'Hero' offers a captivating tale for Korean moviegoers

"Hero," a Japanese blockbuster set to hit Korean theaters on Nov. 1, may not strike many Korean viewers as a masterpiece. But if you are a fan of the original 2001 Fuji TV series, and are familiar with its trademark humor, its subtlety in the use of seemingly small details, and its evocative settings, it would take some kind of almost heroic self-restraint not to go see this film.

In the movie, Kohei Kuryu (Takuya Kimura), a young prosecutor who is addicted to buying sundry stuff that he sees advertised on TV, returns to the Josai Branch of the Tokyo public prosecutor's office, and reunites with his former colleagues, including his former loyal assistant, Maiko Amamiya (Takako Matsu).

His comeback after a six-year hiatus gets off to a seemingly smooth start, as he is assigned to a simple manslaughter case. What happened is that a blond security guard unintentionally beat an innocent man to death. The guard then escaped in a van, but was later arrested, and confessed to assaulting the victim on the street. In court, however, he retracts his confession, on the advice of his high-powered lawyer, Gamo (Koshiro Matsumoto), who formerly served as a prosecutor. It turns out that Gamo is not helping out the hot-tempered young man for nothing. Ominous signs begin to surface, suggesting that a political big shot -- a deeply corrupt one -- has been embroiled in the case, indirectly. Obliterating the prosecutor's case against the guard, therefore, is crucial for the politico, who has hired the famous defense lawyer.

Not so simple for Kuryu and his teammates. Now, Kuryu has to find additional evidence to prove the assailant's guilt. One clue seems to be linked to the van that the guard used to get away from the scene of the killing, but it is nowhere to be found. Soon, Kuryu and Amamiya find themselves tracking down the van in the Korean port city of Busan.

Although the plot is much more complex than a typical TV series installment, all the familiar "Hero" devices and tricks are fully deployed. The ensemble involving Kuryu's quirky colleagues remains the same. Elaborating the franchise's unique atmosphere, the production team has also taken care of every detail, ranging from Kuryu's office, which is filled with items he has bought on cable shopping channels, to his famous winter jacket. The frequent use of wide-angle shots creates the overall visual mood, another signature component of the "Hero" series.

The most satisfying difference between the series and this movie is the amount and intensity of comic relief. The TV show did not aim for big laughs; what Kuryu and the other characters elicited from viewers was mostly a steady stream of small, knowing laughs. The big-screen version keeps the overall comedy format, but louder laughs come when the action is in Busan, and Kuryu and Amamiya try to use Korean sentences.

Aside from the commercial appeal of the movie, "Hero" represents the full-fledged debut of Japanese pop icon Takuya Kimura, also known as "Kimutaku." Early this month, he visited Busan to attend the Pusan film fest, and he gave a series of interviews with the Korean press, as he enthusiastically promoted his role in "Hero."

Expectations are high. "Hero" is widely expected to be more successful than any other Japanese film that has been shown here, but, since many hit Japanese films have failed to generate huge ticket sales in Korea, the interesting question is whether or not "Hero" will be an exception, considering Kimura's star power and the how much of the story takes place in Busan, along with the presence of the Korean actor, Lee Byung-hun, a heartthrob who is keen to enter Japanese and other Asian entertainment markets. He makes a special guest appearance as a cool and handsome prosecutor. But don't expect too much. His character is minimally developed and almost cardboard-like, compared with Kimura's role.

Much more important than Lee Byung-hun's bit part is the much-awaited development of the relationship between the film's beloved couple, Kuryu and Amamiya. They have long been vaguely aware of their chemistry, but no breakthrough was offered in the TV series. The last scene is a particularly pleasant surprise for Korean audiences, in that it features a traditional Korean dish and a Korean sentence, and Kimutaku performs the final act in a heroic fashion.

