Summer Action Flicks Are Coming

Every summer, big budget Hollywood movies flow in, and many worry about the potential threat to homegrown films. Recent trends, however, suggest that competition is healthy.

``The fact that such a comparison (between national and international franchises) is even possible is unique; there aren't so many countries around the world where domestic films can compete with American ones,'' Han Seung-hee, researcher at the Korean Film Council, told The Korea Times.

After the turn of the new millennium, the Korean film industry enjoyed rapid growth, with blockbusters rewriting box office history each year. But the market plummeted for the first time last year, and investment and production hit an all time low. Moviegoers even criticized films that fared well at the box office as being formulaic.

So far, 2009 looks better. The success of ``A Frozen Flower'' and ``Scandal Makers'' opened up a promising new year. Although February and March were rather lukewarm months _ viewership was split among three crime thrillers, ``The Scam,'' ``Marine Boy'' and ``Hand Phone'' _ ``Private Eye'' picked things up and was widely loved for its unique themes.

Sleeper hit movies such as ``Old Partner'' and ``Breathless'' also revamped the cinema scene, proving that small budget films can make it big. Despite what was anticipated to be a tough competition against star-studded imports like ``Star Trek: The Beginning'' and ``Terminator 4,'' ``My Girlfriend Is an Agent'' reaped large profits. Park Chan-wook's Cannes Jury Prize winning ``Thirst'' also faired well.
It's too early to tell, however, whether the box office successes can help turn around the conservative attitude in funding and producing films. Filmmakers are still largely opting for mid-budget films that pose lower risks. What is notable, said Han, is that the general public sentiment has been markedly positive. ``The novel subject matter of films has been highly regarded by moviegoers,'' she said.

Meanwhile, ``Transformers: Revenge of the Fallen,'' the sequel to the highest grossing foreign film here, has attracted more than 2.8 million viewers in one week since its release June 24.

``This could be good news for the Korean films that are coming. When a movie, be it foreign or homegrown, creates a hype, then people look forward to the films that can take over the baton,'' said Han.

Anticipated Summer Blockbusters

The theater can provide refuge from the sticky and wet weather, and moviegoers can look forward to movies featuring distinct themes and the hottest screen personalities.

``Chaw'' is drawing attention for its unusual subject matter and demanding use of computer-generated imagery (CGI). It is about a wild hog that develops a taste for human flesh and terrorizes a peaceful mountainous village. Popular actor Eom Tae-woong (``Hand Phone'') stars as a police officer that must stop the homicidal beast. To be released July 16. Distributed by Lotte Entertainment.

Also hitting screens later this month is ``Haeundae,'' a mega-action film about a tsunami consuming Korean beaches. A-list actors Sul Kyoung-gu (``Venus and Mars''), Ha Ji-won (``Miracle of a Giving Fool''), Park Joong-hoon (``The Truth About Charlie'') and Uhm Jung-hwa (``Insadong Scandal'') appear in the project headed by Youn J.K. (``Miracle on 1st Street''). In a press release, the director emphasized that he wanted to create a ``very human'' film that will inspire both laughter and tears, and most importantly, stand apart from typical Hollywood disaster flicks. In theaters July 23. Distributed by CJ Entertainment.

Next month comes another unique film, ``A Million,'' featuring hot screen stars Park Hae-il (``Modern Boy''), Synn Mina (``The Naked Kitchen''), Park Heui-soon (``Scam'') and Lee Min-ki (``Oishii Man''). This action thriller is set in the isolated seaside, desert and forests of Perth, Australia, where eight participants must survive to win the prize of 1 billion won on a reality TV show. Coming to screens Aug. 6. Distributed by Sidus FNH.

Last year, Lim Soon-rye brought the world's first handball film ``Forever the Moment,'' and this summer, ``200-Pound Beauty'' director Kim Yong-hwa brings an unprecedented film about ski jumping, called ``Ski Jump.'' ``It'' actor Ha Jung-woo (``My Dear Enemy'') shows the struggles of pitifully equipped athletes. Slated for release on July 30. Distributed by Showbox/Mediaplex.

Source: Korea Times

[MOVIE REVIEW]Hwang convincing in detective role

"Private Eye," written and directed by Park Dae-min, tackles a genre not particularly favored by Korean audiences, but achieves dramatic tension thanks largely to a well-crafted lead role.

The film - based on the debut director's script, which won the 2005 Makdoongyi Screenplay Contest - centers on Jin-ho (Hwang Jung-min), a private investigator who mostly deals with trivial cases. It is set in Seoul in 1910, while Korea is under Japanese colonial rule.

Jin-ho's routine is disrupted when he gets dragged into a high-profile murder case. The case comes from a budding physician Gwang-soo (Ryu Deok-hwan), who stumbles upon an abandoned corpse in a field. The corpse turns out to be the son of a powerful Joseon politician, and the duo set out to identify the murderer.

`Private Eye`

Once the whodunit gets going, two intriguing characters are thrown in. First is female inventor Sun-deok (Um Ji-won), whose identity remains largely cloaked behind the countless gadgets she produces in her secret laboratory. Following the conventions of a detective film, she supplies a handful of gizmos to Jin-ho.

Another supporting character to note is Young-dal (Oh Dal-su), a Jongno police chief who follows the same murder case, seeking fame and wealth. Young-dal's gentle smile, however, cannot be taken at face value.

For the first half of the film, the plot progresses slowly. Park focuses on building up a cinematic rapport between Jin-ho and Gwang-soo - and rightly so.

Award-winning actor Hwang Jung-min puts in a smooth performance as Jin-ho, as if he were born to be a private detective yearning for a way out of his gloomy reality. His body language is fairly natural, demonstrating his talent in embracing a role to the full.

Ryu's Gwang-soo is fleshed out just as faithfully. Ryu, an up-and-coming actor, brings to life a likable sidekick who accentuates the detective character's stylish posturing.

The duo's lighthearted moments, however, are not frequent enough to compensate for the dark mood that underlies the main plot. The film is for 15-year-olds or older but the subject matter seems to go beyond the rating. Moreover, some audiences are likely to find a couple of climatic scenes unpleasant.

Luckily, "Private Eye" relies heavily on the charm of Hwang Jung-min to get the story rolling and hide the key piece of the puzzle until the last moment - a decision that pays off.

But the question remains. Given Hwang's undisputed talent, he might have pulled off an effective modern detective if the story was set in modern-day Seoul. "Private Eye" is part of a series of Korean films that taps into the country's early 20th century, when Seoul was called Gyeongseong. Last year saw several period films, including "Once Upon a Time," "Radio Days," "Modern Boy" and "The Good, The Bad, The Weird," which had limited success.

"Private Eye," produced and distributed by CJ Entertainment, will open in local theaters on April 2.

Source: Korea Herald

Hwang Jeong-min as the Korean 'Holmes'

Award-winning actor Hwang Jeong-min will star as a seedy private detective in the upcoming "Shadow Murders."

The film's early April release was announced at a press conference yesterday at the Apgujeong CGV Multiplex in Seoul.

In it, Hwang's character Hong Jin-ho becomes entangled in a web of serial killings.

