2006 Korean Cinema Previews - Part 1
So far 2005 has been quite an interesting year for Korean Cinema. The fears of 2004 have more or less vanished, replaced by the hope the success of domestic films - both on a critical and commercial level - will lead Chungmuro into a very prosperous 2006. Although you can see the development of all those films and more on our weekly Databank, I thought it was only fair to introduce a few of the more interesting titles we will see next year. For obvious reasons, I focused on known directors or at least subjects with a high potential. It seems there's an incredible number of novels and 만화 (Korean manga) being adapted for the big screen at the moment, from some of the most famous and acclaimed authors in the country. Also, a lot of eclectic, innovative and just plain weird commercial films. Of course there's many more films to cover, something we will do in the next few months, but a lot of the most interesting titles are still in the writing or casting process, and little information beyond some casting and/or basic outlines are available at the moment. These are just a few of the many dozens of titles in preparation right now. As more information becomes available, we'll do another of these previews soon.
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로보트 태권V (Robot Taekwon V)
Directed By: 김정기 (Kim Cheong-Gi)
Produced By: 신씨네 (Shin Chine)
There's mildly famous Animation films from Korea, then there's the legend, one legend: Robot Taekwon V. Its opening song became the anthem of an entire generation (and you've probably heard it a thousand times, in nostalgic dramas, comedies and TV parodies), its director Kim Cheong-Gi established himself as the father of of all Korean animators (if you consider the Shin brothers the granddaddies of the Manhwa industry) thanks to the success of this film. At the time, it broke every record for an Animation film, becoming one of the top grossing films of the year. And to think Animation films nowadays can't even reach half of the 280,000 tickets it sold almost three decades ago.
Released on the 30th Anniversary of the original film, this is a completely remastered version (Audio and Video) which is likely to become the top grossing Korean Animation film of all time. Why? All those boys who watched it in the 70s are now the grown ups who attend theaters, and they'll surely want to relive their youth, through this landmark film. Of course you can see it just as a ripoff of superior mecha-themed Japanese Anime, but going into it without knowing how much it's meant for Koreans of that period in purely nostalgic terms would be a crime. I bet I'm not the only one who can't wait to see Taekwon V as it was supposed to be seen, with great colours and sound.
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무림고수 (武林高手, The Master)
Directed By: 임순례 (Im Soon-Rye)
Here's something unexpected: Im Soon-Rye, one of the most important and unique female directors in Korea, whose 와이키키 브라더스 (Waikiki Brothers) painted a poignant portrait of life's struggles though 30 years of Korean popular music, is making an action film! Even more surprising, said action film is being turned into a Mobile game by producers MK Buffalo (the company born out of Myung Films and Kang Je-Gyu Films). But let's not rush things. 'The Master' is in some ways tied to similar themes that made 'Waikiki Brothers' so interesting. If Im stripped the idea of playing in a band in Korea of any glamour, she will do the same to a group of youngsters who are looking for a master, to learn traditional Korean martial arts.
Just like in all her other films, she's always been interested in characters who weren't recipients of particularly good looks, talent, or even a good personality. The film is a road movie about two youngsters who leave for a journey across the country to learn traditional martial arts, and find the ultimate master who will teach them all the tricks of the trade. Although it sounds predictable, this has been advertise as an 'analog' film, which in contrast to the heavy use of CG and Special Effects found in other films, will show the sweat and pain those people go through to find their Holy Grail.
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우리들의 행복한 시간 (Our Happy Times)
Formerly known as - 착한 남자 (Nice Man)
Directed By: 송해성 (Song Hae-Sung)
Another one of the many adaptations of famous (and less famous) novels creeping into this new Chungmuro lineup, Song Hae-Sung's chance to escape the failure of 역도산 (Rikidozan: A Hero Extraordinary) is based on Gong Ji-Young's novel of the same title. The story follows an ill-fated young criminal, convicted for killing three women, who meets a cynical young teacher who attempted suicide three times. The two heal each other's psychological wounds by understanding their predicaments, and spending those 'happy times' of the title together. The novel offers potential for a nice balance between what kind of value people who attempt suicide give to life, and what killers feel, think and experience after stripping someone of it.
Known by many as the man responsible for 파이란 (Failan), Song Hae-Sung will have to regain film fans' faith after 'Rikidozan.' Of course the film didn't have that many problems, but perhaps that's the problem itself: it was just there, fascinating, well acted, tremendous production values... but the fire was lacking. And when you have someone like Seol Kyung-Gu, who has 'Fire Walk With Me' written all over his face, making a dry biopic out of a legendary figure wasn't eactly what people expected. But this film sounds more like his kind of film, and could likely become a road movie, or subtler kind of film.
