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December 9, 2012February 1, 2015

Red Maria (레드 마리아) screening and Q&A with Director Kyung Soon (경순)

The Women’s Global Solidarity Network hosted a special event on Saturday the 8th of December at the Columban Mission Center in Seoul – a screening of documentary Red Maria (레드 마리아), as well as a Q&A session with director Kyung Soon (경순).

Red Maria, for the uninitiated, is a documentary addressing the plight of ‘labor’ amongst a selection of women in Korea, Japan, and The Philippines. Director Kyung Soon highlights how while the women in each respective country lead quite radically different lives, they are all subject to the same restrictions imposed upon them by patriarchy. Within The Philippines, women who are involved in the sex trade, families living in the slums, and elderly women who came forward about the atrocities committed by Japanese soldiers, are interviewed. In Japan, homeless women, care-workers, and those unjustly fired are profiled. Within Korea, female protestors, immigrant wives, and sex workers lives are conveyed. Throughout the broad selection of female lives that are documented, director Kyung Soon establishes not only the incredibly difficult situations forced upon them by patriarchal culture, but also – and perhaps more importantly – how the women find the strength and courage to fight their battles and improve their lives.

Before the film began, the director told the audience she wanted to explore the idea of women’s labor and the labels ascribed to them, and asked those in attendance to consider these areas when watching. Interestingly, she also stated that Red Maria is not a typically ‘kind’ film in reference to the themes explored within and also the critiques of patriarchal culture.

Director Kyung Soon introduces ‘Red Maria’ (레드 마리아)

The documentary was well received by the audience, and director Kyung Soon graciously answered questions from the audience following the screening. Her answers were very kindly translated by members of the Women’s Global Solidarity Network.

Question: Thank you for making such a moving film. What is the significance of the belly (a recurring motif within Red Maria)? Why not the hand, or something?

Director Kyung Soon: When I was young, I was actually very interested in bellies. In Korea, we have the public bath house culture, so when I was young there were not many separate shower rooms. We had a special day for going to the bath house, and when I went there I could see all the ranges of women in terms of age. From grandmothers to really young women, I could see them all naked. When I saw my grandmother’s and mother’s belly and body it was really fun for me to touch them because they were so soft and funny feeling. As I grow older, whenever I go to the public bath house and see young women’s bellies, I feel very sad. When I was young bellies to me meant a warm place, but nowadays it’s like a shameful part of the body. So now you see in modern Korea, in terms of dieting, women are trying to get rid of their bellies. Even though it’s a part of their body, they actually try hard to get rid of it. So when I see that kind of culture, I feel very angry about it. I still enjoy going to the bath house, but now when I see women’s bellies I feel angry about them. In my opinion, the reason why a woman is a woman is because of her belly, and how a man becomes a man is because of the penis. But men don’t do anything else with their bellies, relatively speaking, compared to a woman. Actually I think a woman’s labor starts with their belly as it is connected to the uterus and vagina. For example when we have a period this is something we need to do, and also it’s a special thing to do, but actually no-one cares or talks about this as labor. Then having sex, and delivery babies and having abortions, these are all connected to the belly and women’s labor. But with this kind of labor women can’t get any benefits in terms of money. So of course people labor with their hands, but I think fundamentally we need to look at our bellies and what bellies actually mean for our lives and how they define labor.

Question: What was your reason for choosing those three countries in particular? What did you see as the underlying connection between Korea, Japan and The Philippines?

Director Kyung Soon: Before I made Red Maria my previous work was Shocking Family (쇼킹 패밀리). It was about criticizing the concept of the Korean family. So through this film I showed the women’s role within the family, within the patriarchal culture in Korea. And for that film I was invited to Japan a lot. Before that I didn’t have many chances to go to Japan, but because of this movie I was invited 7 or 6 times and through these kinds of events I met a lot of Japanese women. As I met a lot of Japanese women I was quite shocked to find the reality they faced in their own country. In Korea when we talk about the low birth rate, the Korean media always describes Japan as a very successful country that got over the low birth rate. But what I found out was that these Japanese women had the same problems that Korean women face. Also in Japan, even though it is a very wealthy country there is a really strong social order in Japan and that kind of culture makes women feel very suffocated. So when Japanese women go on strike or struggle in their work places or with their family they don’t have the spaces to make or build solidarity with other people. So when you see my film you can see Sato, the Japanese woman who was working hard, struggling and on strike by herself. What I actually saw in Japan was that they need some communication channels among people – among women – who are struggling. What I felt as I met these women, whether they live in wealthy countries or poor countries their problems are very similar and they share a lot of common things in terms of their struggles. Maybe there are some differences, for example if you are living in a wealthy country you might wear more expensive clothing, or eating better food, but still I think the fundamental problems women share are very common. And the reason I chose the three countries are that you can see the poor countries and the wealthy countries at the same time based on the women’s labors. We can see their problems within the specific country’s cultural context, so that’s why I chose these three countries. And I also think women’s lives have not been dramatically changed except for the invention of the electronic cooker and washing machine. The reason that I chose The Philippines was because although there are a lot of migrant women who came to live in Korea, I actually found many of them were Filipino. So I didn’t really know much about The Philippines. But in 2007 I went to The Philippine and lived there for a year, and to learn their culture and study. From 2008 I started filming this film. And also when you are watching you can see these three countries share a similar history, for example how Korea was colonized and The Philippines was effected by the imperialism, and you can see the female victims of the war.

Director Kyung Soon answers questions from the audience

Question: First I’d like to thank you for the film, I really enjoyed it. One of things I found interesting was how it is difficult to gain self-realization through work. As a female laborer, I thought you showed the difficulties well how difficult it is to gain self-realization through labor. Because the work we can do, the work we want to do, is very limited. But at the same time, it might actually be a common problem for all the people who work in this world. So in that context, what do you think about this kind of problem?