The film also stars newcomer Ryu Deok-hwan as Jang Gwang-soo, a medical student who assists Hong in much the way Arthur Hastings did Hercule Poirot in Agatha Christie's mystery novels.

Statuesque actress Eom Ji-won rounds out the starring roles of the film as Soon Deok, an inventor who provides Hong with the investigative tools needed to solve the murders.

"I wanted to make a fun mystery yarn with a quirky private detective character in the same vein as Sherlock Holmes, which had never been portrayed in feature films in Korea," said director Park Dae-min.

"Shadow Murders" is Park's first film, and his entry into the industry came after his script for the film won the 7th annual Makdong Screenwriting Contest in 2005.

Set during the Joseon period at the turn-of-the-century, the film follows Hong's exploits as he struggles to make a living selling incriminating photographs of high-profile government officials and affluent figures engaged in scandalous activities. When Jang seeks his help in solving the murder of a local magistrate's son, the two find themselves drawn deep into the opium underworld.

"My character may come across as somewhat of a money-grubbing simpleton, but he has a lot of inner pain that he hides through this sort of resigned tomfoolery and indifference," Hwang said.

"But the more he becomes involved in the mysterious killings, the more emotionally involved he becomes throughout the film."

Hwang is known as an actor's actor who immerses himself in his roles in both film and theater. The 38-year-old has tackled versatile roles from murderous sociopaths ("Bittersweet Life"), to romantic leads ("You are My Sunshine") to hardened tough guys ("Bloody Tie").

Despite his lengthy resume and cabinet full of Korea's top acting awards, the 21-year-old Ryu said Hwang is "very thoughtful and considerate of younger actors just coming up.

"He really put me at ease on the set during both rehearsals and shooting because he knew I would be nervous and intimidated, Ryu said.

"So instead of telling me how to do things, he asked me how I wanted to approach our scenes together and if he had a different take, he would suggest something else. I really admire that way of guiding younger actors - I learned a lot from him throughout the shoot."

Hwang, who did most of his own stunts for the film, may also have taught his young costar something through example.

"During the rickshaw chase sequence, the carriage became very unstable and I fell off of it and got banged up a bit," Hwang said. "What's funny and embarrassing is that I told Deok-hwan to be careful before shooting took place for that sequence and I ended up being the one getting hurt.

"Getting hurt during action sequences is always a possibility," he added. "It comes with the territory."

The film is part detective procedural and part who-done-it, Park said, citing American films such as Curtis Hanson's "L.A. Confidential" and Roman Polansky's noir masterpiece "Chinatown" as films that inspired him during production.

The film opens nationwide April 2.

Source: Korea Herald

'Kitchen' Offers Tasteful Romance

From left, actors Synn Min-a, Ju Ji-hun and Kim Tae-woo star in the sugary romance ``The Naked Kitchen,'' which is now showing in local theaters and the Berlin International Film Festival. / Courtesy of Silver Spoon

The title says it all: ``The Naked Kitchen.'' Newcomer Hong Ji-young brings a sensuous romance that paints the taste of juicy meals and unforgettable kisses.

After competing at a few international short film festivals with ``Herstory,'' Hong makes her feature film debut both here and abroad through the Berlin International Film Festival, which continues through Feb. 15. The movie's nationwide release in Japan is slated for June.

For local moviegoers, ``Kitchen'' will be a delightful trend-spotting, trend-setting franchise. It capitalizes on the national obsession with fine dining, particularly the recent interest in food styling and things fusion. Martha Stewart can feast her eyes with brunch dished up on Hermes china and Korean court cuisine served in a Western-style multiple-course meal.

Other scenes are like fashion magazine spreads, as the cellophane-thin lead actress struts around trendy neighborhoods in her candy-colored shoes. But the emerging director displays a sense for both style and substance as she delves the meaning of love and infidelity. The movie is a fine asset to the Korean chick flick genre as it sugarcoats the sensitive subject matter with scrumptious dishes, summer sunshine and colorful parasols.

Mo-rae (Synn Min-a) is a young parasol designer happily married to the love of her life (Kim Tae-woo). She is the perfect wife who supports Sang-in even when he secretly quits his high-paying job in finance to pursue his dreams of becoming a chef. Their newly wedded bliss, however, is disrupted when a new man (Ju Ji-hun) enters Mo-rae's life.

Unlike other stories about clandestine liaisons, ``Kitchen'' depicts the incident with fairy-tale charms, though not without a touch of eroticism. ``He tasted different,'' Mo-rae immediately confesses to her husband, with childlike innocence, that she kissed a stranger in an art gallery. Sang-in tries to forgive and forget, having always been the generous older brother figure to his childhood friend-turned-wife.

Mo-rae's mysterious kisser, however, turns out to be none other than her husband's dear friend Du-re, a genius cook who was invited to stay at their home while helping out with Sang-in's new restaurant. And so begins a shaky, three-way cohabitation.

``Kitchen'' can be compared to Gina Kim's ``Never Forever,'' as both show that first loves, or one great love, does not necessarily last forever. The movie also suggests it is possible to love two people at the same time, quite like Chong Yun-su's ``My Wife Got Married.'' But unlike the said film's openly polygamous wife, Mo-rae is more ``ordinary'' and tries not to fool around with Du-re. But considering their having exchanged kisses before names, it's not easy. ``It started as Eros and now you want to go platonic? Does that make sense?'' reprimands Mo-rae's friend.

The viewer is bound to sympathize with Sang-in, who cannot help feeling an inferiority complex toward Du-re's innate cooking abilities. Others might take sides with lonely boy Du-re, played by the model-turned-actor Ju. The heartthrob of the hit TV soap ``Princess Hours'' is an actor to watch out for, as his big screen debut ``Antique'' is also being shown alongside ``Kitchen'' at Berlin. Yet one drawback is that this non-francophone actor plays a character that is supposed to speak better French than Korean. Those who aren't distracted by the actor's natural charms may find his chanson d'amour version of a popular Shim Su-bong trot beat rather cheesy.

Now showing in theaters. 102 minutes. Distributed by Silver Spoon.