Source: Korea Herald

`Chef’ Overfeeds Gourmet Drama

`Chef’ Overfeeds Gourmet Drama

In ``Le Grand Chef,'' two young cooks, Bong-ju (Lim Won-hee), left, and Seong-chan (Kim Kang-woo) battle in a fierce competition to become the top chef of Korea. / Courtesy of CJ Entertainment Inspired by the phenomenally popular comic series of the same name, ``Le Grand Chef'' (Sikgaek) offers an ``Iron Chef''-style edge that dashes through an explosively colorful array of Korean dishes. Revolving around a fierce cooking competition, ``Chef '' is stimulating throughout, but is ultimately more ``gluttonous'' than tasteful. A Japanese man has stepped forward to redeem past evils involving the chef to Korea's last emperor Seonjong, and a nationwide culinary battle ensues. Archenemies Seong-chan (Kim Kang-woo) and Bong-ju (Lim Won-hee) rekindle their longstanding rivalry as they sharpen their knives. Five years before, the two had competed to take over Unamjeong, a renowned Korean restaurant. But Seong-chan suffers a critical blow when his blowfish dish poisons the jurors. Distraught, he retires to the countryside, while Bong-ju exploits the wealth and fame of his inheritance. With the help of Jin-su (Lee Ha-na), a pretty, energetic reporter, Seong-chan makes a comeback. But now, he must not only battle the blindly ambitious Bong-ju, but also face the corrupt jurors and take care of his Alzheimer-struck grandfather, and also take a few moments to contemplate the budding romance with Jin-su. The film stuffs in so much drama, including a tangled history involving the two main characters' grandfathers, with the dizzying gastronomic visuals, that it becomes slightly overwhelming. ``Most films dealing with this subject focus on the aesthetics of cooking and food, but we wanted to focus on the intimate connection between cooks and food ingredients,'' director Jun Yoon-soo told reporters after a recent press preview. ``Chef'' makes that point shockingly clear, as its first scene unfolds with a huge butcher knife beheading a blowfish. Like the hit TV series ``Jewel in the Palace,'' the screen is indeed filled with sumptuous dishes like the blowfish sushi (more than a million won per plate), beef carpaccio and gujeolpan, a royal court dish. It is also sprinkled with everyday favorites like doenjangjjigae (bean curd soup) and ramyeon. The fiery food competition scenes are pieced together with mosaic-like sequences, evoking its comic book origin, but is surprisingly unappetizing. The most disturbing part involves the slaughtering of a pet cow, which must be sacrificed for the honor of his owner Seong-chan. This emotionally riveting scene shows how a chef must overcome personal feelings toward cows and other such animals that land on the table. ``When we were actually shooting the slaughterhouse scene, Seong-sun (the name of the cow) was extremely stressed and had actually lost about 30 kilograms that day because it was terrified it might be slaughtered right there,'' actor Kim Kang-woo said. Besides the tear-jerking moments, the movie is spiked with slapdash comedy. It offers rather primitive black and white plot elements amid the rainbow-hued food scenes. Bong-gu, for example is completely contemptible much like his greasy hairstyle, as he bribes jurors among other wrongdoings. But the film is indeed spiced with some good old humor. Two ``Dumb and Dumber'' buddies, an abused househusband and ramyeon-obsessed prankster, shadow the main characters. Slices of picturesque scenes -- rolling sunflower fields and other watercolor painting-like landscapes -- allow the audience respite from the otherwise stuffy gastronomic experience. Rather than ``bon appetit,'' be ready for a cinematic feast that may not suit all palates. Source: Korea Times

‘Punch’ Lands All the Wrong Moves

A scene from “Punch Lady” starring Do Ji-won

By Lee Hyo-won
Staff Reporter

Movies are loaded with nonsensicality, and that’s sometimes the fun part. Think of those unbelievably undying characters like “Die Hard’s” Bruce Willis or Uma Thurman in “Kill Bill.”

Nevertheless, things make sense -- in a comically surreal way -- within the internal logic of the film. “Punch Lady” is a tale of modern heroism where a battered housewife- turned-kickboxing queen fights her abusive husband in the ring. Pitifully reminiscent of J-Lo’s “Enough,” it stops short of being ridiculous, period, because it lacks its own set of cardinal rules.

The movie thoroughly disappoints as it serves third-rate comedy and contrived drama . without aplatter. Ha-eun’s husband Ju-chang is a mixed martial arts champion who does not hesitate to practice Guillotine chokes or low kicks outside the ring. Ha-eun decides she cannot take it any longer and, in a spur of passion, publicly challenges Ju-chang to a duel in the ring.

This is a woman who has grown immune to Ju-chang’s senseless beatings -- but an old flame reappears and gives her a wake up call. The ex-boyfriend is still in love with her after 13 years, and tries to win her back only to get killed in the ring by her awful husband.

This is a classic case of a terribly incorporated deus ex machina, or an improbable device used to resolve a conflict in a story: The ex solves all of Ha-eun’s worries (she’s moved into a friend’s house with her daughter by now) by leaving her a diamond ring and 500 million won in his will. So Ha-eun becomes determined to beat up her husband, but the movie completely forgets about the boyfriend for the rest of the movie, because it’s pushed on by a string of other contrived plot elements.

Now, not only must Ha-eun master the art of fighting in three months, she needs to deal with her troubled 15-year-old daughter who, on top of cutting class and drinking, chews pieces of glass to scare people off. She must also tend to her ailing mother and unresolved inner conflict involving her father.

