'Modern Boy' Opens in October

After six years in the making and a release date postponed by months, Jung Ji-woo's ambitious period drama ``Modern Boy,'' starring hot actors Park Hae-il and Kim Hye-soo, will open in theaters in October. The press gathered to catch the film's first promotional event held Wednesday in a Seoul theater.

The critically acclaimed director of ``Happy End'' (starring ``Old Boy'' hero Choi Min-sik and ``Secret Sunshine'' heroine Jeon Do-yeon) brings a dramatic love story set in 1930s Gyeongseong or old Seoul, when Korea was under Japanese colonization (1910-45). With years of pre-production for the period detail, the film also utilizes the most blue screen shoots for computer graphics imagery(CGI) used in a Korean movie.

``In trying to recreate the period, I realized how little remains of the past because Korea was so focused on economic development,'' the director told reporters. The film resurrects via CGI the recently burnt down Sungnyemun and other landmarks. ``Unlike the black and white documentaries we're familiar with, 1930s Gyeonseong was a thoroughly modern city, very colorful with neon lights,'' he said, explaining that while it was a time of tragedy, it was also very dynamic with culture thriving and modernization in full gear.

Like recent success ``The Good, the Bad, the Weird,'' which is set in the 1940s, this particular period, which had in the past been the subject of depressing documentaries, becomes a backdrop for crafting rich, exciting drama.

``The point here is not making a story about the colonial era but taking a character who could well exist in 2008 and displacing him in the past,'' he said. Park plays the role of a ``modern boy,'' a suave, rich young man who is unaffected by the fact his country was colonized. With his Japanese best friend, he struts around with his fashionable perm and customized linen suits, womanizing while flirting with a civil servant position. One day, however, he becomes mesmerized by a sexy singer/dancer (Kim), and becomes implicated in this mysterious woman's schemes to bomb a building.

The reputed male lead from ``Rules of Dating'' and ``Paradise Murdered'' said he took a contemporary approach to his character. ``I felt rather overwhelmed about playing a character in another time,'' said the 31-year-old actor. But he understood his character as being today's equivalent of a couture wear sporting hedonist living in the rich neighborhoods of Gangnam (southern Seoul). ``He just wants to be happy but was born in the wrong era,'' he said.

It's no surprise that Kim, Korea's ultimate sex symbol, plays a femme fatale. But the 37-year-old actress from ``Tazza: The High Rollers'' said that sex appeal doesn't define her character, who has at least nine identities from singer and dancer to fashion designer. ``She's a very talented woman who lived ahead of her time,'' she said.

Kim sings in Korean, Japanese and English and swings to jazz music. She said the months of preparation were physically enervating yet spiritually invigorating. ``It was a life changing experience both personally and professionally,'' she said with a smile. The screen beauty also revealed that she had been long interested in the film even before she was cast. ``I read about the movie in a magazine and was captivated by a photo they used of a singer from the era,'' she said.

Throughout the press conference, Kim and Park did not hesitate to compliment each other. The director added that the film would be worth watching just to see the chemistry between two of the most talented actors in Korea.

Source: Korea Times

'Divine Weapon' Targets Chuseok

Starring, from left actors Ahn Sung-ki, Jeong Jae-young, Heo Joon-ho and Han Eun-jeong. / Courtesy of CJ Entertainment

In time for the nation's biggest holiday comes ``The Divine Weapon,'' a highly anticipated epic dramatization of the world's first multi-launch rocket system invented during the Joseon Dynasty (1392-1910). Historical fiction is risky business, particularly in a country bound by deep cultural and historical homogeneity, and this film shows both the triumphs and perils of venturing into this genre.

The faction film employs anachronism to set a Tom and Jerry-type power struggle (since the Sino-Korean conflict occurred a century earlier), where China is becoming increasingly hostile in controlling the internal affairs of its small tributary state, Joseon. King Sejong (Ahn Sung-ki) is determined to strengthen the country's autonomy and has been secretly funding the development of a sophisticated weapon. But as the Chinese authority closes in on the project, the weapons designer commits suicide. All is not lost, however, as the scientist's daughter Hong-ri (Han Eung-jeong) guards the national secret.

The reason for China's fear isn't surprising. Once airborne, the Singijeon fires arrows that automatically explode after hitting the target. The large-sized Daesingijeon was capable of flying 2 kilometers before leaving a crater up to 30 centimeters deep. Developed in the mid-1500s and used to ward off northern invaders and sea borne Japanese pirates, the weapon's blueprint is recognized by the International Astronautical Federation as the oldest of its kind.