'Scam' Is Smart Investment

From left, actors Kim Min-jung, Park Yong-ha, Park Heui-soon and Kim Moo-yeol star as con artists in South Korea's first stock market movie ``The Scam,'' which will come to theaters Feb. 12. / Courtesy of Showbox/Mediaplex The box office can be as difficult to predict as the stock market, and South Korean cinema in particularly is suffering amid the global financial crisis. ``The Scam,'' the country's first stock market movie, will undoubtedly prove to be a smart investment. Unlike its scamming characters, newcomer director Lee Ho-jae invests the right way, with a solid, ``inflation-free'' script and the magic chemistry of a talented cast. The crime drama draws in viewers without becoming too technical, as it is more about the human desire for wealth than financial matters. Losing tens of millions of won in the stock market can be only a click away on the Internet. ``Click,'' and hopeless debtors head to the Han River. Hallyu star Park Yong-ha (SBS's ``On Air'') sheds his sleek image to play Hyeon-su, a victim of such a fatal click. After losing everything, he spends five years glued to the computer screen as an unshaven, full-time ``ant'' (individual investor). He eventually reaches the top of the game after a painful diet of instant noodles and sacrificing the cost of three luxury sedans. He vows to quit once and for all when he achieves his goal, a nine-digit savings account that will support his mother and studious younger brother. One day he hits the jackpot, not knowing that there are repercussions to disrupting a stock market scam. He ignites the fury of Hwang, a gangster-turned-financier bidding for entry into the top percentile of the rich and powerful. Park Heui-soon (``Seven Days'') brings another fresh mobster persona, who feigns elegance in his initialized Italian shoes, only to resort to kicking people for dramatic effect. He also begins every sentence with an ``OK'' even though he cannot tolerate the full English phrasings of his Korean-American partner. Hwang, however, doesn't dwell on past indiscretions. He recognizes Hyeon-su's talents and employs him for the biggest scam yet, also giving him a nice makeover. Hyeon-su joins the other members of Hwang's dream team for the 60 billion won heist: Min-hyeong, an elite stock broker who doubles as the think tank of fraudulent trades (musical star Kim Moo-yeol makes his big screen debut); sexy private banker Seo-yeon (Kim Min-jung of MBC's ``New Heart''); Park, a second-generation chaebol CEO facing a management crisis (veteran supporting actor Jo Duk-hyun); and Bryan (Jun Kim, ``West 32nd''), a Korean-American fund manager who fakes foreign investment as a ``black-haired foreigner.'' These are professional stock gamblers who win the house by reading everyone else's cards. They opt for new scientific technology, the cream of the crop for stock scams. Park's chaebol company invests heavily in a friend's new environmental research and Seo-yeon has one of her clients buy the company's shares. They have a famous broadcaster hype public attention while Bryan creates the illusion of foreign investment, and the cash starts flowing in from blind ``ants.'' A bigger scam, however, unfolds within the ring of scam artists. Outsider Hyeon-su becomes the ultimate insider as he becomes the pawn in a tangled web of backstabbing intrigue. As much as the film is about people sitting around gnawing away at money matters and monitoring stock transactions online, space is strictly limited to rooms with computers. Nonetheless, ``The Scam'' never loses its speedy narrative flow and dramatic tension, which is edged with humor. Moreover, it draws in viewers with a full cast of idiosyncratic characters that breathe with life no matter how small their roles are ― the fruits of the writer/director's interviews, over a course of two years, with actual people in the stock business. In these times of economic woes, such a smart film investment will benefit not only the makers of the movie but moviegoers as well. In theaters Feb. 12. 119 minutes. 18 and over. Distributed by Showbox/Mediaplex. Source: Korea Times

Cell phone topic of new thriller

Mobile devices have become the norm, saving time and energy for a person on-the-go. Many folks, however, use them to store sensitive information like intimate photos and videos. It is not usually until they have been lost that the owner realizes they should have been more cautious. That is the premise cooked up by director Kim Han-min for his second feature-length film, "Hand Phone," as Koreans usually refer to mobile phones. It stars Eom Tae-woong and Park Yong-woo as the story's anti-hero and villain. Kim is considered a major up-and-coming director. His debut work, "Paradise Murdered" two years ago drew 2.2 million to the theater, more than adequate by local standards, and also met with critical approval. For Eom, this is his first lead role in a feature film. He tries to convince viewers his life is coming apart as his character is hounded by an unknown ominous figure played by character actor Park. Eom is the younger brother of Uhm Jung-wha, a leading pop star and actress, but he has proved to be an star in his own right over the past several years. Eom plays a high-profile company executive who gets involved with a psychopath (Park) that unwittingly picks up his mobile phone containing sexually explicit videos of a rising starlet. At a press conference Monday in Seoul, the film's plot sparked a discussion on issues of privacy and human nature between the two leads. It was hosted by MC and comedian, Kim Gu-ra, who also makes a cameo, playing himself. "For me, the loss of contact information like phone numbers would be the most important if I lost my phone, but I wouldn't be worried about having my private life exposed because I only have harmless pictures of my dog and girlfriend - nothing scandalous," Eom said. When the conversation shifted to whether the actors themselves have invaded the privacy of another by looking through a mobile phone, the two leads each had a different answer. "As a matter of fact I do frequently check my girlfriend's phone records to see who she's called and who she's been getting calls from - she does the same thing, mind you. We've done this for two years and we do it because we trust each other." Park had a different take. "I've never checked up on my woman's phone records ever. We have boundaries and that's a line we both agreed never to cross," Park said. "This isn't because we have secrets to hide, but we just feel certain things like phone records should be kept private." But the two thespians had one thing in common. They have both frequently lost their phones during a night out drinking with buddies. "I've never gotten back my phone whenever I lost it, but if someone tried to mess around by toying with me using my phone, I would want to track him down and administer a beat down, that's for sure," said Eom. Park said he hoped viewers would not interpret the two characters as simply good and evil, but as real people whose motivations they can understand in the context of situations they are pitted against in the film. "I hope people don't see both our characters simply as good and evil because both of our characters have endearing qualities," Park said. "Hand Phone" will be released nationwide Feb. 19.

Kwon Sang-woo Resumes Romantic Role

Actors Kwon Sang-woo, left, and Lee Bo-young walk down the aisle in a cathedral wedding scene for the film ``A Sad Story'' in Seoul, Monday. / Yonhap

Newly wed actor Kwon Sang-woo was caught walking down the aisle once again ― this time with actress Lee Bo-young in the upcoming movie ``A Sad Story'' (working title).

As its title suggests, the film is about heartbreaking, unrequited love. The wedding shoot, revealed to the press Monday in a Seoul cathedral, featured Kwon's character walking down the aisle with the woman he loves (Lee Bo-young) ― but only to marry her off to another man (Lee Beom-soo).

Kwon returns to the romance genre after foraying comic or tough guy parts, such as in ``Fate.'' He said he drew inspiration from his own marriage for his latest role. ``I think being married enables me to think more deeply about playing melodramatic parts. Like my movie character, Kay, I also needed a lot of courage to bear the fruits of my love,'' he said.

The ``Stairway to Heaven'' star made headlines last year when his clandestine romance with actress Sohn Tae-young became public. The two tied the knot in September and are expecting a baby in the spring. ``Kay braves his circumstances for love, and I thought I might have done the same if I were in his shoes,'' he said.

The project garnered interest for marking poet Won Tae-yeon's directorial debut. ``It's my first movie, and I am very honored I got the opportunity to work with actors with such great acting skill and enthusiasm,'' said Won.

``The director always provides clear, detailed answers whenever we actors have any questions. Being the poet he is, he meticulously points out words and even syllables when directing our acting. He also pays a lot of attention to the timing of our speech,'' said Lee Beom-soo. The actor, known for his solid acting skills, recently rose to stardom through charismatic TV roles in ``Doctor Bong'' and ``On Air.'' His movie ``Death Bell'' also faired well at last year's box office.

``A Sad Story'' also drew attention because the three cast members invested in the production. ``I decided to invest my salary into the movie because I believe in the director's script. I think I can at least break even because the story is very good,'' said Kwon.