Director Kyung Soon: As capitalism grows bigger and bigger, and the internet becomes really accessible don’t we share a lot of information together? But I think it’s very much marginalizing the actual problem. You can see all the incidents, events and access all the information easily. There are so many things of interest. Is this something you need to seriously consider or think about? For example, what does ‘liberal’ mean? What does the term mean to us? We rarely think about labor. When we look for the definition of ‘labor’ in the dictionary it is defined based on payment without really considering what labor really means. So when you think about labor in this way, you can look back and think about the labor that you were doing that didn’t involve getting paid. Then in this context, or this definition, we can’t enlarge the meaning of labor. So if labor is only based on payment, or the amount of payment, then if you earn a lot of money you might think that you reached the top of self-realization earlier than other people. But if you earn five grand a month or a grand a month, people still face the same difficulties. Because the person who earns five grand tries to pay off their mortgage debt, but the person who earns a grand a month have to pay their monthly bill for their house. So I actually think everyone is getting poorer in this society. I think we can’t just divide people like this. I think we are all connected. What I want to say is that self-realization can’t be measured based on the payment you receive from work. I think the answer that I want to show through the film is that we should make the world for the people who only earn a grand but that they are still able to gain their self-realization. The way each person lives seems very challenging within society but I think it’s a very fundamental question you need to ask yourselves. One thing that I want to add here is that in Korea we have a proverb that unemployed people can die due to overworking and stress, which means that even though they are unemployed they still have a lot of things to do. Which shows that being unemployed is only based on capitalism. So you don’t get any money, but you still do a lot of things. For example, people can volunteer. They don’t get paid to do that, but actually through volunteering they can gain self-realization. Therefore if we only look at labor in relation to payment or money, you can’t enlarge the meaning of the word ‘labor’ anymore. So this capitalist society drives the people not to ask this kind of question about labor, only to think about labor in relation to payment.

Thank you to Mik young Kim and the other members of the Women’s Global Solidarity Network for hosting the event, and to the Columban Mission Center for providing the venue.

Directors Interviews/Q&As

December 9, 2012February 1, 2015

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Bungee Jumping of Their Own (번지점프를 하다) – ★★★★☆

Bungee Jumping of Their Own (번지점프를 하다)

Romantic dramas are one of the most highly produced genres within the Korean entertainment industry, with the films and TV dramas continual hits throughout South-East Asian countries. As such, there is enormous pressure to provide audiences with the predictable pleasures offered by the generic conventions, but to also offer something different, something fresh, to keep the story engaging.

Bungee Jumping of Their Own (번지점프를 하다) is such a film. Directed by Kim Dae-seung (김대승), the first act is a rather bland and predictable effort yet truly shines during later scenes. This is due to not only the alternative approach in exploring traditional notions of romance, but also notably the manner in which homosexual relationships are explored – and judged – within Korean society. Despite the grammatically incorrect title, Bungee Jumping of Their Own is an original and fresh take on the genre, and leaves a lasting impression long after the credits roll.

In a traditional tale of boy meets girl, university student Seo In-woo (Lee Byeong-Heon (이병헌) finds the girl of his dreams during a rainstorm. Luckily for him, In Tae-hee (Lee Eun-joo (이은주) also studies at the same institute and they develop a deep and lasting romance. However, In-woo’s mandatory two year military service approaches and on the day of his departure, Tae-hee doesn’t appear. Several years later In-woo, now married and a father, is a teacher at a high school in Seoul. For a reason he can’t explain, he finds himself drawn to one of his male students Im Hyeon-bin (Yeo Hyeon-soo (여현수), and his repressed memories of his love with Tae-hee begin to unexpectedly resurface.

Tae-hee and In-woo meet during a rainstorm

The opening of the film wonderfully captures the awkwardness of the first meeting between two lovers. Director Kim Dae-seung’s style, clearly influenced by his time as assistant director to Im Kwon-taek, shines through as the couple exchange nervous glances in the rain without daring to speak. In-woo’s longing to see Tae-hee again and to say something – anything – is palpable, and the intensity of his emotions are conveyed expertly through Lee Byeong-Heon’s performance. Unfortunately however, after such a compelling opening Bungee Jumping of Their Own takes a turn for the worse as the relationship between the central couple develops in a haphazard and erratic fashion, so much so that it undermines the romance altogether. Chiefly this is due to the lack of tender moments that bring Tae-hee and In-woo together naturally, as well as the editing which wildly jumps time frames to disorientating effect. In-woo is also much more of a stalker than a love-lorn young man, as he simply follows Tae-hee and waits in her classes despite studying a different subject. Therefore when the couple do finally come together it feels forced rather than passionate, although this trend does alter slightly as In-woo’s military service approaches.

Where Bungee Jumping of Their Own really comes into its own is when In-woo is an adult, teaching at a high school. Married and a father, In-woo is an excellent teacher who commands the respect of his students through mutual respect and trust. Interestingly the film shares focus between him and one his students, Hyeon-bin, who is in a similar situation with his girlfriend as Tae-hee and In-woo all those years ago. The relationship between teacher and student is developed well as both men become increasingly closer, sparking a host of rumours throughout the school as to the nature of their connection. The narrative therefore alters into an exploration of the acceptance – or more precisely, the lack of acceptance – of homosexuality. The name-calling, graffiti, and other homophobic devices employed by those within the school are genuinely unsettling, whilst at the center both In-woo and Hyeon-bin feel a mutual attraction that neither can fully explain or understand.

In-woo becomes a high school teacher in adulthood

The manner in which In-woo attempts to address his desires for Hyeon-bin are a mixture of amusement, sadness and horror as he desperately seeks to assert his hetero-masculinity and retain his identity. Yet despite his efforts, In-woo’s longing for Hyeon-bin is sincere and poignant, and clearly uncontrollable. In each instance it is the incredible acting prowess of Lee Byeong-heon that conveys such potency as a man confused about his sexuality and the resurgence of past memories, with each gesture and action contributing in the conveyance of his adoration and reluctance. Indeed, one of the actor’s greatest assets is his eyes for when he looks at Hyeon-bin the pure sincerity of his love is keenly apparent, arguably much more so than during scenes with Tae-hee. While Yeo Hyeon-soo provides a competent performance as the student love interest, Bungee Jumping of Their Own is a testament to Lee Byeon-heon’s acting ability. As for Lee Eun-joo, the actress gives a radiant, almost otherworldly performance as Tae-hee. Such an approach could easily be conveyed as aloof arrogance but she grounds the shyness and reluctance of the character well and, combined with her staggering beauty, it is impossible not to be moved. The knowledge of Lee Eun-joo’s untimely death prior to watching the film also adds an air of tragedy to an already poignant romantic drama.

In-woo finds himself increasingly attracted to student Hyeon-bin

Hyeon-bin finds himself increasingly attracted to student Hyeon-bin

Verdict:

While the first act may be the stuff of traditional generic romantic dramas, Bungee Jumping of Their Own genuinely shines when it rejects such conventions and explores the notions of love through its alternative and quite original perspective. Director Kim Dae-seung conveys the majesty and romance of scenes as well as the difficulties of smaller more intimate moments, while Lee Byeong-heon is excellent as a sexually confused love-lore figure. Bungee Jumping of Their Own is an entertaining and thought-provoking film, one which will certainly reverberate with audiences long after the final credits roll.