Ha-eun becomes the talk of the town, with wives and husbands divided on the matter, anti-violence feminist groups opposing the match and greedy moguls trying to make some extra cash from the sensation. The film touches upon some deeply imbedded sexism that exists in Korean society as well as the twisted workings of the media, but it’s regretful that it borders on superficiality.

The most ridiculous part of the movie is Ha-eun’s work out. She gets her training from Su-hyeon, a geeky math teacher who opens a gym to settle his debts. So you expect Su-hyeon to whip up miraculous coaching using his math tools. He does, at one point, nalyze Ju-chang’s moves and advises Ha-eun to punch him from a certain angle and speed.

But theory aside, in terms of practice, Su-hyeon realizes he cannot rely on Bruce Lee videos. He enrolls in a martial arts class. The movie tries to force laughs with some very passe comedy, like the agony of being beaten up and Ha-eun’s clown-like gym clothes. To top off this absurd tale, Suhyon is hospitalized, leaving Haeun on her own to pump her muscles (though she remains rail-thin like a ballerina).

She gets a stylish hair-do and chic gym clothes and all of a sudden she’s Rocky jogging around with a tire tied to her waist.

The only heartfelt scene in the entire two-hour flick is when Ha-eun screams with utter rage in the ring as she finally confronts her husband. Yes, she is angry, and rightfully so. “Punch” is simply too heavy and long to watch even lightheartedly. Gong Hyo-jin, screenplay writer for the hit comedy “My Wife is a Gangster,” certainly makes a point that domestic violence is the cancer of society in his directorial debut.

But his awkward script fails to do justice to the wonderful performances by veteran actors Do Ji-won (Ha-eun) and Sohn Hyun-ju (Su-hyeon).

hyowlee@koreatimes.co.kr

Lee Myung-se's psychodrama 'M' big on the glitzy visuals

Lee Myung-se's latest psychodrama "M" got a lot of attention at the Pusan International Film Festival which ended on Friday, partly because there were only a handful of "new" Korean films making their formal debuts. Another, more important reason was that "M" features top-rated stars such as Gang Dong-won.

He is a heartthrob in Korea, and director Lee, who became famous for his stylized features like "Nowhere to Hide" and "Duelist." The two were a big draw during a press preview held in Seoul on Tuesday.

The film revolves around the experience of a writer of a bestseller, Min-woo (played by Gang), and his dreamy journey into the past where he attempts to reunite with his first love, whose existence is shrouded in mystery.

Min-woo has a bad case of writer's block; to break out of this artistic stalemate, he immerses himself in flashbacks involving his first love, Mi-mi (Lee Yeon-hee). But this psychological quest involves several obstacles, one of which is the suspicion of his current girlfriend Eun-hye (Gong Hyo-jin).

But the plot itself might not help the audiences grasp what the movie tries to achieve, largely because director Lee uses plenty of visual effects, complex (and confusing) dream sequences, and gliding camerawork.

At the news conference following the press preview, director Lee said that this movie is based on his earlier screenplay "Milyoung," which he had written in 2000. "The original script was inspired by one of the dreams I had, and, by the way, I almost always have a major dream around the New Year's Day. In that dream, I met the novelist Choi In-ho, and we talked about what the dream really means," he explained.

In the dream about dreams, Lee concluded that dreams provide a channel through which the living and the dead communicate; this is a theme that informs the main plot of "M."

Asked about the rich visual effects, director Lee said he wanted to describe the darkness in a way that highlights its shining light. "Some might ask how darkness can shine at all, but, on a closer look at the darkness, we can feel the layers of darkness and its intricate depth," he said.

The emphasis on darkness is also linked with the dreamy state, or a moment before one wakes up to the bright light, Lee added.

Gang Dong-won, meanwhile, said that he was steadily encouraged by the filmmaker to keep an open mind about the story and his performing, depending on the nature of a specific scene. Gang, who worked with Lee in his previous feature, "Duelist," said he felt that he was experimenting with his own acting talent a lot during the production.

"There's a rumor about director Lee, concerning his strict style in the shooting sessions, but I think he's very kind and gentle, because I've never seen him lose his temper. Never. Director Lee is very persistent in getting things right, getting things done, but once actors open up their hearts, and focus on acting, he's quite a kindhearted person," Gang said.

As with "Duelist," Lee's latest film is filled with startling visual effects, but critics and audiences did not react positively to "Duelist." People were disappointed with the poor storytelling. This raises the possibility of a not-so-impressive reaction to "M" at the box office.