``At first I was a little worried the movie would stop short of being just a pretty romance. But I think it will be a realistic yet beautiful film,'' said actress Lee (``Once Upon a Time''). The former Miss Korea looked graceful in her lacy wedding gown.

Monday also happened to be her 30th birthday, and the cast and crew surprised the actress with a large three-tier cake, moving her to tears.

About 70 percent of A Sad Story has been filmed and the movie is slated for a March 14 release. Distributed by Showbox/Mediaplex.

'Marine Boy' Explores Drug Trafficking

Cho Jae-hyun, left, Park Si-yeon, center, and Kim Kang-woo pose at a press event in southern Seoul, Monday. / Yonhap

The upcoming film ``Marine Boy'' involves treading water, but it has nothing to do with the nickname Koreans affectionately give to swimming star Park Tae-hwan.

Written and directed by newcomer Yoon Jong-seok, this crime movie is about a former swimming athlete (Kim Kang-woo) who, desperately in debt, becomes employed as a ``body packing'' drug mule by a heartless drug lord (Cho Jae-hyun). After swallowing a 10-meter-long drug package, this ``marine boy'' must swim across waters between Korea and Japan. Among the many things that beckon death, an alluring beauty (Park Si-yeon) tries to seduce him.

``As long as there are drugs, there will be those who transport drugs. What makes this movie unique is not its subject matter, but rather, the name `marine boy.' There is something beguiling about its duality, how these criminals are called something that romantically calls to mind the popular cartoon ``Marine Boy'' or the star swimmer Park Tae-hwan,'' the director told reporters at a press event in southern Seoul, Monday.

``A friend of mine asked if the movie was about swimmer Park Tae-hwan. Park did in fact get to watch a rough cut of the film and liked it. But I hope people will view `Marine Boy' as a film with a life of its own,'' said Kim.

Like the film's title, the stars are also redefining themselves. Kim stripped down his soft, good guy image to play an ultra masculine athlete. The ``Le Grand Chef'' star had to conquer his fear of water and learn basic swimming strokes alongside toddlers. After a few months of intense training and dieting, he was boasting a chiseled physique and doing dangerous water stunts without a stand-in.

Throughout the press conference, Kim's co-stars and director praised his passionate effort. About her co-star's sexy makeover, Park (``A Love'') said Kim's fervent devotion to the vigorous training was ``much sexier.'' The screen beauty herself gives a new slant on her image, trading in her damsel in distress characters for a scheming femme fatale. The newly revealed film trailer featured a steamy love scene between the two, garnering much attention from the press. ``It was a bedroom scene but we shot it so vigorously I don't remember much,'' she said.

Cho (``Bad Guy''), known for both iconic villain roles and quintessential good guy parts, adds another bad guy to the roster. ``I actually feel more comfortable playing the more delicate, fragile roles,'' he said, teasing himself as being a softhearted man who often cries. ``But I believe that any given villain character, no matter how tough and masculine, requires a small portion of femininity,'' he said.

``Marine Boy'' marks a plunge into big budget filmmaking for the indie film veteran. ``Like the director said, I feel like I'm marrying off my precious daughter,'' said Cho about the film's upcoming release in February. ``I've married off many 'children' (movies) so far, but the weddings have been a disaster… I've also been very hungry, doing Kim Ki-duk's independent films,'' joked the actor, inspiring laughter from reporters. ``For the first time, I feel like I am marrying off my daughter to a loving, wealthy family,'' he said.

'Romantic Island' Loses Spark

A scene from ``Romantic Island''

The Christmas season boasts many holiday movies with plots about romance, family matters and even Santa and his elves. ``Romantic Island'' can be added to the love story category, as four young characters leave their tiring everyday lives, arrive at one of the most beautiful islands on earth and each start to discover new sides of themselves.

Jae-hyuk, played by deep voiced Lee Sun-kyun, is a CEO but faces a layoff by the board of directors due to radical decisions and his straightforward personality. When informed of the death of his father, who left him to live with his Filipino wife and daughter, he doesn't flinch and leaves for the island to bid his father farewell.

Meanwhile, Su-jin, played by the bubbly Lee Soo-kyung, flies to Boracay to escape her poor family and miserable workplace. She meets the seemingly rich Jae-hyuk and resolves to fix his sour attitude.

Jeong-hwan, played by model-turned actor Lee Min-ki, is an unemployed fellow looking for fun and Ga-young, played by singer-turned-actress Eugene, is popular singer. The two immediately bond, with Jeong-hwan simply honored to be with a famous singer and Ga-young frantically trying to get away from her hectic schedule. The story is somewhat similar to ``Notting Hill,'' from the glamorous star to the timid yet happy young man.

There is actually another couple that will touch the heart of viewers: the dying husband and clueless wife. He's determined to kill himself, and almost succeeds, only to realize the true meaning of life and love through his loving wife.

``Romantic Island'' is a trendy and romantic drama. It has all the right elements of: beautiful scenery, four young talented actors along with veteran co-stars and interesting love stories. But unlike dramas that take place over several episodes, a movie needs a solid plot that can hold onto viewers' attention, and ``Romantic Island'' falls a bit short.

The couples do offer a common theme of love changing everything for the worst, even the best situations, and the theme is executed quite successfully through three different storylines early on.

The couples are sweet and fun to watch and the actors are persuasive, but as the tightly packaged themes start to unravel, they lose their spark and tension.

Still, the sunsets, palm trees and beaches are more than enough to make viewers want to pack their bags and head straight there, and the small incidents with the three couples are the same as many would have hoped for in their dreams of a paradise getaway.

If you are looking for a light romantic drama with no serious twists or turns, ``Romantic Island'' will be perfect for you.

Source: Korea Times

'Ssanghwajeom' barely avoids trap

Homosexuality is no longer a hush-hush topic for Korean filmmakers. But depictions of sexuality take another turn in "Ssanghwajeom (A Frozen Flower)," as a relationship between two men becomes a triangle of jealousy with an addition of a woman.

But the movie, to be released on Dec. 30, is not limited to sexual entanglement. Sex is used as a key tool to prod the plot forward, often at a rapid pace. To that end, director Yoo Ha includes plenty of explicit scenes of sex and graphic violence. The result, however, is somewhat mixed. The film's poetic justice produces an unlikely anti-hero.

Although the movie sets itself out as a historical drama set in the late Goryeo Dynasty, viewers should bear in mind that the story is purely fictional. The nation is now under the virtual rule of China's Yuan Dynasty, and Goryeo's king (Joo Jin-mo) has to produce a son to keep his position. The only problem is that he cannot sleep with a woman, much less have a romantic relationship with one.

The king's real romantic partner is none other than his chief bodyguard Hong Lim (Zo In-sung). The two have sex in the inner sanctums of the Goryeo court, and we are shown a graphic kiss scene between the king and Hong Lim, which is bound to shock some Korean viewers.

But the real shocker comes when the king decides to ask Hong Lim to sleep with his wife - the queen (Song Ji-hyo). This idea is based on his assumption that all his political problems will go away once there is a royal son.

The king's miscalculation, of course, is that passionate romantic feelings sometimes form after sex. Hong Lim, who has never slept with a woman before, hesitates to touch the body of the queen at first, but once the physical bond is initiated, he finds himself totally enslaved.