★★★★☆

Reviews

Professor Kim Gyeong-ho fights for the truth using the law, which is being abused

November 29, 2012February 1, 2015

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Unbowed (부러진 화살) – ★★★★☆

Unbowed (부러진 화살)

Courtroom dramas are not a staple of Korean cinema, which is somewhat surprising given the tumultuous relationship between the social elite and corruption. And yet, in the past two years two prominent films based on real events have emerged – Silenced (AKA The Crucible) (도가니), about the sexual abuse of deaf children, and Unbowed (부러진 화살). Politically-charged, socio-cultural critiques are a huge reason why Korean cinema attracted such attention during the late ’90s, and while contemporary output has been much more commercially driven, it appears the industry could be moving back to what made Korean cinema so initially unique. If this is indeed a movement, then Unbowed is certainly part of it.

Unbowed, by director Chung Ji-young (정지영) who returned to the helm after a thirteen year absence, is based on the true story of a professor whose trial for unfair dismissal was rejected. Upset with the verdict, the professor challenged one the judges outside his home with a crossbow. The story, understandably, made headlines; but as time passed it became clear that the story reported in the press and the truth were markedly different. Director Chung Ji-young – who also co-wrote the screenplay with Han Hyeon-geun (한현근) – presents the tale of Professor Kim Gyeong-ho (Ahn Seong-gi (안성기) and his defence lawyer Park Joon (Park Won-sang (박원상) with a highly effective stark social realist aesthetic, much like the very logical, no-frills protagonists themselves. The result is a courtroom drama where the facts speak louder than any directorial style, and the infuriation when clear violations of the law are committed are palpable. However, the focus and development of the central two protagonists is stunted due to far too many characters and secondary narrative elements inhabiting the story, forcing the impact of scenes, and the film overall, to become lessoned.

Professor Kim Kyeong-ho fights for the truth using the law, which is being abused

Professor Kim Gyeong-ho fights for the truth using the law, which is being abused

Interestingly, director Chung Ji-young opens Unbowed with the very event that made headlines as Professor Kim confronts the judge from his case with a crossbow. Yet rather than portray the entire confrontation from beginning to end, the professor’s subsequent incarceration is edited in as well as the journalism that appeared once the incident became public knowledge. While initially a tad frustrating, it becomes readily apparent that the filmmakers wish for the facts – rather than artistic license – to drive the narrative as well as the audience’s desire for more information. This is certainly a noble attempt, yet as the names of those involved as well as other features have been altered this is somewhat undermined. Luckily such a contradiction doesn’t detract from the overall narrative as from the outset the blatant disregard of the law by judges and lawmakers, the questionable evidence and Professor Kim’s charismatically stubborn refusal to submit continually shines through. Likewise the casting of Ahn Seong-gi as the professor is a masterstroke, who brings his incredible likability to the role yet also stretches himself into new territory conveying such a highly logical, intelligent, and occasionally cold protagonist with the utmost sincerity.

Unbowed largely succeeds due to the character of Professor Kim. Ahn Seong-gi portrays him as a humble yet highly intelligent man, a man of principals and ethics undaunted by the challenges before him. Scenes in the courtroom are wonderfully shocking and amusing as the Professor admonishes the judges for cutting him off during speeches, or for simply disregarding the law. An understanding of Korean culture, where seniority is incredibly important, makes such sequences all the more entertaining and are unfailing in creating a triumphant underdog narrative. Similarly the flashback scenes establishing the case, including the Professor’s time at university, prior court cases, and even family scenes, construct him as a genuinely likable and modest man, who simply wants nothing more than fairness for his students, his countrymen and women, and himself. However, the best examples of the courtroom drama convey how the case fundamentally changes those involved and in this sense Unbowed stutters. From the outset Professor Kim is, despite his stubbornness, a great man which leaves little room for character development. There is only one instance where the film takes a decidedly dark tone for the protagonist, yet what occurs takes place off camera and the ramifications are only alluded to and not explored, which is a missed opportunity. Yet this lack of examination is also due to the great deal of focus bestowed upon defence lawyer Park Joon, who fights for the Professor’s freedom in his own unique manner.

Defence Lawyer Park Joon attempts to garner the support of the public using the media

Professor Kim’s relationship with defence lawyer Park Joon forms an integral part of the film and is executed well, with Park Won-sang highly competent in the role. The actors respond and play off of each other well, although they manage to form their alliance quite quickly and easily despite their protestations to the contrary. Oddly, the narrative often seems more concerned with Park Joon’s story as he must battle alcoholism, the bankruptcy of his company, the tug of war between his wife and an attractive journalist, and his disillusionment with the law due to a past mistake. If all this appears too much then you’d be correct, as there are so many narrative tangents that add precious little to the main arc that their inclusion is often quite redundant. It also comes at a price, as genuine character development is sacrificed in order to accommodate so many threads. The lawyer’s love interest, in the form of journalist Jang Eun-seo (played by Kim Ji-ho (김지호), is also critically underused as she offers little more than a female presence rather than a crucial figure in the development of the case. Additionally, Park Won-sang is unfortunately required to provide comedic relief, and despite these scenes acting as brief interludes they are generally a wholly unnecessary distraction from the Professor’s story. That said, as the trial begins to gather pace and focus is applied to the final verdict, Unbowed recaptures the verve and vitality that makes the story so compelling and enthralling.

The judges continually reject evidence and pleas that would clarify the truth

Verdict:

Unbowed is a highly entertaining courtroom drama, filmed in a modest social realist aesthetic by director Chung Ji-young and featuring a charismatic and articulate performance by Ahn Seong-gi. Both of these features work wonderfully together in portraying the based-on-true-events narrative, adding realism, sincerity, and credibility to the plight of the Professor as well as highlighting corruption within the Korean legal system. While too many narrative threads involving defence lawyer Park Joon overburden the main arc, Unbowed is a great example of a Korean courtroom drama done right.

★★★★☆

Reviews

Eun-yeong and Sang-gil track down the perpetrator

November 23, 2012February 1, 2015

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Howling (하울링) – ★★★☆☆

Howling (하울링)

Feminism and misogyny are problematic concepts in Korean cinema. While contemporary output is slowly starting to reflect the complex roles inhabited by women in Korean society, the male-dominated industry often submerges female narrative arcs within the central hero’s quest. As such, women’s issues tend to be explored through art-house and independent films such as the works of Lee Chang-dong, Im Sang-soo and Kim Ki-duk, yet these productions can also be problematic either for portraying women’s issues from a male perspective, or for their limited domestic release. When a mainstream film attempts such endeavors, as with rom-com You’re My Pet (너는 펫), the results can be quite extreme.