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무기의 구늘 (The Shadow of Arms)
Director: 필감성 (Pil Gam-Sung)
It was inevitable. After 알포인트 (R-Point) became a success, more films about the Vietnam War were going to emerge. And this is the one I'm most excited about. Hwang Seok-Young might not strike a nerve to Korean Cinema fans, but will most likely do with those who enjoy Korean literature (often translated in English, in Hwang's case). Adapted from Hwang's novel of the same title, 'The Shadow of Arms' is Korea's answer to (and against) films like 'Platoon', written by a Vietnam vet who's become one of the leading figures of the local scene, along with one of the country's most outspoken democratic activists. It's a wild mixture of national guilt which relates the characters' struggle and the situation in the South East Asian country as something mirroring Korean society itself, criticism of the US' presence in Vietnam, the idea of war itself, and the way the western world approaches it. It might sound too ambitious, but if it comes anywhere close the brilliant 하얀 전쟁 (White Badge) (adapted itself from another Vietnam War novel), we'll have a great film on our hands. Of course Hwang is more known in Korea for 장길산 (Jang Gil-San), from which a Historical Drama was made recently, starring Yoo Oh-Sung and Han Go-Eun.
Director Pil Gam-Sung reminds me a little of Im Pil-Sung, director of 남극일기 (Antarctic Journal). Both started in short films (but that's something common with dozens of other Korean directors), and chose a meaty subject for their film debut, with a project focusing on men's inner, deepest demons. He is actually an Overseas Chinese with Taiwanese citizenship, and even went as far as learning English and Vietnamese for this project. The interesting thing is that the film was first pitched to Director Yoo Ha by Kim Sung-Soo, who had to refuse twice because he was already involved in his two latest films - 결혼은, 미친 짓이다 (Marriage is a Crazy Thing) and 말죽거리 잔혹사 (Spirits of Jeet Kune Do: Once Upon a Time in High School). Pil, who directed shorts including 211 and was assistant director of Kim Sung-Soo in 무사 (Musa: The Warrior), left for Vietnam last month starting pre-production for the film, with an expected budget of 10 Billion Won. He commented that he'll focus more on developing the characters' psychological state more than simply making a spectacle with War scenes. The film will be a co=production between Korea, France, Hong Kong and Japan.
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밀양 (密陽, Secret Sunshine)
Directed By: 이창동 (Lee Chang-Dong)
It's always hard coming back to movies after a long hiatus, ask Lee Myung-Se. But what if during your pause from filmmaking, you became Minister of Culture of your country? Lee Chang-Dong must have a lot on his mind: the expectations of people who saw his first three masterful films, of sort of living up to his past even after experiencing politics. For someone who entered the business through the back door, writing scripts after being an acclaimed writer, finding the inspiration for his next work shouldn't be too hard. But even though people were just excited to see the man back in the business after a long break, few thought he would choose a project like this. Miryang, south of GyeongGi Province, perhaps the most famous small town in Korea. But using its Hanja meaning, Miryang means something like sunshine giving you a nice, mysterious feeling.
So here's your double entendre. The film features a piano teacher from Seoul, suffering from severe mental pain, who continuously asks herself what life is about. She meets the owner of a car center from Miryang, and a story between the two develops. This is actually one of two works Lee is preparing, so it might even surface later than the second one, for which Lee hasn't disclosed any information yet. And apparently, this work is based on a Korean novel - which he changed a little - which will be revealed later (perhaps because they're still negotiating). Although details about the project are still sketchy, the idea of Lee exploring themes like the value of life makes things a little more exciting. After all, even 초록물고기 (Green Fish), 박하사탕 (Peppermint Candy) and 오아시스 (Oasis) sounded simple. On paper.
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천년학 (千年鶴, Thousand Year Crane)
Directed By: 임권택 (Im Kwon-Taek)
Based on Lee Chung-Joon's 1979 short novel 선학동 나그네 (The Wanderer of Seonhak-Dong), the title of the film might sound familiar to those who watched Im's 서편제 (Sopyonje). 'Thousand Year Crane' is in fact a famous Pansori song, even performed as the title song on the 1993 masterpiece. The story involves a man, his blind half sister and father (who is a Pansori performer), who after a long search find each other in Seonhak-Dong (a small village in Southern Jeolla Province). The novel, which was part of a collection of short novels including 'Sopyonje', features the traditional Korean themes of 애증 (愛憎, Love and Hatred) and 한 (恨, grief). Although the characters will remain the same - and they're the same three major characters of 'Sopyonje' - Im announced the way the story progresses might not be exactly like the novel.