Love triangle established, the plot sprints ahead with a portrayal of the uncontrollable anger and jealousy of the king, leaving heads rolling in the process.

Director Yoo seems to suggest that Hong Lim has long been subjected to a sort of coercion, rather than a real romantic relationship with the king. Hong is a mere subordinate, while the king has all the power, including the right to order his death.

The queen, for her part, discovers the liberating exhilaration when she falls in love with Hong Lim after years of neglect and inattention. She suffers a deep sense of guilt initially but she finds herself indulging in the dangerous liaisons with Hong Lim.

What is notable is that sex in "Ssanghwajeom" is deeply associated with death. Eros is often depicted in literature and film as being able to overcome everything. The feelings that interconnect Hong Lim and the queen could backfire lethally because they are cheating on the almighty king.

As far as a plot is concerned, the unfortunate queen and her lover bravely defy the obstacles to prove that mutual love is more powerful than unrequited passion. The king's relationship with Hong Lim has been futile and one-sided. Failing to confirm whether his bodyguard is truly in love with him, he comes to realize that he is totally alone.

It is a pity that the king, trapped in a man's body, is betrayed by his secret lover. What the king fails to notice is that Hong Lim is a bisexual who prefers heterosexual sex.

But Joo Jin-mo does not have to lament his role. It is Zo In-sung who fails to create much-needed emotional subtlety and often delivers his lines in an annoyingly mechanical fashion. In contrast, Joo Jin-mo emerges as the ultimate winner in the film. Joo pulls off creating a complex and nuanced character with whom audiences will be able to sympathize, rescuing a film that might otherwise have fallen into the trap of having too much sex and violence.

'Boys Over Flowers' to Air in January

Tha main actors of Korean television vestion of ``Boys Over Flowers'' pose at a prss conference held Monday in downtown Seoul. From left are Kim Jun, Kim Bun, Ku Hye-sun, Lee Min-ho and Kim Hyun-joong. / Yonhap

The famous Japanese cartoon ``Boys Over Flowers'' by Yoko Kamio will be broadcast next year through the small screen, complete with a Korean version of ``Flower 4,'' that features handsome boys and a headstrong heroine.

Fans, reporters and camera crews packed the press conference held at a hotel in central Seoul, confirming the anticipation the drama has stirred for fans here.

The drama has cast four actors who were chosen from auditions: Lee Min-ho (Tsukasa Domyoji, or Goo Jun-pyo in the Korean version); Kim Hyun-joong (Rui Hanazawa, or Yoon Ji-hu); Kim Bum (Sojirou Nishikado, or So E-jeong); and Kim Jun (Akira Mimasaka, or Song Woo-bin). Actress Ku Hye-sun will play Tsukushi Makino, or Geum Jan-di.

The story ― about four boys and one lucky girl, spiced with the right mix of love triangles, troubles in school and parents and luxurious adolescent life ― captivated Asia, first through its original comic book, then through an animation, dramas from Japan and Taiwan and a movie.

Why another one, particularly a drama?

``I was asked to make the Korean version, and after some consideration, I decided to do it. Our version will be based on the cartoon, and I have tried to bring originality as much as possible,'' Jun Ki-sang, the producer of the drama, told reporters.

He added that he did have to change a few details in the storyline due to the cultural differences between Japan and Korea, but he tried to stick to the original plot as close as possible.

Even the cast had to look similar to the original ones seen in the cartoon ― from hairstyles, overall image and even height.

``Rui is 186 centimeters and so we tried to match the height of the actors during the audition. In the case of Tsukasa, he has curly hair, so Lee had to perm his hair numerous times just to get that perfect curl,'' he said.

The actors were thrilled to be starring in a drama whose plot is recognized all over Asia, but there were also hints of pressure.

``At first, I felt I just won the lottery. But now I feel the pressure and also the responsibility,'' said Lee, who is regarded as the most similar to the original character Domyoji because of his height and dark curly hair.

The former leader of the boy band SS501 Kim Hyun-joong also showed his anxiety by appearing as an actor.

``I do feel nervous and pressured, as this drama is my first one. When I watched movies or dramas, I just enjoyed them but now I focus on the way the actors talk, breathe and other acting elements. I just hope I'll do well enough to continue with another drama in the future,'' he said.

Compared to the male actors, Ku is a senior when it comes to acting, and she admitted that she thought she would have to lead the group, but realized that there was no need.

``I was worried at first, but everyone came so prepared. It actually made me nervous. I think I've changed a bit by acting as Jan-di, who is outgoing, strong and bright. I was uncomfortable meeting new people, but now I think I'm more like her,'' she said.

``We thought that the drama would be lame if it was just heavy and too luxurious. It will be more light and fun, that's why we decided to call it a trendy romantic drama,'' the producer said.

``Boys Over Flowers'' will start airing Jan. 5 at 9:55 p.m. on KBS.

Source: Korea Times

'Soonjeong' Stays True to Its Heart

Lee Youn-hi in "Soonjeong Manhwa," which is playing at local theaters. Since debuting in 2003, the sweet, wistful online comics by Kangfull have become a pop culture phenomenon in South Korea, generating countless Internet hits and message board discussions. Their incredible online following, however, failed to translate into box office success, as the first two attempts at bringing the comics to the big screen (``Apartment'' and ``Babo'') resulted in commercial flops. But the third time may be the charm for the popular Internet cartoon. Opening on November 27, ``Soonjeong Manhwa,'' based on Kangfull's first serial, topped the box office in its first weekend. And the popularity is well deserved, as the film version adroitly brings the sweet and poignant love story to life. Both the online and cinematic versions of ``Soonjeong Manhwa'' (which translates into ``Pure Hearted Comic'') revolve around two unconventional romances where age difference plays a role. In one of the relationships, between an 18-year-old high school girl and a shy 30-year-old man, the age gap is noticeable and highly questionable; in the other, between a melancholic 29-year-old woman and a determined younger man, the disparity seems more due to life experience than physical age. The film's director, Ryu Jang-ha, wisely avoids trying to recreate the serial comic, and instead, finds his own way of interpreting the two distinct relationships. Ryu, who also helmed the sentimental drama "When Spring Comes," recombines the scenes and details of the original serial and adds many of his own touches. Some of the changes are major, such as setting the story in the summer instead of winter, while others are more subtle. Though the film ends up deviating much from the comic's plot, Ryu preserves the original's essence - the gradual growth and buildup of love regardless of age difference. Much like the comic, the film remains true to love's internal logic, no matter how embarrassing or quirky, and makes a potentially scandalous relationship seem sweet and chaste. Most importantly, Ryu succeeds in capturing the tenderness of the online comic, which slowly comes to the surface as the relationships unfold. There is a rich, layered quality to the film, where each little decision or gesture leads to further meanings and possibilities. Some fans of Kangfull may find fault with how much the film departs from the original comic. Indeed, there are times when the movie aims too much for the conventionally beautiful, sacrificing the awkward, self-deprecating humor that drives much of Kangfull's works. On the other hand, these same fans should be pleased to know that when it matters, the film version is unafraid to wear its heart on its sleeve, just like their beloved online comic.