Howling (하울링), from director Yoo Ha (유하), is promoted as a taut thriller involving the curious mix of spontaneous combustion and a killer wolf in a spate of homicides. Yet it is surprisingly primarily an examination of the difficulties faced – and endured – by women in the workplace. Yoo Ha is clearly more invested in this theme than the various disparate narrative strands, strands which never convincingly coalesce into a satisfactory whole making Howling an interesting yet disappointing thriller.

Jo Sang-gil (Song Kang-ho (송강호) is called to the scene of a bizarre crime in which the victim seemingly died from spontaneous combustion. However, the presence of a wolf, stated from the testimony of a nearby drunkard, adds a complicated twist to the homicide. Reluctant to take the case yet desperate for promotion, Sang-gil begins to investigate with rookie cop Cha Eun-yeong (Lee Na-young (이나영), a partner he makes clear he neither wants or needs thus forging an antagonistic relationship. However, as savagely mauled bodies begin to appear, it becomes apparent this is no simple investigation and the hunt for the wolf is on. Sang-gil’s selfish motivations threaten to jeopardize the entire case while Eun-yeong’s by-the-book professionalism may well be the key to unlocking it. While Sang-gil attempts to overcome domestic issues and Eun-yeong the rampant misogyny within the police force, the two cops must set aside their differences to solve the mystery of the wolf murders.

Sang-gil and rookie Eun-yeong reluctantly investigate together

Howling opens as thoroughly standard fare with an unexplained death with hints of foul play, the rugged results-at-any-cost cop put on the case, and his forced partnership with an idealistic rookie which creates tension. However the film begins to excel when such American TV cop drama tropes are eschewed, and greater focus is bestowed upon the central pair and how they are forged within the Korea cultural system. For Sang-gil, as a single father of two attempting – and failing – to provide and take care of his family, his flaws are readily apparent. Continually passed over for promotion and mocked by co-workers, Sang-gil works hard on the case yet selfishly keeps the vital information to himself in an effort to obtain praise, and advance in the force. While the tough cop is very much to blame for the debacles that ensue, director Yoo Ha conveys him as a sympathetic protagonist while portraying the real enemy as the ‘points system’ in place within the police force as a means for establishing assessment. However, Howling is in fact Eun-yeong’s story. As an intelligent, ambitious, and diligent woman Eun-yeong possesses all the skills necessary to become a high-ranking detective. Yet from the outset her male colleagues think quite differently, ordering her to clean and arrange files, make crude jokes about her sexuality and relationships with others, as well as making sexual advances. The sequences in which Eun-yeong is forced to endure such torments are simultaneously chilling and infuriating, as the director meticulously composes tense, powerful scenes that emphasize her secondary status. As such, Howling is an incredible exploration of the role of women in the workplace in contemporary Korea.

The wolf goes on the prowl on the streets of Seoul

Yet as Eun-yeong’s trials take center stage within the narrative, the importance of the murders themselves dissipates. The homicides are generally quite farcical, from a bizarre instance of spontaneous combustion to the killer wolf stalking the streets of Seoul for victims. This is unfortunate as while these devices are somewhat trite the motivations behind the deaths are quite striking and provide another instance of keen social commentary. The importance of the examination is lost, or rather subsumed, beneath the various sub-plots and red-herrings intended to add mystery to the narrative, while the unbalanced focus bestowed upon the misogyny within the police force also detracts from any shocks. Interestingly, scenes in which Eun-yeong endures tirades of abuse carry much more potency and impetus than the murders, highlighting the director’s clear area of investment. Director Yo Ha has simply attempted to achieve too much within the running time, and as such each narrative strand suffers and doesn’t manage to coalesce or wrap up threads convincingly. Ultimately it is Eun-yeong’s story, rather than the killer wolf, that takes priority and Lee Na-young performs the role incredibly well simultaneously conveying tenacity and victimization with skill. Song Kang-ho, meanwhile, gives a solid rendition of a faulty cop yet he is never really stretched as in his prior films. As such, Howling is very much a thriller about the abuse of women in contemporary Korea first, and a murder mystery second.

Eun-yeong and Sang-gil track down the perpetrator

Verdict:

Howling is an interesting thriller, one that attempts to blend an array of socio-cultural critiques alongside traditional cop fare with spontaneous combustion and a killer wolf thrown in for good measure. Director Yo Ha never manages to converge all the disparate threads into a satisfactory whole, but he excels in conveying the misogyny endured by women in contemporary Korea, with some riveting scenes and a great performance by Lee Na-young.

★★★☆☆

Reviews

November 12, 2012February 1, 2015

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A Werewolf Boy (늑대소년) – ★★★☆☆

A Werewolf Boy (늑대소년)

Fairy tales, when filmed by a director of vision, can be astounding cinematic endeavours. The universe(s) constructed in depicting such fables highlight the stylization, compositional competence, and sense of colour and light of the person at the helm. Yet what truly makes a classic cinematic fairy tale is the morality tale within, the vital life lessons that occur in the evolution of a child into an adult. The shattering of innocence by the harsh outside world and the often problematic romance of the central heroine/hero add layers of tragedy that ground the fantastical narrative into relatable, almost nostalgic, material for audiences. Tim Burton’s Edward Scissorhands, for example, deftly combines the fantasy worlds, socio-cultural critique, and pure romance within his stunning directorial style, a feat which he has never managed to replicate.

A Werewolf Boy (늑대소년) has a lot in common with Edward Scissorhands thematically, but is it’s own unique entity due to the phenomenal visual style of writer/director Jo Sung-hee (조성희). His compositional style, choice of camera shots and angles, and keen eye for colour and lighting make A Werewolf Boy a truly gorgeous visual experience that wonderfully serves to emphasize the mixture of surrealism, horror and romance within the story. That said, the development of certain characters – notably the werewolf boy himself – as well as pacing issues and ambiguous resolution(s) detract from an otherwise sumptuously romantic fairy tale.

As an old woman living in America, Su-ni receives a phone call about the sale of a countryside house her family own. Returning to Korea and visiting the abode with her granddaughter, Su-ni begins to reminisce about the events that occurred there in her youth. The young Su-ni (Park Bo-yeong (박보영) and her family move to the country manner due to her ill health, yet the young girl is also suffering from depression. During unpacking, Su-ni discovers a feral boy, hungry and dirty and in need of care. While waiting for a suitable place to send him, the family take him in and name him Cheol-su (Song Joong-ki (송중기). Initially hesitant, Su-ni begins to train Cheol-su like a dog, bringing the pair closer together. Yet her growing affection for the werewolf boy is noticed by spoilt rich-kid Ji-tae (Yoo Yeon-seok (유연석) who desires Su-ni for himself, and begins to plot his rival’s downfall.