But here, the protagonist is neither the king nor the whiz scientist. The fate of the kingdom lies in the hands of a sleazy merchant Seol-ju (Jeong Jae-young). He happens to be the son of a gunpowder maker of the overthrown Goryeo Kingdom (918-1392), and his lowly status is perfect for the clandestine project. The film falls short of dabbling in the complexity of the transition period between dynasties, and the audience is expected to laugh along as womanizing Seol-ju helps Hong-ri build Singijeon because he has other things in mind.

Director Kim Yoo-jin, who's best know for the melodrama starring Jeon Do-yeon (``Promise,'' 1998), utilizes romance to drive the narrative forward. But antihero Seol-ju shows more knight in shining armor moves as he struts out his martial arts to protect Hong-ri and the project. When China threatens Joseon with an army of 100,000 men, the king, afraid for the security of the kingdom, calls everything to a stop. Seol-ju, however, refuses to obey and fights for the completion of the project.

``Divine'' marks a maturity in South Korean cinema by offering something purely entertainment-driven with a subject that can easily be reduced to sappy ``nationalism marketing,'' like the controversial failure ``Hanbando'' (2006) or the notorious ``D-War'' (Dragon Wars, 2007),

But the film makes the mistake of covering too much yet not enough. The massive production (10 billion won or $9.8 million) took over five years in the making and is already a blockbuster in the sense that its filming set in Jecheon, North Chungcheong Province is regularly drawing tourists. But the cluttered mass of action, adventure, romance, drama and history leading up to the climax is at times tedious, particularly due to weak character development.

Yet ``Divine'' shows the power of cinema in illuminating historical truths and taking viewers back in time with exquisite period detail. The movie is spiced up with a modern, stylistic flavor, featuring superwomen reigning in the male chauvinistic Joseon society. Purists may complain, however, of its brevity as the cast of top actors craft a ticklish story with more ``dramatic relief'' than comic relief. Nevertheless, it will be hard not to love Jeong's state of the art acting as well as royal guard Heo Joon-ho's charisma, which counteract the disappointing performance by Han.

Source: Korea Times

'Dachimawa Lee' Straddles Homage, Mockery

In Ryu Seung-wan's larger-than-life retro action film "Dachimawa Lee," Lim Won-hee, center, plays the role of the "handsome" spy while actresses Kong Hyo-jin, left, and Park Si-yeon are his sexy partners.

/ Courtesy of Showbox/Mediaplex

Hip young director Ryu Seng-wan (``The City of Violence,'' 2006) brings the big screen edition of an Internet flick that he calls ``abnormal.'' But the retro spy story ``Dachimawa Lee'' is so faithful to its own internal logic that it makes sense in wonderfully wrong ways, and its fine cast makes the larger-than-life story all the more endearing.

Dachimawa Lee, a character who can be described in Western parlance as a cross between Austin Powers and Mr. Bean, seems tailor-made for eccentric screen persona Lim Won-hee (``Le Grand Chef,'' 2007). The homely actor plays the role of the ``handsome'' and suave master spy ― and everyone, from love struck damsels to Japanese foes, reminds you of his good looks by swooning ``oh how handsome he is'' every other minute. He dodges bullets for the independence of his motherland and banishes his evil enemies on ``a fast train ride to hell,'' but he's also sensitive, and swallows back tears over women who break his heart.

Set during the 1940s in the last years of Japanese colonial rule, the film traces the whereabouts of a stolen national treasure, a golden Buddha statue that also contains a list of Korean freedom fighters wanted by imperial authorities.

Lee, however, fails miserably, and to add more woe, his ``Bond girls'' or sexy partner spies Yeon-ja (Kong Hyo-jin) and Mary (Park Si-yeon) perish in the process. The road to recovering his pride, however, becomes complicated by a Chinese merchant, quirky Korean vagabond (played by director Ryu's younger brother, popular actor Seung-beom) and a Japanese spy with a knack for magic tricks and his retinue of colorfully dressed ninjas.

Ryu walks a fine line between reverence and mockery of retro Korean action films ― a product of what he calls ``an ambivalent, love-hate'' sentiment toward his predecessors. The dialogue, all dubbed the old-fashioned way, is over the top, while action sequences are packed with Bruce Lee-style martial arts. The so-called Japanese and Chinese, with no offense intended for either of the languages, are, in fact mock jargon ― Korean spoken with Chinese intonation, by adding a ``la'' to every word. The Korean subtitles also ridicule the amateur translations in local pirated movies, where people often claim credit to their work using their Internet user ID.

The movie is light and entertaining enough, but a closer look shows the basis for serious analysis as a cinematic venture. The mock Japanese for example, is not simple comedy. In the 1970s, when there was an official ban on things Japanese in Korea, veteran directors like Im Kwon-taek had to deal with the situation by having so-called Japanese characters speak in Korean with a Japanese intonation. The old becomes new, and in this case, cause for big hearty laughter.