Real Army Role for Actor Cho Seung-woo

Actor Cho Seung-woo, a musical star of "Jekyll and Hyde" and "Man of La Mancha" who also starred in a number of popular movies such as "War of Flowers" and "Running Boy," entered the Nonsan Training Center on Monday afternoon.

Cho kept the date secret because he "wanted to start his military duty quietly." Cho said he will be alright, waved and smiled at those who saw him off in front of the Training Center.

Cho is one of the most sought-after musical actors in Korea. After he finished shooting "Like Fire like Butterfly" at the end of November, Cho cut his hair short.

Those who bought tickets to Tuesday's show of musical "Jekyll and Hyde" at the LG Art Center in Seoul can still see him, as interviews of actors and actresses from the show will be screened as a celebration of the 300th rendition of the musical since 2004, when Cho first took up the Dr. Jekyll/Mr. Hyde role.

In an interview conducted before entering the army, Cho said, "I can't believe 'Jekyll and Hyde' is celebrating its 300th show already. It is all thanks to the support and love of the fans. I will probably be away for two years. I would still love to be part of 'Jekyll and Hyde' when I return."

Song Hye-sun, the head of Cho's agency PL Entertainment, said, "It seemed Cho didn't get any sleep last night. He probably spent the whole night talking with his mother. I got very emotional when I hugged him, because I have known him for 10 years since his screen debut with 'Chunhyang,' and he is like a son to me."

'Speed Scandal' becomes the sleeper hit of the year

No industry insiders or analysts would have predicted the Cha Tae-hyun romp "Speed Scandal" would hit pay-dirt at the box office.

But through shrewd marketing and word of mouth from advanced screenings targeting specific demographics, the film has thus far amassed an impressive attendance figure of 1.5 million in 12 days. With a production budget of a modest $1.8 million, the comedy has already broken even and stands to turn in a tidy profit. Nine days was all it took for the film to achieve 1 million in attendance.

Aside from Cha, the film's headliner, the movie's lack of star-power makes all the more astonishing the number of advance ticket purchases, a figure competitive with Hollywood heavyweights "Twilight" and "Australia."

According to DCPLUS, the production house that financed the picture, "there's been an increase in attendance the following weekend after the film's premiere," and the film looks to ride the wave of positive feedback from moviegoers and reap the benefits of its buzz.

"Speed Scandal"

A few years ago, these figures would not have made many headlines in domestic media outlets, as films like "Taegukgi: The Brotherhood of War," "The Host" and "Silmido" all broke Korean box office records.

Those were the years when the domestic film industry was at its peak, helped by a 40-year-old screen quota the government had implemented in order to sustain the viability of the domestic film industry.

The screen quota was a legislated policy that enforced a minimum number of screening days for domestic films in the theater each year. The system was enforced to prevent foreign filmmakers from dominating the domestic market.

But with the reduction of the screen quota as a result of the U.S.-Korea Free Trade Agreement in 2007, more and more Hollywood films began infiltrating Korean screens, resulting in a dramatic reduction of the market share for domestic films.

Since then, the Korean film industry has been on the decline, just as the Mexican film industry did when its government completely abolished its screen quota in 1994.

With sporadic hits from marquee filmmakers being the exception, Korean titles have been overwhelmed by the onslaught of Hollywood films since the reduction of the quota.

Helping to turn the tide, this year has seen a number of homegrown hits like the year's box office king, "The Good, The Bad, and The Weird," "The Chaser," "Public Enemy Returns" and "Forever the Moment."

With the unexpectedly stellar performance of "Speed Scandal" and the box office legs of "The Portrait of a Beauty," there is hope that the Korean film industry might rally.

Mega drama duo signals hot winter

Two mega dramas of cinematic proportions are taking over weekday nights on SBS.

Though both promise to deliver, at best, a saccharine dose of romance and melodrama, great fodder for one and top stars for the other forecast a successful winter for the major broadcasting channel.

Starting tonight, the long-awaited and aptly titled "Terroir" brings the magical world of wine to audiences. Headed by the talented film/television actor Kim Joo-hyuk and his beautiful co-star "Jumong" actress Han Hye-jin, this drama - arguably Korea's first dramatic series on wine - hopes to lure viewers in with lush scenes of France and the intoxicating combination of wine and romance.

Responses to the upcoming drama, however, have been mixed.

"Since this is a drama on wine, I hope that its content does not twist the truth in regards to its topic," one viewer wrote on the show's official bulletin board. "I am saying this because I am worried that a lot of snobs will come out of the woodwork after this series airs."

Another viewer wrote: "I think this drama will truly depict a romance that is like wine ... I think this drama will help warm a cold winter for me."

Whether "Terroir" - which parallels the establishment of a wine restaurant and the relationship between a wine master and his prodigy-cum-love interest - will deliver an accurate portrait of the world of wine; remains to be seen.

One thing is for certain, "Terroir" sets the precedent for future wine-related dramas in Korea; though news reports state that there may be a TV adaptation of the popular Japanese comic book series "Kami no Shizuku," which translates to "Drops of God," in the future.

Unlike the hit comic series, however - which is credited with creating an explosive new demand for wines in Asia - "Terroir" does not focus on a wine enthusiast's quest to find the top 13 vintages in the world. Like its title, it is rooted in a sense of place, namely the restaurant around which this drama revolves, and how that place comes to create a deep and elaborate story for the characters involved.

Kim Joo-hyuk (left) and Han Hye-jin star in "Terroir" [Yedang Entertainment]/Choi Ji-woo (right) and Yoo Ji-tae star in "Celebrity Sweetheart"[Olive Nine]

But the success of "Terroir" will lie in its ability to strike a balance between romance and wine. Too much emphasis on wine may incite boredom, excessive melodrama may cause the series to lose its credibility. With a serious oenophile-oriented series taking up the Monday and Tuesday night slot, SBS seemed to think it wise to put something a bit more mainstream into its Wednesday and Thursday night slot.

Following close on the heels of "Terroir," comes the star-studded and therefore appropriately titled "Celebrity Sweetheart."

Headed by top Hallyu star Choi Ji-woo, this series does not pretend to be anything other than a full-blown epic melodrama.

Bearing scenes shot in Japan, this romance documents the relationship between a top Asian actress and her relatively poor ghostwriter.

Sound familiar? "Celebrity Sweetheart" director dispelled all confusion about the inspiration behind his series.

"This drama drew its inspiration from 'Notting Hill'," director Boo Sung-chul said in a press conference held last week.

"We wanted to give audiences a 'melo-gift box set,'" he added.

Actress Choi Ji-woo, known for her tear-jerking roles in the hit series "Stairway to Heaven" (2003) and "Winter Sonata" (2002), is a perfect fit for the drama. Co-star Yoo Ji-tae, however, may prove to be a wild card.

The talented actor, who swept audiences away in the dark flick "Oldboy" (2003), admitted to a lack of experience in the world of television.

"This is the first time I am doing a drama," said Yoo.

Actor Yoo seemed to take comfort from the quality of the filming, stating: "The filming itself used a lot of cinematic techniques as you can see from the preview."