The werewolf boy Cheol-su is found stalking the grounds

As per fairy tale requirements, A Werewolf Boy is bookended by scenes featuring Su-ni as an old woman reminiscing about the past and caught in the moral dilemma of putting that time behind her. Director Jo Sung-hee presents these sequences with a stark realism, draining the colour from the landscape and effectively conveying the area as decrepit and lacking. The juxtaposition between the bookends and the central nostalgic tale is enormous, with the warm colourful hues wonderfully conveying the happiness and magic of Su-ni’s childhood. Indeed, even the colours of the decor and costumes worn by the protagonists reflect the romanticism of the time, while the wondrous use of light breaking through clouds, windows and doors is often beautiful to behold. Combined with the excellent composition and keen sense of space, as well as intriguing camera shots, A Werewolf Boy often appears as if from a painting or illustrated novel, and is quite breathtaking. Scenes such as Su-ni’s discovery of Cheol-su’s dark, shadowy cage is presented in eerie symmetry adding genuine thrills and horror, contrasted with the romantic hues of the children playing football on a hilltop during sunset. A Werewolf Boy is an incredible showcase of the director’s visual style.

The narrative is in-keeping with the visuals through the whimsical romantic tale between Su-ni and Cheol-su, developing their innocent love naturally through an assortment of comical and emotional scenes. There are also elements of fun silliness to the proceedings with Cheol-su as a half-man/half-wolf which are a natural fit within the sub-genre, but may turn some audiences off. Yet this conveys the sense that the film doesn’t take itself too seriously, adding a light-hearted approach amongst the variety of fairy tale attributes it contains. The fanciful nature does mean however that the impact of social critiques of the ignorance towards war orphans and governmental responsibility are somewhat undermined for the sake of brevity, with the farcical nature of officials belying their statuses as the real monsters within society.

Su-ni and Cheol-su become closer

Yet the real ‘monster’ within A Werewolf Boy is spoilt wannabe tycoon Ji-tae, superbly performed by Yoo Yeon-seok. His interpretation of the villainy and arrogance of Ji-tae is incredibly compelling, while his dark clothes and over-zealous yuppie fashion style contribute greatly to the characterisation. Ji-tae’s lust for Su-ni and jealousy regarding Cheol-su forges the classic love triangle at the center of the narrative. Yet this area features one of the film’s biggest weaknesses, as while Su-ni and Ji-tae are developed well the same cannot be said for werewolf boy Cheol-su, perplexing given his status as the titular character. While Su-ni’s innocence and compassion – wonderfully conveyed by Park Bo-yeong – are tested and strengthened, and Ji-tae’s bitterness and resentment grow and fester, Cheol-su generally continues to growl and appear sorrowful. Song Joong-ki does well in expressing emotional distress without the aid of language, yet his role is highly limited within the narrative which is a source of frustration. This underdevelopment, which is also applicable to the (all-too-brief) government officials, results in a finale that is not as strong as it could have been in terms of both romanticism and symbolism. That said, it is during the resolution that Cheol-su finally takes center stage and attempts to fulfill his potential, yet the film is very much Su-ni’s and it is a delight to see a narrative structured around an interesting and fun female protagonist.

The villainous Ji-tae plots his rival’s downfall

Verdict:

A Werewolf Boy is a beautifully shot, visually stunning fairy tale and a genuine testament to writer/director Jo Sung-hee’s style. The use of colour, lighting and composition work harmoniously together in conveying a wondrous nostalgic tale of innocence and love, ably performed by the cast. While certain protagonists are a tad underdeveloped, A Werewolf Boy is an engaging, highly enjoyable and delightful fable.

★★★☆☆

Reviews

November 4, 2012February 1, 2015

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The 49th Daejong Film Awards – 2012

The 49th Daejong Film Awards

Wow. If ever the term ‘whitewash’ was applicable to an awards ceremony, then the 49th Daejong Film Awards held in Yeouido on October 30th, was it. Period drama Masquerade (광해, 왕이 된 남자) received an astonishing 15 awards – out of a possible 22 – on the night, winning in every category in which it was nominated.

Critics were quick to point out that such a sweeping victory made the Film Award ceremony meaningless, and that with so many high quality productions released such as The Thieves (도둑들), A Muse (은교), Pieta (피에타) and Architecture 101 (건축학개론), it was unfair. Yet, even when taking such claims into consideration, it is difficult to argue against the decisions made by the judges. Masquerade is a sumptuous period drama utilizing the exquisite traditional clothes of the Joseon dynasty as well as historical locations which virtually guaranteed the technical awards, while the performances of the central cast have received incredible critical acclaim. As such, the drama won Best Film, Best Director for Choo Chang-min, Best Actor for Lee Byeong-heon, Best Supporting Actor for Ryoo Seung-ryeong, Best Screenplay for Hwang Jo-yoon, as well as a host of production awards.

Yet it wasn’t entirely Masquerade‘s night, as the Best Actress award went to Pieta star Jo Min-soo while Best Supporting Actress went to Kim Hae-sook for The Thieves. Best New Actor went to Kim Seong-gyoon for his role in Neighbors (이웃사람), while her stunning turn as a high school student in A Muse earned Kim Go-eun the Best New Actress award. Best New Director went to Choi Jong-tae for Hand in Hand (해로).

For the full list of nominees and victors, please visit Asian Wikipedia here.

Film News

October 29, 2012February 1, 2015

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The London Korean Film Festival 2012

The 2012 installment of the London Korean Film Festival begins this coming weekend, opening on the 1st of November and continuing through to the 11th in the capital before taking the show on the road to Glasgow, Bristol and Bournemouth. This year has been incredible for Korean cinema and the quality of films produced is reflected in the stellar line-up.

The opening gala, to be held at he high profile Odeon West End, will feature the most successful film in Korean cinematic history – The Thieves (도둑들). Following the screening will be a Q&A session with director Choi Dong-hoon (최동훈) and actor Kim Yoon-seok (김윤석), who has appeared in such prolific films including The Chaser (추격자), The Yellow Sea (황해), and Punch (완득이). Bookending the festival on the 10th of November will be the hugely – and still currently – successful film Masquerade (광해, 왕이 된 남자), also featuring an Q&A with director Choo Chang-min (추창민) and superstar Lee Byeong-Heon (이병헌), who is in London filming action film Red 2.

