting drunk at the bar, stealing from his mother's stash, and meeting his remarried ex-wife were very well done scenes. Too bad the rest of the film is smothered in self-importance and bad, predictable writing. Just like the ending, I guess it goes to show how self-pity and whining can actually help some people out. No thanks!

The Housemaid (1960)

an absolute stunner!

[10/10 · 19 November 2004]

Allow me to add to the hype: this film is as delirious as they come. Starting out as a typical realist glance into 1960's South Korea as centered on a upwardly-mobile family, after the plot gets settled, becomes a hysterical and expressionistic tale of corrosive sin and deception. The transformation of one night's flirtation into a grandiose moral eradication is the one of the most stunning turns of atmosphere I've ever seen in a film. Also amazing is how your view of the characters changes dramatically as they are faced with this living hell. While researching about the director, I found out that the actress who played the housemaid, Eun-shim Lee, fulfilled the part so well that she couldn't find work after this movie. Audience members were literally screaming for her death at the original showings! See this film just for her, you won't regret it! I can't say enough great things about the director Kim Ki-young, too bad most of his films aren't available in English!