Perhaps the film-like quality of this drama will put Yoo at ease. And despite his relative newness to the medium, his superb acting chops are sure to imbue this potentially sappy script with a good dose of realism.

"Celebrity Sweetheart" starts airing on SBS on Dec. 10 at 9:55 p.m.

"Terroir" starts playing tonight on SBS at 9:55 p.m.

'My Friend & His Wife' drifts into melodramatic formula

"My Friend & His Wife," directed by Shin Dong-il, has been gathering dust in the storage room for about two years. It's finally hitting theaters on Nov. 27.

The unusually long delay suggests the film's box-office odds were fairly low in the eyes of cash-hungry studios and marketers. But this does not necessarily mean its artistic level would meet the lofty standards of local art-house cinema fans.

The film's ostensible theme revolves around the competition between friendship and love. Friendship involves two men; love concerns a woman who gets entangled with the two men - one is her lawful husband and the other his best friend.

But the potentially intriguing alternative theme, which is not explicitly dealt with in the film, is the female character's subservient status - a wife who has to depend on either her husband or his wealthy friend to climb up the social ladder.

In the film, Ye-jun (Chang Hyun-sung) is a high-flying fund manager who is always willing to help out Jae-mun (Park Hee-sun), a hardworking cook who dreams of becoming a chef some day. They first met in the military, and they now regard each other as best friends.

A hint about the strangeness in their male bond is presented in an opening scene where a blurry home video footage shows the three main characters posing together at a wedding ceremony. Strangely enough, Ye-jun seems to stand closer to the bridegroom Jae-mun than the bride, Ji-suk (Hong So-hee).

`My Friend & His Wife`

But don't expect a same-sex complication - at least, not an outright one. Instead, what's unusual about the three characters is the extent of the male bond. For instance, while most newlyweds do not care about their friends in the middle of the night, especially in bed, Jae-mun is quick to answer a phone call from his buddy Ye-jun and quicker jump out of bed to meet him at night, leaving his wife jealous and grumbling.

The movie tries to depict the twisted relationships between Ye-jun and Jae-mun, which goes beyond simple friendship. But one question is likely to pop up among the viewers: How come the two men seem to have no other friends or drinking buddies, except for each other? Again, there is no thought-provoking development that justifies such a relationship between the two men, nor is there a convincing back story about why the two men are so deprived of a conventional boy's network.

The film attempts to change the tone and accelerate plot turns by inserting a tragic incident at Jae-mun's house. Predictably, this crucial moment occurs when he is drinking with Ye-jun. Ji-suk is conveniently absent because of her trip to Paris to advance her career as a hairdresser.

Following the unrealistic turn of events that prompts the beginning of the end of the supposedly normal relationships between the three characters, Jae-mun decides to sacrifice himself in order to protect his best friend by taking all the blame, including a two-year jail term. Ye-jun, riddled with guilt, takes care of Ji-suk emotionally and financially.

A big hole in plot, however, is unbearably obvious when Ji-suk returns from two-year training in the United States. Even though she never formally divorced her faithful husband, Ji-suk does not know her husband's whereabouts, who is out of prison by now.

She has to ask her husband's best friend for contact information, but he is in no mood to help the couple reunite. For he is now drawn to Ji-suk's newly discovered charms. Before the horrible incident, she was just an innocent and supportive wife of Jae-mun; after a two-year absence, she radiates mysterious self-confidence, an aura of success and sex appeal as an up-and-coming hair stylist.

It is not at all plausible that Ji-suk transforms into such a different character, even considering that she has gone through life-changing trauma. After all, people rarely change at a deeper level, which is somewhat jarringly illustrated in the pathetic overconfidence of Ye-jun and the troubling incompetence of Jae-mun. With the social status of Ji-suk barely explored, the two men's obsessive friendship goes nowhere in typical melodramatic fashion, a point that would have, rightly, influenced the marketers who opted to delay the release date of the film.

'General Hospital 2' Return to Small Screen

A string of medical dramas, including "Behind the White Tower" (MBC) and "Doctor Bong" (SBS), have recently swept the Korean drama scene. However, these dramas would not have been possible if not for "General Hospital," the first medical drama in Korea. After 14 years, "General Hospital" is returning.

Familiar faces from season one _ Lee Jae-ryong, Cho Kyoung-hwan and Kim So-hee _ are on aboard for the second season 2. Lee is no longer a struggling first-year resident but a mature, self-possessed staff doctor. Cho retains his position as general surgeon while Kim is now the head nurse.

The spotlight is now on the new first-year residents _ Kim Jung-eun plays Jung Ha-yoon, Cha Tae-hyun plays Choi Jin-sang and Ryu Jin plays Baek Hyun-woo. Ha-yoon is a law school graduate with an ulterior motive. Having passed the bar exam, she joins the medical profession only to become a medical malpractice litigation specialist.

Her agenda is to look at the hospital from a patient's point of view and to expose the doctors' hypocrisy. But as she works shoulder-to-shoulder with her colleagues, she gradually becomes a real doctor. Joining Ha-yoon is Jin-sang, a regular troublemaker who has fumbled his way through medical school, just to live up to the expectations of his toiling mother. His knack for trouble continues, especially with Ha-yoon at his side.

Baek Hyun-woo is the ultimate elite doctor, but he's got no heart, figuratively speaking. He warms up to Ha-yoon though, helping her in some of her wild adventures, yet is unable to explain his mixed feelings towards her.

"I wanted to avoid all the politics and power play dominant in American and Japanese medical dramas and focus more on human relationships between doctors and patients," said producer Noh Doo-chul at a press conference held last week.

He also added that "the characters here are more realistic and multi-dimensional. For one, Ha-yoon's character starts off from a unique position as an aspiring lawyer that strives to reveal medical hypocrisy. Jin-sang is also an aberrant character that adds diversity to the conservative image of doctors while Hyun-woo is a figure that embraces both elitist aloofness and human compassion. As such, there is no simple black-or-white conflict but a more complicated and realistic portrayal of characters and relationships."

This is Cha and Kim's second medical drama together. Different from their doctor-patient relationship in the 1998 drama "Sunflower" (MBC), this time they meet as resident colleagues. But they said that they intend to keep the previous drama's comical element. "Cha and I have a wonderful chemistry together and we see no reason to avoid this playful aspect of our relationship, since it's what we think the audience will enjoy as well," Kim said.

"General Hospital 2" will start Nov. 19, Wednesday, 9:55 p.m. on MBC.

Source: Korea Times

'General Hospital' a cheerful sequel

MBC struck ratings gold for two years running with medical dramas "Behind the White Tower" and "New Heart." Now the broadcasting channel is going for a third win by resurrecting an oldie.

Fourteen years have passed since "General Hospital" aired in 1994. And now, in the hopes that a revival of a past favorite will keep viewer ratings up, "General Hospital 2" is coming to TV screens across the nation tonight.

But in a market saturated by international medical dramas, namely America's "Grey's Anatomy" and "House," and Japan's "Iryu-Team Medical Dragon," MBC's latest medical installment will need novel plot twists and a fresh approach if it wants to wow audiences already numbed by gruesome surgeries, high-stakes stories and touching moments of humanity.

