60 Years of South Korean Cinema in NYC - Week 3 Recommendations

The final week (well, actually nine days) of the festival has a few treats in store, including two showings of Hong Sang-soo's Turning Gate -- which is not only Filmbrain's favorite Korean film, but one of his all-time favorites, period. It's nothing short of criminal that the film has never had a proper distribution in the States, and you really shouldn't miss this opportunity to see it. Turning Gate is a perfect film that shows with tremendous honesty how, for some men, sexual/romantic conquest becomes a surrogate for having to admit to failure in other areas of life. It also reveals how pathetically simple we are, and how women are completely aware of that fact. There are individual scenes in this film that are better than dozens of other whole films combined. This is a film worth driving five hours to see (Cinetrix, Cynthia), and Filmbrain is even offering a money-back-guarantee if not fully satisfied. It's that good. (Aaron, Karen, George, Scott -- you're all local -- you've got no excuse.) Not as much time this week for a full update -- here are some quick picks for the final days of the festival: Why Has Bodhi Dharma Left for the East? (1989) Dir: Bae Yong-kyan. Or, everything you wanted to know about Zen monks but were afraid to ask. This was the first Korean film Filmbrain ever saw, and it is a remarkable feat. Director Bae spent seven years on this film, and it was an almost solo filmmaking effort. This Zen tale of mountain dwelling monks may lack in conventional narrative, but is far more compelling (and genuinely Buddhist) than the oft-compared Spring, Summer, Fall, Winter... and Spring. Tuesday 30 November @ 2:50, Saturday 4 December @ 4:30 The Road to Sampo (1975) Dir: Lee Man-hui. One of only two films in the festival from the 70s, The Road to Sampo is meant to be an excellent example of the Korean road movie. Two men and a woman trek across Korea during a bitterly cold winter on their way to the village of Sampo, and their journey reveals the transitory state of the nation at that time. Tuesday 30 November @ 5:30 & 9:10 Declaration of Fools (1983) Dir: Lee Chang-ho. On the surface, a black comedy about a kidnapping gone wrong. Beneath that, a truly subversive film that uses experimental and avant-garde techniques (including almost no dialog) as a means of protest against both Korean society and the harsh censorship that filmmakers had to deal with at that time. Filmbrain has been advised not to miss this rare example of experimentation within a mainstream film. Wednesday 1 December @ 1:00 & 8:00 Turning Gate (2002) Dir: Hong Sang-soo. See rave, above. Seriously, don't miss this one. Friday, 3 December @ 4:00 & 8:45 Slimido (2003) Dir: Kang Woo-suk. Not a great film, nor the type of film Filmbrain usually goes for, but it is a chance to see one of the recent Korean blockbusters -- the type of film that is making it harder and harder for films like Turning Gate to get made. It was only a matter of time before Seoul picked up on the Hollywood formula: High Concept + Action = Big Box-Office. This one is about elite commandos in the 70s who were sent to assassinate North Korean leader Kim Il-sung. Saturday 4 December @ 2:00, Tuesday 7 December @ 1:00 The Man With Three Coffins (1987) Dir: Lee Chang-ho. Another example of the Korean road movie, this one is a rather sad tale of a widower who heads to his deceased wife's hometown in order to spread her ashes, and the people he meets along the way. Shamanism, reincarnation, memory, and desire are just a few of the items the film addresses. From the same director as Declaration of Fools. Sunday 5 December @ 3:00 & 9:20 Complete schedule and ticketing information can be found HERE.

Comments

[phyrephox]

I second Filmbrain's uber-enthused raves of Turning Gate, which I plan to see. Other than Declaration of Fools (which I can't make it to) this fest isn't ending with much of a bang. With the noir and Visconti retros competing, I'm only heading to the Hong.

[Aaron H.]

Geez, now I feel like a schmuck for deliberating over Spring, Summer, Fall, Winter... and Spring for inclusion in my Top Ten Films of 2004.

[Aaron H.]

Geez, now I feel like a schmuck for deliberating over Spring, Summer, Fall, Winter... and Spring for inclusion in my Top Ten Films of 2004.

[Adam]

TURNING GATE SUCKS! I don't know what you're talking about?! Actually, I do know what you're talking about since I'm just kidding, it's a freaking wonderful film that still rolls around in my head today.

And may I also offer up as a suggestion CHILSU AND MANSU, a very important film, which many consider the beginning of the Korean New Wave and I'm so jealous you all get a chance to see it. Also, ASAKO IN RUBY SHOES is an interesting film as well. A nice example of recent Pan-Asian production, in this case, between Korea/Japan.

Finally, since you're a big fan of HONG Sang-soo, Filmbrain, if you weren't aware, Park Chan-ok, the director of the also showing JEALOUSY IS MY MIDDLE NAME, was assistant to Hong on OH, SOOJUNG! If that's not endorsement enough, I'm not sure what is.

[FIlmbrain]

Aaron - You needn't feel like a schmuck. I actually really liked the film as well, at first. But watch it again -- it doesn't really hold up, IMO. It really does seem that he intended to make a film for a "foreign" audience. A "festival pleaser". I much prefer his darker works -- Bad Guy, Samaria, etc.

[FIlmbrain]

Adam --

You're right, I probably should have included Chilsu & Mansu.

As for Jealousy is My Middle Name, I found it to be Hong-lite, or at least trying too hard to be a Hong Sang-soo film. That's not to say it's without merits, but I just don't think it's a must-see.

Asako in Ruby Shoes -- yes, interesting in that it is a collaborative effort, but not that good a film, IMO.

[Michael Kerpan]

I think you are not giving enough credit to "Jealousy Is My Middle Name". I think Park Chan-ok's vision is pretty distinct from that of Hong -- and the tone of the film is quite different. More somber, less humor. And some truly fine acting. Is it "essential"? Well, maybe not. But is highly worthy.

[FIlmbrain]

Hmmm...I should give it another look. Perhaps I saw it too close to Turning Gate to give it a fair chance.

[Michael Kerpan]

I saw "Jealousy" and "Turning Gate" in the same week -- and liked "Jealousy" better. But "Turning Gate" was more extroverted. Probably why I liked "Jealousy" more. ;~}

(My favorite Hong film remains "Virgin")

MEK

[phyrephox]

Turning Gate ruled my second viewing, but I think that his latest might actually be a superior film. I have yet to see any of Hong's older work.