The festival will also highlight several other of the notable films produced in Korea this year, including science-fiction disease thriller Deranged (연가시) about a new form of parasite that spreads chaos across Korea, comedy-drama Dancing Queen (댄싱퀸) involving a middle-aged woman who attempts to realize her life-long ambitions, and poetically romantic Eungyo (AKA A Muse) (은교) which explores the love that develops between an aging poet and a 17 year old girl. Also present are All About My Wife (내 아내의 모든 것), a comedy about a man desperately trying to divorce his nagging other half, table tennis drama As One (코리아) which is based on the true events of the Northern and Southern teams forced to play together at the 1991 Championships, and Top Gun-inspired action film R2B: Return to Base (R2B: 리턴투베이스).

The Thieves (도둑들) will open the festival

Animated films are ably represented in the form of stark, poignant drama King of Pigs (돼지의 왕) about a reunion of school friends that forces old secrets to light, and indie hit Padak (파닥파닥) involving a fish attempting to escape his fate at a sushi restaurant and return to the ocean. Katuri – A Story of a Mother Bird (엄마 까투리), will also feature.

To honour director Choi Dong-hoon (최동훈), as well as opening the festival with his latest success The Thieves there will also be a retrospective of his work including The Big Swindle (범죄의 재구성), Tazza: The High Rollers (타짜), and Jeon Woo-chi : The Taoist Wizard (전우치).

For the full line-up and to purchase tickets for the event, please head over to the official London Korean Film Festival website, or alternatively visit Hangul Celluloid who first broke news of the line up and sports a host of reviews and interviews with those within the industry.

Festival News Festivals 2012

Sistar performed some of their hits and dance routines to an adoring crowd

October 8, 2012February 1, 2015

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The 17th Busan International Film Festival

BIFF 2012 at Haeundae (해운대) Beach

While most film festivals promote themselves as bigger and better every year, the 17th installment of the Busan International Film Festival is certainly living up to the hype. With the first non-Korean hosting the opening ceremony in the form of Chinese actress Tang Wei, with the festival spread out across 10 days (as opposed to 9 in 2011), and with 132 world and international premieres, BIFF 2012 has done an incredible job in cementing itself as one of the key film festivals throughout Asia. The popularity of this years installment is acutely visible, as online tickets sold out rapidly whilst the 20% allocation at the event disappeared by mid-morning.

There were a lot of events to be had during the opening weekend of BIFF 2012. While Haeundae Beach was the host for several interviews and performances, the screenings themselves also often sported Q & A sessions with directors, producers and/or the stars themselves to an unprecedented degree in BIFF’s history. It was also common to walk into or past coffee shops and see film-makers meeting and conversing, creating a very relaxed atmosphere with their approachable demeanor.

On Friday the 5th, a private party was held for those that work within the film industry as well as journalists, while the cast of Kim Ki-duk‘s latest feature, the incredibly successful Pieta (피에타), were also in attendance.

Actress Jo Yeo-jeong co-hosts the Lotte Red Secret Party

Saturday the 6th saw two events take place. The Lotte Night Party – Red Secret was hosted by The Servant (방자전) actress Jo Yeo-Jeong and gave awards to those who had contributed significantly over the past year. Among those receiving awards were notable screenwriters and actors, including host Jo Yeo-Jeong and A Muse (은교) actress Kim Go-eun (김고은). Also in attendance were actor/director Yoo Ji-tae (유지태) and his wife, as well as Ahn Seong-gi (안성기), and former BIFF director Kim Dong-ho (김동호). Yet the most memorable event at the Red Secret party was the arrival of now-global-megastar Psy, who performed several of his hits as well as the groundbreaking Gangnam Style to a rapturous crowd.

Psy performs for the emphatic crowd

The second party of the night was held by CJ Entertainment, and the style was markedly different.

Sistar performed some of their hits and dance routines to an adoring crowd

In terms of performers parody group The Wonderboys were amazing fun as well as providing some great music to warm up the crowd for the main act – Kpop superstars Sistar. The quartet sang some of their most famous hits accompanied by their signature dance moves that had the crowd chanting their names. In attendance were a variety of people involved in the film industry including REALies president Kim Ho-seong and renowned editor Lee Sang-min. There were also a whole host of film and television stars, including the cast of period drama-comedy Masquerade (광해, 왕이 된 남자) – Lee Byeong-heon (이병헌), Ryoo Seung-ryong (류승룡) and Jang Gwang (장광) – as well as TV star Kim Min-jong (김민종) and As One (코리아 ) actor Lee Jong-suk (이종석).

Actress Go A-ra was a delight

However a genuine highlight of the night was actress Go Ah-ra (고아라) (star of Pacemaker (페이스메이커) and Papa (파파)), who was incredibly kind, courteous and humble, giving genuine insight into the differences in working in the Korean film and television industries.

Sunday night saw the Korean Film Council (KOFIC) event, which saw fellow The Good, The Bad, The Weird (좋은 놈, 나쁜 놈, 이상한 놈) actors Song Kang-ho (송강호) and Jeong Woo-seong (정우성) attending, in addition to a myriad of other stars and members of the film industry.

And so ended the first weekend of the 2012 Busan International Film Festival. With the incredible selection of films, variety of events in which the public could have access to members of the film industry, and unprecedented popularity, it is difficult to imagine how BIFF will grow and improve in with future installments but one thing is for certain – the BIFF team will undoubtedly find a way.

Festival News Festivals 2012

Choon-hyang falls for Bang-ja's charms, leading to erotically charged sequences

October 2, 2012September 7, 2015

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The Servant (방자전) – ★★★★☆

The Servant (방자전)

The ‘erotic period drama’ has almost become a sub-genre unto itself. In recent years narratives have become increasingly more concerned with the sexual scandals of the ruling elite of eras gone by, and the impact such affairs have on the governance on the region. Rather than the sexless morality consistently promoted by the aristocracy, records clearly indicate a swathe of sexual liaisons which contemporary filmmakers seem determined to commit to celluloid.

The Servant, written and directed by Kim Dae-woo, certainly fits well into the category and while sexual sequences are initially misogynistic they are highly erotically charged, adding passionate depth to the central couple. Yet it is the incredible performance by Jo Yeo-jeong as dutiful albeit entrapped feminist Choon-hyang that makes The Servant such a compelling period drama, providing a poignant humanistic grounding set against a background of betrayal and corruption during the Joseon era.