Renowned film critic Chung Sung-ill always says that movies are about watching the process of filmmaking, and the means for reaching the end becomes all the more relevant. The film takes the audience on a breathtaking run with the spies from Shanghai and Manchurian deserts to Princeton, New Jersey and the Swiss Alps. But believe it or not, the movie was shot 100 percent in Korea.

``Dachimawa Lee'' is a product of simultaneous combustion among the creative cast and crew. Kill preconceptions of what is appropriate in a movie, and be ready to laugh your heart out. It will also be an interesting compliment to the other, more ``serious'' and truly cross-border, multilingual film ``The Good, the Bad, the Weird.'' The costume design is by the same artist, who whips up more modern looks for ``Dachimawa Lee.''

In theaters Aug. 14. 12 and over. 99 minutes. Distributed by Showbox/Mediaplex.

Watch Sooni Become 'Sunny'

A scene from ''Sunny,'' starring actress Su Ae as a housewife-turned-singer during the Vietnam War and directed by Lee Jun-ik. / Courtesy of Showbox/Mediaplex

``Sunny,'' a love story set amid the Vietnam War, epitomizes South Korean director Lee Jun-ik's cinematic endeavors by bringing together the period detail of ``King and the Clown'' (2005) and musical inspirations of ``The Happy Life'' (2007).

This is the country's first movie directly depicting the sweat of some 320,000 Korean soldiers that fought with American forces. At the time, veteran singers like Patty Kim and Hyun Mi, who were pin-up girls back then, traveled to the war-torn land to cheer up soldiers. According to the director, a black and white photograph of a beautiful ``consolatory band'' singer gave birth to the film.

Lee brings a tale that seeps into the heart with the wistful tunes of Kim Chu-ja's ``My Love Is Faraway,'' the Korean title of the movie. The story is basically about an average rural housewife who, with the sole aim of tracking down her husband, becomes a singer. But the film grazes upon a broader sense of love and humanitarian concern as it depicts a long voyage of self-discovery.

It's 1971 Confucian Korea. Actress Su Ae is Sooni, a quiet young woman stuck in an arranged marriage with a man who's still in love with his college sweetheart. She has no choice but to submit to her stern mother-in-law's futile campaign for a grandson, and regularly visits her soldier husband Sang-gil (Um Tae-woong). Yet, all he returns is a cold glance and a poignant question.

``Do you even know what love is?'' he asks. She is speechless.

One day, Sooni discovers that Sang-gil has left for Vietnam. When her distraught mother-in-law packs bags to find the family's sole male heir, Sooni decides to make the trip. While civilians are unable to travel to the warstruck country, she finds out that so-called consolatory singers can go. She finally finds a way to make use of her latent vocal talent.

This incredulous turn of events is made possible with another desperate character. Jung-man (Jung Jin-young), a con artist, cannot miss out on the lucrative business, and happily recruits Sooni and other band members. Thus our protagonist trades in her outmoded name Sooni for Sunny.

But of course, stripping down from floral blouses buttoned all the way to the top and ankle-length skirts into cleavage-bearing mini dresses and risque high heels isn't easy. However, a sense of fortitude grapples our protagonist as she watches innocent civilians, young soldiers and Vietcong perish.

While this type of character development is all rather formulaic to war dramas, the film depicts it with tasteful restraint. Our laconic Sunny says it all with a flicker of pain in her eyes and by crooning lyrics like ``I should have told you I loved you but it's too late.'' A question seems to linger in her mind. ``Do you love me?'' her husband had asked her.

The movie offers a sense of liberation, as Sooni truly becomes Sunny, dancing and singing her heart out. Her strength of will boosts the morale of soldiers and transforms shady men like our greasy, velvet bellbottoms-wearing Jung-man, who was keen on exploiting the star singer. The film takes on a dash of ``Saving Private Ryan'' (1998) as Sunny's ``fans'' (high-ranking military men) help search for her missing husband. Will her heart reach his?

The story may at first remind one of ``Cold Mountain'' (2003), where a man embarks on a cross-country trek during the American Civil War to find the love of his life. But ``Sunny'' is more a kindred spirit of the novel/movie``The Painted Veil'' (2006) ― ``sometimes the greatest journey is the distance between two people.''

Source: Korea Times

Blockbuster 'Friend' to Be Reproduced as TV Series

Will a TV drama version of the blockbuster "Friend" be as thrilling as the original movie?