However, director Lee seemed unfazed by such a prospect. "Every director cares about the audience and their reception of his films, but the relationship between directors and audiences is similar to the act of writing a love letter. Even though the box-office scores are not good, I will continue to write my love letter to my audiences, and I believe a true feeling will be eventually delivered," Lee said.

"M" is set to be released nationwide on Oct. 25.

By Yang Sung-jin

Actor Hwang Jung-min returns to musical stage with 'Nine'

Hwang Jung-min, the award-winning actor who exhibited his versatility in his recent film, "Happiness," returns to musical stage early next year after a four-year hiatus. The OD Musical Company, one of local musical productions in Korea, said that Hwang will take the role of Guido Contini, a film director facing a midlife crisis, in the Korean adaptation of the Broadway musical, "Nine." The musical will hit the stage on Jan. 22 for a seven-week run at the LG Arts Center in Yeoksam-dong, southern Seoul. Based on an Italian play by Mario Fratti which was inspired by Federico Fellini's autobiographical film "8 1/2," the musical tells a story of a 40-year-old man entangled in a web of romantic difficulties in early-1960s Venice. The Broadway production, directed by Tommy Tune and choreographed by Tommie Walsh, opened in May 1982. It eventually won five Tony Awards, including for best musical of the year. In 2003, the remake of the musical, which starred Antonio Banderas as Guido, hit the stage. The performance earned him a Tony Award nomination. Hwang is to lead a cast of more than a dozen women in the Korean production of "Nine;" perhaps he hopes to be like Banderas, who mesmerized the audience with his major "Italian charm" four years ago in New York. In this story, the women in the Italian director's life include his wife, mistress, leading lady, mother, first sexual encounter, and producer. They swarm around the once-lauded director as he attempts to revive his career and get some inspiration by escaping to a Venetian spa. Hwang, according to the OD Musical Company, was fascinated by the performance of Banderas during the Tony Awards which he saw on TV, and that motivated him to play the role of a struggling film director. "I feel really thrilled and excited. I will do my best because this is the musical I really wanted to do," said Hwang through the musical production company. He has often been commenting on his return to musical stage: "I want to give a stimulus to my acting career by returning to the musical stage, a place that feels like home." Before his movie career, Hwang was known as stage actor who performed in a number of dramas and musical productions. The 37-year-old actor debuted in the drama called "Subway Line 1," a long-running hit musical which produced a number of top actors like Seol Kyung-gu ("Oasis") and Cho Seung-woo ("Tazza"). The actor also performed in several musicals before gaining recognition as 'versatile movie actor.' The musicals he has played in include "Broadway 42nd" (2004), "Jesus Christ Superstar" (1997), and "Cats" (1999). By Cho Chung-un Source : Korea Herald

'Punch Lady' throws high kicks but misses its cinematic target

Spousal abuse is not a new cinematic theme, but "Punch Lady" takes a fresh approach to the tricky issue by portraying the psychological trajectory of a battered Korean woman. The question is whether the likely climax -- whatever triumph the victim will manage to get -- meets viewers' expectations in a swift manner, just like the bullet-speed punch of a professional fighter.

After all, this movie, the debut feature by Kang Hyo-jin, involves a professional K1 fighter, Ju-chang (Park Sang-woo), and his timid, shy, self-conscious 36-year-old wife Ha-eun (Do Ji-won). The opening is telling: the couple is engaged in a K-1 fight in the living room, with all the vicious tricks fully deployed ... well, at least by the seemingly crazy husband. What is hard to understand, especially when the film is set in the 2000s, is why Ha-eun still sticks around this monstrous wife-beater.

The level of violence is almost unbearable. We see Ha-eun virtually flying over into the corner of the kitchen, with saucers and spoons scattered around. Bruises are all over her face and body, reflecting her tortuous daily routine. But, strangely, there's nobody who wants to report this extreme domestic violence to the police.

There is one police report, though. When Ju-chang is about to hit his (rightly) rebellious daughter for no apparent reason, Ha-eun taps into her motherly instinct and hits him on the head from behind. Thanks to the 'victimized' husband's formal complaint to authorities, Ha-eun is put behind bars. Strange as it is, nobody, including any police officers, cares about how such an incident happened in the first place; people pay little attention to all the apparent signs of a battered wife.

Defying logic, in a sense, is inevitable. The ultimate destination of the movie is a final showdown between the invincible husband and the suffering wife. So, details about domestic violence remain unexplained. For instance, there is no explanation about why Ju-chang is habitually beats up his wife, even though he almost always knocks down his counterparts on the K1 fighter stage, thus satisfying, at least partly, his animalistic instinct for destruction and victory.