During the Joseon Dynasty, a renowned crime lord (Kim Joo-hyeok (김주혁) recounts his path into the underworld to a scribe, with the intent to publish the autobiographical story and reveal the truth behind his descent into crime. Surprisingly the gangster’s tale begins as a humble servant, or Bang-ja (방자), in service of ambitious aristocrat Lee Mong-ryong (Ryu Seung-beom (류승범). Upon hearing of the beauty of a local woman named Choon-hyang (Jo Yeo-jeong), the daughter of a ‘gisaeng house’ owner, Mong-ryong visits to see for himself. Choon-hyang’s beauty has not been exaggerated, and Mong-ryong insists on meeting her in private in an attempt to woo her. Yet Bang-ja is also captivated by Choon-hyang, and so begins a rivalry between the master and servant for her affections. Tutored in the art of seduction by infamous Lothario Mr. Ma (Oh Dal-soo (오달수), Bang-ja successfully wins Choon-hyang’s heart yet in doing so unleashes a wave of ramifications that leaves all of them irrevocably changed.

The crime lord recounts his history as a servant (Bang-ja) to a scribe

The Servant is a re-imagining of the classic ‘Choon-hyang’s Tale’, told from the perspective of the titular servant Bang-ja, and as such is a much more male-centered narrative. This is both a blessing and a curse as while the shift detracts from the feminist perspective, Choon-hyang’s strength and passion are idolized through Bang-ja allowing for more poignant, romantic storytelling. Writer/director Kim Dae-woo’s interpretation also expresses a highly interesting variation on the tale as he has chosen to forgo the themes of chastity in favor of scandalous sexual liaisons, yet still foregrounds the issues of social status, tyrannical government officials, and women’s rights to produce a refreshing and socially aware take on the subject.

Kim Dae-woo’s screenplay – as well as his directorial style – does a wonderful job in exploring such concepts with a sexual twist, as the motivation behind all conversations and undertakings involves discussions of sex and sexual power. The relationship between Bang-ja and Choon-hyang wonderfully explores such dynamics as despite the romantic gestures, passionate physicality and development of love, their relationship can never be accepted due to social status adding genuinely moving melodramatic fatalism to the proceedings. Juxtaposed with their situation are the laughable attempts to woo Choon-hyang by aristocrat Mong-ryong, which serve as comical highlights as well as a source of frustration as despite his awkward masculinity Mong-ryong is by far the better suitor. Choon-hyang, and most notably her body, is continually used as a bargaining chip by those around her as she precariously walks the fine line between dutiful daughter/love interest and independent woman. Actress Jo Yeo-jeong is absolutely enthralling in the role as she conveys the unapologetic resolve to her family with strength and dignity yet still emphasizes her own desire to escape the rigid social hierarchy with passion and verve. Such is Jo Yeo-jeong’s skill and prowess that it’s difficult to imagine any other actress in the role, as she embodies the plight of Choon-hyang wholly and with sincerity.

While Jo Yeo-jeong’s performance is pivotal in making The Servant such an enthralling film, unfortunately a large part of the advertising campaign – and indeed, word of mouth – focused more prominently on her sexual scenes. The sequences themselves are highly erotic, arguably the most erotic within mainstream Korean cinema, as Jo Yeo-jeong’s incredibly glamorous figure is fully on display as she and co-star Kim Joo-hyeok commit themselves fully in conveying the utmost passion. Such scenes are, at least initially, highly problematic however as the first liaison is highly misogynistic and certainly falls into the category of sexual assault – perhaps even rape – a stark contrast with Kim Dae-woo’s prior sexual sequence in Untold Scandal. Yet despite this the resulting sexual sequences are not employed merely for titillation, as they convey the unbreakable passion and love between the central protagonists and infuse the relationship with romance and enchantment.

Choon-hyang falls for Bang-ja’s charms, leading to erotically charged sequences

Yet despite the fascinating exploration of the role of sexual power, The Servant falters during the final act. In his bid to offer a fresh take on the classic tale and offer a narrative twist to surprise audiences familiar with the story, Kim Dae-woo’s finale feels forced and contrived as he attempts to resolve all the narrative strands. While his technique allows the protagonists to come full circle, the tone is markedly different from prior events and frustratingly reduces the status of heroine Choon-hyang. That said, the impact of such melodramatic scenes linger long after the credits.

In terms of performance, Jo Yeo-jeong largely makes the entire film her own due to her tremendous prowess and charisma, although she is ably supported by her co-stars.

As the titular servant, Kim Joo-hyeok is highly effective as a man fully aware of his dire social status yet cannot control his impulses. He conveys his unique brand of dualism very well as he gallantly strives to help Choon-hyang or simply to be noticed, yet scant seconds later is begging for forgiveness for overstepping his social boundaries. Special mention must also be given to his scenes with infamous Casanova Mr. Ma, played by legendary supporting actor Oh Dal-soo. As a master in the art of seduction Oh Dal-soo is on perfect form and is incredibly humorous and heart-warming, offering comical interludes to the melodramatic scenes. As the teacher to Kim Joo-hyeok’s student, the pair play off each other effectively, discussing not only the techniques of seduction but also the ramifications.

Ryu Seung-beom is wonderfully sadistic as scholar Lee Mong-ryong, oozing villainy and moral corruption throughout the film. Yet the actor also skillfully conveys the sensitivity and frailty of Mong-ryong, particularly in the first act – ably accompanied by ‘feminised’ clothing and mise-en-scene – that places him in contrast with Bang-ja’s rugged masculinity well. As such Ryu Seung-beom portrays a more tragic ne’er-do-well, one poisoned by bitterness and jealousy.

Bang-ja and Choon-hyang are punished for their transgressions

Verdict:

The Servant is a wonderfully scandalous Joseon era melodrama, and a highly engaging and compelling reinterpretation of the classic tale. The themes of social inequality, sexual liaisons and women’s rights are expertly intertwined by writer/director Kim Dae-woo, while it is Jo Yeo-jeong’s seminal performance that remarkably emphasizes the plight of Choon-hyang. While elements of misogyny and a slightly contrived final act are apparent, The Servant is a powerfully seductive film about the power of sex and love in a bygone era.

★★★★☆

Reviews

King Gwang-hae becomes increasingly paranoid as attempts against his life are made

September 15, 2012September 7, 2015

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Masquerade (광해, 왕이 된 남자) – ★★★★☆

Masquerade (광해, 왕이 된 남자)

Mark Twain’s seminal novel The Prince and the Pauper has long endured arguably for the manner in which it exposed the gulf between the upper and lower economic classes. The trials and tribulations that Prince Edward and Tom Canty undertake allow Twain to explore the vast lifestyle differences amongst the ‘haves’ and ‘have nots’, with each protagonist utilising their prior experiences to emphasise the hardships, and the unfairness, of both existences. In doing so the story has resonated with audiences of all socio-economic backgrounds, and in the contemporary financial climate, is perhaps even more relevant than ever.