Avid fans certainly hope so. The mega-hit, which garnered a record-high 8.2 million ticket sales in 2001, will be remade as a 16-episode TV series titled "Friend: the Untold Story," said to be aired in the first half of 2009.

"I have decided to direct the drama with untold episodes added to the original movie. The scenario is in the process of being written," said Kwak Kyung-taek, who catapulted into stardom as the film director and scenario writer.

"All the episodes will be shot in Busan, just like the original film," Kwak said, refusing to reveal which TV broadcaster will show it.

Kim Min-jun, 32, who starred in Kwak's 2007 film "Love," will replace Yu Oh-sung as the gangster Jun-sok, and Hyun Bin, 26, will replace Jang Dong-geun as Jun-sok's friend Dong-su. Oh and Hyun Bin will play the two leading characters among the four friends in the movie, according to the 42-year-old director. Hyun Bin starred in TV soap operas "Queen of Snow(2006)" and "My Name is Kim Sam-sun(2005)."

The original movie depicted the director's experience with his friends, a semi-autobiography set in his hometown of Busan. The actors use a strong regional dialect. Many movie-goers, especially male adults, were attracted because it reminded them of their high school days.

Source: Korea Times

'Kimchi Western' Marks New Horizon

The boys are back together. Jung Woo-sung, left, Song Kang-ho and Lee Byung-hun star in "The Good, the Bad, the Weird,'' which will open in theaters July 17. / Courtesy of CJ Entertainment Director Kim Jee-woon (``A Bittersweet Life,'' 2005) finally brings home what had judges in awe at 2008 Cannes in its out-of-competition section. While inspired by Sergio Leone's spaghetti Western ``The Good, the Bad, the Ugly,'' 1966, ``kimchi'' Western (as the Toronto International Film Festival calls it) ``The Good, the Bad, the Weird'' achieves, with finesse, the creative struggle of transforming self and heritage into something new. ``Good'' is seductively entertaining in the way you expect a Western movie to be: three of Korea's most endearing actors ride around with guns on horseback and engage in a pulsating train robbery, cross-country treasure hunt and three-way shootout. But the films has that inherent Koreanness; it capitalizes on heritage in a new playing field. Exceeding all domestic records in terms of budget and number of takes for shoots, it recreates the exoticism of 1930s Manchuria, the natural born child of the ancient Silk Road where all of Asia seems to melt together in one pot. At the time, Korea was under Japanese colonial rule (1910-45) and a network of independence fighters were stationed outside of the country. A treasure map supposedly leads to the buried riches of an ancient Chinese dynasty. Japanese rulers see this as a way to fulfill their imperialistic ambitions in Asia, while Korean freedom fighters cannot miss this chance to finance their mission (the contending forces thus replace Leone's Confederate and Union soldiers battling during the American Civil War). Sniper hunter Dong-won (the Good played by Jung Woo-sung), is paid by local independence fighters to retrieve the map before the bad assassin Chang-yi (Lee Byung-hun) does. However, the much-coveted item falls into the hands of an eccentric thief Tae-goo (the Weird, Song Kang-ho). And so, the three characters embark on a wildly exhilarating cross-desert chase, while local Manchurian tribesmen and Japanese soldiers complicate things. Meanwhile, Dong-won and Tae-goo form a shaky alliance against the evil, merciless Chang-yi, but no one can be trusted. Along the way, you meet opium-smoking courtesans, elephants and camel-driven caravans, and a great soundtrack accompanies the fun ride. Dong-won, sporting a cowboy hat and long rifle, offers cool actions like flying around and shooting enemies. While no heroic freedom fighter, he senses a feeling of loss about his colonized homeland. He does things for money, but also saves helpless civilians. Chang-yi is charismatic in a black gothic suit reminiscent of John Leguizamo as Tybalt (``Romeo and Juliet,'' 1996). He is in charge of the gory knife work, including gruesome finger cutting. He's the type who's not afraid of dying. This bully is driven by the desire to establish a reputation of invincibility, and bitter contested feelings of being beaten by a legendary man called ``finger ghost'' fuel him. A weird guy sets the perfect counterpoint to the good guy and bad guy. It's hard not to love Tae-goo, who adds in all the delightful comic relief. He is the king of chance and a slave of survival, and dodges bullets with bunny hops and uses strange little gadgets to stay alive. Song is irreplaceable for the role, as he plays goofy parts with an utmost believability. The movie breathes with life and action. To make up for budget shortages, a ``wire cameraman,'' rather than a wire-suspended camera, did the most dangerous stunts, the director told reporters at a recent press preview in Seoul. ``It's an entertainment movie that I made like a madman. I hope the audience can be entranced,'' he said. Be ready for a wild ride! Source: Korea Times