There's no need to introduce Im Kwon-Taek, who will mark his 100th directorial work with 'Thousand Year Crane'. Although he inevitably slowed down in both creativity and quantity, Im is still one of the most important directors in the country, always attracting interest whenever his new projects are announced. Although 하류인생 (Raging Years) was mostly ignored by the Press (local and International), it went back to that kind of Genre Cinema with tints of political intrigue and social commentary which made his 'pre-Orientalism' films so exciting. One could also say that, since most of the west's acceptance of Im as an auteur came via traditionalist works perfectly showcasing uniquely Korean sentiment, a mere attempt to stray off that path garnered indifference. Im once again works on a novel by Lee Chong-Joon, just like in 'Sopyonje' and 축제 (Festival). Casting will be announced when the script is completed.
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사이보그지만 괜찮아 (Cyborg Girl)
Directed By: 박찬욱 (Park Chan-Wook)
Movies have always told us that kids sometimes live in a world of their own. They dream of being a variety of things: doctors, nurses (ouch...), football players, world famous war generals, or even cyborgs! It's already a known fact Park is working on two projects, 'Cyborg' being the first to enter production, and the first we're likely to see. The other sounds much more interesting - 박쥐 (Evil Live) with Song Kang-Ho as a vampire! - but it's still Park Chan-Wook. Does he even remotely make something uninteresting. Budget might be small (2.5 Billion Won, it's a HD Project part of a group CJ Entertainment is producing), but the idea of a girl living in a mental institution, who thinks she's a cyborg fighting against the evil of the world is just my type of film, I don't know about you.
The film will start shooting before the end of the year, while for 'Evil Live' we'll have to wait for Autumn 2006 (start of shooting, that is), since Song Kang-Ho is working on Bong Joon-Ho's 괴물 (The Host).
Maestro Park Chan-Wook has been taking the film word by storm since 2000, the year a little film called 공동경비구역 JSA (Joint Security Area) sold a couple (Million) tickets in Korea. Of course he started his career almost a full decade before, but that was the start of an increasing amount of International appeal, culminating into his trilogy of vengeance, which in many people's eyes is partly responsible for the current popularity of Korean Cinema in the west. Park, nicknamed by some 박잔혹 (Park Janhok, Janhok means cruel), will attract huge interest whatever his new projects are, just for the simple fact that they sound so damn interesting even just reading about them.
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괴물 (The Host)
Directed By: 봉준호 (Bong Joon-Ho)
A monster is hiding in the waters of the Han River. A monster who looks like nothing Song Kang-Ho's family has ever experienced. And the fight against the suffering and misfortune the presence of the ominous figure creates is at the center of Bong Joon-Ho's third feature. After the masterful 살인의 추억 (Memories of Murder), Bong could have done anything he wanted, but the young director ended up making something of such ambitious scale that the entire industry sat down and watched as he first revealed an impressing casting (Song Kang-Ho, Park Hae-Il, Bae Doo-Na, Byun Hee-Bong, Oh Dal-Soo), and then tried to conceal some precious information, something that the press tried to grab from him from the beginning.
What we know is that the scale of the project is huge, with shooting going all over the Han River in dozens of locations, with a lot of money spent on special effects to render the 'creature' as realistic as possible, and a story which will not come second after the spectacle. Combining bizarre characters with an obsessive attention to detail, a love for great storytelling, and the kind of panache only great directors showcase, Bong has been able to establish himself in the elite of Korea directors after just two films. Even though the stakes now are higher, 'The Host' could mean further International exposure for the man, or even Korean Cinema as a whole.
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오래된 정원 (The Old Garden)
Directed By: 임상수 (Im Sang-Soo)
Another adaptation for Hwang Suk-Young, this time in the form of a politically themed film. And, of course, when Im Sang-Soo is involved, you know it will be touchy. 'The Old Garden' is a love song to the 386 Generation and their utopia, in the midst of a conflicting political ambient. This is a 'love story' between a student activist wanted by the police, who while trying to escape experiences a short but sweet love story with an art teacher in the countryside. And that's just the tip of the iceberg, the less I reveal about the novel (which was a big hit in 2000, the first novel Hwang wrote in years) the better. In a funny anecdote from an interview with Im and Hwang, which shows how much Im was influenced by the novelist's work in all his films, the director mentioned that the scene in 바람난 가족 (A Good Lawyer's Wife) where Kim In-Moon spits blood on his son's face (Hwang Jung-Min) was influenced by something the characters in 'The Old Garden' did.
If you've read the review on this very site, you know how much I love 그때 그사람들 (The President's Last Bang) and all of Im Sang-Soo's films. He's like the love child of a political activist and a genius comedian. He's never afraid of giving a touch of surrealism and wit to serious events, and more importantly makes some of the most gripping, socially relevant films you can find in today's world cinema landscape. Since his first film 처녀들의 저녁식사 (Girls' Night Out) he's covered strong themes with enough political and social commentary to be interesting, but without the sledgehammer 'I'm making a somber arthouse flick about this and that' aplombe which makes many of those films as dry as humanly possible.