On second thought, a hefty dose of comedy just might do the trick.

And judging from the lead actor and actress, Cha Tae-hyun and Kim Jung-eun, it looks like MBC is going for a feel-good and laugh hard approach.

"I want to make it as fun and cheerful as possible," said Kim, 32, at the press conference last week.

Co-star Cha will be joining in on the fun by playing the usual dimwitted yet lovable sidekick.

Kim Jung-eun/Cha Tae-hyun[MBC]

When asked about his tendency to get typecast into comedic roles, Cha, 32, answered: "I am not an actor who tries to play radically different characters."

Standing in his scrubs, Cha - who bowled Asian audiences over in "My Sassy Girl" (2001) - looked every bit the part. Wearing an expression of childlike wonder, he posed for the press, not, it seems, as Cha, but as first year resident Choi Jin-sang.

Kim Jung-eun, also in scrubs, joined Cha on stage, carefully putting on a pair of spectacles to pose as Jung Ha-yoon, a first year resident who wants to become a lawyer that specializes in medical lawsuits.

While her character has entered the profession with a vindictive purpose in mind, namely to use her expertise against doctors, Kim Jung-eun refrained from pulling a "Kill Bill."

"I think it is more realistic to mix humor with melodrama, rather than just be a dark and vengeful character," she explained. "So, I went for a lighthearted approach."

But not everything will be fun and games on "General Hospital 2." And while both Kim and Cha are more known for their comedies, "General Hospital 2" director Noh Do-chul testified to the hard work this pair put into their roles as surgical residents.

"These scenes are made from the broth of their sweat," he said.

According to Noh, both Kim, Cha, and fellow cast members took part in a three-day workshop at the Catholic University of Korea Kangnam St. Mary's Hospital. They slept for two nights in the hospital's dormitories, shadowed both surgical and medical emergency residents and took part in morning rounds.

A firm believer in teamwork, director Noh even brought his gargantuan cast, which includes four members who starred in the original "General Hospital," to the press conference.

Noh's commitment to his team and his decision to film the series at the Catholic University of Korea Seoul St. Mary's and Kangnam St. Mary's Hospitals may help him pull off the crucial balance of humor, wit and drama needed to make "General Hospital 2" worth watching.

"General Hospital 2" airs tonight on MBC at 9:55 p.m.

Source: Korea Herald

Erotic `Portrait' Fails to Capture Subject

A scene from ``Portrait of a Beauty,'' a film about the famed folk Joseon painter Shin Yun-bok

Shin Yun-bok, the famed folk painter of the late Joseon Kingdom (1392-1910), has received much attention in recent months. It all started last year when a best-selling novel described the male artist as secretly being a woman.

In truth, there is little historical documentation of Shin's life, and none that questions his gender. Nevertheless, the fictional work was popular and provocative enough that it was made into the successful television drama, ``The Painter of Wind,'' as well a new feature film.

If ``The Painter of Wind'' is a family-friendly version of the historical fiction, then the film, ``Portrait of a Beauty,'' is its steamy, adults-only twin. While the TV series stars the perpetually wholesome Moon Geun-young in the lead role, the film features the sexy and feminine actress Kim Min-sun.

Unlike Moon, Kim doesn't quite convince the audience that she is trying hard to pass herself off as a ``he.'' However, this is not a problem in ``Portrait,'' which is less interested in the issue of pretense and more interested in exploring Shin's repressed feminine side. Kim's Shin may be effeminate and awkward, but her sexual longing simmers just beneath the surface.

As the film makes clear, the real Shin did in fact often deal with erotic subject matter in his paintings. Along with vivid and often humorous depictions of daily life, Shin was also a keen observer of the lives of gisaeng, or female entertainers, and their relationship with the upper class. ``Portrait'' is at its best when drawing connections between Shin's art and his - excuse me, her - observed world. The film also shows the conflict between Shin's art and the moralizing attitudes of the Joseon royal court.

Ultimately, the film implies that the real reason for Shin's interest in the sensual world of gisaeng was not her wish to observe them, but rather to be one - or more precisely, to be a woman. Indeed, Shin's womanly desires become more blatant as the film progresses.

Confused and conflicted, the artist finds help exploring her sexuality in a poor but smoldering hunk from the lower class. To spice up the amorous tale, "Portrait" then proceeds to throw in generous portions of romantic drama cliches, including love triangles, secret trysts, tragic choices and - what else - naked body painting.

This is where ``Portrait'' begins to look uncomfortably like a half-baked erotic offering on late night cable television. That's fine if you're just looking for a little titillation, but if that's all this film was after, then there was probably no need to drag a historical figure like Shin into the whole gender-switching business in the first place.

Source: Korea Times

Postwar Pain Made Into Bad Melodrama

Actors Song Chang-ui, left, and Lee Wan star in ``Once Upon a Time in Seoul.

When the Korean War ended in July 1953, South Korea was in a state of chaos. Much of the country, especially Seoul, was in shambles, many of its buildings were destroyed, and law and order had a fragile hold on society.

The film ``Once Upon a Time in Seoul'' (titled ``Boys Don't Cry'' in Korean) is set in this tumultuous period in South Korean history and describes the daily struggle shared by the war's survivors. The story is told through the experience of orphaned children - the most destitute and helpless of Seoul's residents - and their contact with the world of crime as they fight to survive.

According to the film, the black market was one of the few aspects of postwar Seoul that was thriving. Cigarettes, liquor, canned foods and other rare items made their way out of U.S. military bases and into the hands of those who could afford it. (And they continued to do so for many decades afterwards.) This underground market of imported goods was controlled by criminal gangs led by violent and corrupt war veterans.

There's a sense here that we are witnessing the birth of the nation's organized crime world, as the violent urges and codes of conduct that were perhaps needed to fight in the Korean War are redefined and used in the accumulation of personal wealth and power. Through this transformation, familiar archetypes from the gangster film genre, seen and done to death in countless Korean dramas and comedies, take on an added layer of meaning.

Sadly, after working so hard to create such a complex historical setting, ``Once Upon a Time in Seoul'' then proceeds to dilute it with a formulaic storyline and one-dimensional characters. The film revolves around Jong-du (Lee Wan) and Tae-ho (Song Chang-ui), two orphaned friends who become involved in the black market but dream of making enough to one day escape from crime and poverty. Their journey takes them deeper into the world of both gangsters and street children.

This main storyline - of criminals trapped in a cycle of violence and compromise, and their longing to break free - is one of the most overused formulas of gangster films, and aside from its novel historical approach, ``Once Upon a Time'' adds little to the genre. Rather, the pathos evoked by the orphans and their desire for a better future are played up for maximum sentimental effect. And in place of character development, the movie relies on predictable scenes of violence and dramatic plot twists to get its point across.

There are several moments when ``Once Upon a Time'' hints at something deeper, particularly regarding the anger lingering from the Korean War and its tragic effects on postwar Seoul and beyond. Unfortunately, the film chooses to avoid its own painful questions, and opts for pat, melodramatic answers instead.

Source: Korea Times