Instead of offering more credible details, director Kang introduces a cinematic momentum that lacks, again, plausibility. It turns out that Ha-eun used to date a decent, kindhearted man. Some flashback scenes show that he really cares about Ha-eun, but she turns down his courtship attempts, without offering any reason. This is puzzling. If they were in love, and if she had to leave him somehow, even a small hint might come in handy, but the plot ignores this gaping hole, and chugs along to the expected turn where Ha-eun decides to take a new course in her life.

A tragic incident involving her old boyfriend prompts Ha-eun to rethink her miserable life, and she gets ready to confront her husband in a way that she never imagined in her lifetime -- a live match on the K1 stage.

Challenged publicly by a feeble wife, Ju-chang shows off his confidence by announcing that he will use his right hand only in this match. A big disadvantage if he's fighting a regular K1 fighter who has steeled himself through techniques from taekwondo, karate, kickboxing and traditional boxing. Not so with a housewife who knows nothing about such martial arts. What Ha-eun knows is that, since she has been beaten for so long, her husband's punches are terribly lethal.

Despite the technical flaws and problems in the storytelling, Do Ji-won's passionate performance deserves some credit. She has apparently practiced a lot -- kicking and running -- and her hard training adds much-needed sparks when the movie finally rushes toward its climax. And the climax might have been more satisfying if the film were a tad shorter than its exhausting 121-minute running time.

By Yang Sung-jin

Source : Korea Times

`Shadows’ Illuminates Palace Mysteries

A scene from "Shadows in the Palace"

By Lee Hyo-won
Staff Reporter

Marked by intrigue, scandal and a touch of gore, ``Shadows in the Palace'' showcases classic formulas of Korean horror with a modern edge, while exploring novel dimensions of humanism beneath the pomp and circumstance of the Joseon Kingdom (1392-1910).

Kim Mee-jung makes a stellar directorial debut with ``Shadows,'' which made its world premiere in Spain last month, competing for the Gold Shell for Best Film at the San Sebastian Film Festival. The movie offers an Agatha Christie-style suspense crossed with the meticulous period detail of ``King and the Clown'' (Kim was involved in the making of the movie). Be warned, however, that there are some skin-crawling scenes, like when needles turn into torture devices.

Set during the times of King Jeongjo (1752-1800), the 22nd king of Joseon, the story unfolds with the suicide of Wol-ryeong, the maid in waiting of royal concubine Hee-bin, the mother of the mostly likely heir to the throne. Cheon-ryeong, a court medic, is convinced otherwise by the autopsy results. Although her superiors try to silence her calls of murder, she ventures off to uncover the truth. As Cheon-ryeong probes deeper into the case, she unveils the dark scandals and shocking secrets involving Hee-bin, a string of court ladies and a high government official.

The film takes an intimate look into the claustrophobic realm of the Korean harem, marked by fierce competition and brutality beneath the apparent calm. It gives a highly dimensional look into the hitherto unknown lives of court ladies, who, like eunuchs, were the invisible pillars of the Joseon court.

Once these women entered the palace at a young age, they were forever bound to the palace as unwed brides of the king. Dictated by cruel hierarchical systems and court customs, these women were to remain chaste all their lives, and perhaps one in a million might catch the eye of the monarch and become his concubine. The film remarkably depicts the bitter contestation among these demoralized women, who, after a life of sexual reppression and suffocation by harsh patriarchic laws, are doomed to perish within the harem walls, silently and woefully.

Moreover, these ladies were the driving labor force of the palace, fulfilling all the traditional household roles of a woman en masse, from cuisine and needlework to medical care (spotlighted by the international hit TV series ``Jewel in the Palace'') as well serving the royal family as ladies in waiting.

But ``Shadows'' is markedly different from other period pieces, and portrays un-court lady-like characters like protagonist Cheon-ryeong. ``I wanted to break deeply imbedded stereotypes of how a king, court lady or so should be,'' said Kim during a press conference at a Seoul theater earlier this month. The director also makes a memorable appearance as one of the court women.

Leading lady Park Jin-hee (Cheon-ryeong) is enjoying the peak of her 10-year acting career, and offers an almost Don Quixote-like fervor in uncovering mysteries, which becomes slightly comic at times. She is nevertheless charming, and her high energy serves well to downplay the overly fast-paced beat of the film.

``Shadows'' takes audiences on a harrowing swim in the sea of royal mayhem -- like a swan who appears to gracefully glide across the lake, while treading water furiously beneath the water. The movie shines brightly among the renaissance of period pieces on the big and small screens, with forgotten historical figures gaining a human dimension and giving way to a whirlwind of suspense.

Source : Korea Times