With Masquerade, screenwriter Hwang Jo-yoon has adapted Twain’s novel to Joseon dynasty Korea, with the case of mistaken identity transferred between King Gwang-hae and a lowly comic actor. With a well-structured and highly entertaining script, incredibly competent directing from Choo Chang-min, and an enthralling set of performances from Lee Byeong-heon, Masquerade is without doubt one of the best films of the year and a testament to the quality of the period dramas Korea can produce.

King Gwang-hae (Lee Byeong-Heon (이병헌) is deeply unpopular in court, and as spies and threats surround him, becomes increasingly paranoid. Under a veil of secrecy, the King instructs his most loyal subjects to find a suitable surrogate who can impersonate him during the night should any assassination attempts be made against him. By chance, one such subject exists – a comic performer (Lee Byeong-Heon) who routinely mocks the King during his performances. Yet while the ruse works well initially, the King suddenly becomes critically ill and taken to a remote location to recover. Thus it falls to the actor, as well as the loyal Chief Advisor (Ryoo Seung-yong (류승룡) and Chief Eunuch (Jang Gwang (장광) to fool the members of the court until the true King can regain his health and return to secure his kingdom. However as time passes, the actor becomes increasingly aware of the unfairness and corruption inherent in the ruling elite and begins to introduce changes of his own.

King Gwang-hae becomes increasingly paranoid as attempts against his life are made

The aesthetics and cinematography within Masquerade are stunningly sumptuous, and are wonderfully realised by director Choo Chang-min. Indeed, the film opens with a montage emphasizing the extreme prestige of the royal lifestyle and the flamboyant colours inherent within, composed to convey the luxurious – and arrogant – nature of the ruling elite. The world of the Joseon dynasty is also recreated with incredible attention to detail ranging from the elegant clothing to crockery to the king’s lavish homestead, producing an enthrallingly convincing arena in which the exchanges and sedition take place. In setting up such narrative events screenwriter Hwang Jo-yoon borrows the catalyst from The King and the Clown as the King’s double receives unwanted attention through his critical portrayal of the King. There the similarities end however as once the King and the actor exchange places the discord in the court is explored through thoroughly different means, as the actor routinely, and naturally, comes face-to-face with issues that plague the kingdom yet have been ignored by the monarch. Surprisingly Masquerade also features an array of comical moments amongst the drama as the actor bumbles his way through the customs and etiquette of his new environment. Many of the jokes are crude and based on bodily humour, yet rather than a criticism this is actually an intriguing method of exploring the differences between the social classes and allows the audience to gain greater empathy with the actor who seemingly cannot perform the simplest of tasks without an entourage. In forging a greater alignment with the unwitting counterpart and his more middle/lower economic sensibilities, the various discussions on taxation, crime and punishment, and slavery achieve more prominent emotional resonance making the actor’s growing confidence and the enforcement of his own rulings to save the Joseon people – despite the awareness of his it could bring his demise – a source of great nationalistic inspiration and strength.

Instrumental in such a portrayal is the excellent performance from Lee Byeong-heon. He conveys the arrogance, stoicism and ruthlessness of King Gwang-hae incredibly well and stands in stark contrast to his astoundingly portrayal as the foolhardy yet well-meaning doppelganger actor. Lee Byeong-heon’s comic timing is impressive as he conveys the humorous moments within the narrative with deft skill and, with convincing clumsiness, faltering through all manner of routines that never fail to inspire laughter. Yet where Lee Byeong-heon’s performance really shines is through the evolution of the actor from an unwitting clown to a man of dignity and stature, the progression of which is wonderfully subtle and well-paced and never feeling in the least bit contrived. The manner in which the protagonist evolves is great, and the internal conflict that appears over his face when making decisions that will effect the court and the denizens of the entire kingdom, in the knowledge it will result in his eventual execution, is remarkable to behold. If there is criticism to laid, however, it’s in the protagonist’s relationship with the Queen, although this is no fault of either Lee Byeong-heon nor Han Hyo-joo (한효주). The Queen merely exists to provide the counterpart with a beautiful damsel in distress to save, and the Queen’s function in the narrative doesn’t extend beyond the stereotypical role. That said, the exchanges that occur between the Queen and the actor do not detract from the narrative and are enjoyable and well-performed.

The King and the imposter come face-to-face

The King and the impostor come face-to-face

As previously mentioned, Lee Byeong-heon is phenomenal in his dual roles as both the King and the impostor, and it would be difficult to imagine that he will not be honoured with – at the very least – an acting award nomination for his incredible performance.

Yet Lee Byeong-heon is also surrounded by an eclectic group of established actors who also conduct their roles with incredible skill.

Ryoo Seung-yong is simply wonderful as the stoically loyal Chief Advisor. The actor coveys the Chief Advisor’s commitment to the kingdom with the utmost competency and sincerity, yet is also adept in comic timing as his exchanges with the King’s counterpart are consistently laugh-out-loud moments that also simultaneously serve to highlight the change in attitude towards each other. As with other features of the narrative, the subtle manner in which their relationship alters is highly entertaining as the Advisor initially admonishes the clown for his foolishness only to come to admire his tenacity alongside the audience, and Ryoo Seung-yong does an incredible job of conveying the evolution.

Similarly the Chief Eunuch, played by Jang Gwang, also expresses the change in attitude yet also serves the role of ‘the helper’ in enlightening the King’s counterpart on the issues facing the kingdom. As the more maternal of the two advisors, Jang Gwang is excellent as the subservient member of the court and brings an understated emotional core to the film, particularly in the early stages.

As the Queen, Han Hyo-joo is competent throughout. Unfortunately for her the role is generally underdeveloped and stereotypical of a beautiful woman in need of saving, yet she performs with grace and dignity.

Also worthy of mention is the loyal Captain, performed by Kim In-kwon. Initially a somewhat overshadowed character, the Captain takes a prominent position in the final act with Kim In-kwon more than adequately portraying the loyalty of a devoted man with emotion and heart.

The long suffering Queen begins to notice the differences in the new ‘King’

Verdict:

Masquerade is a wonderfully realized and incredibly entertaining film, one that uses the basis of The Prince and the Pauper and rapidly makes it into a uniquely Korean period production. Alongside the very well-written, well-paced script is visually stunning direction and, while it somewhat lacks in scale, it conveys the colourful regal elegance with striking skill. Yet it is Lee Byeong-heon who gives the film heart with his exceptional dual performances that serve to emphasis the gulf between the classes in society and the injustices that, no-matter the era, plague the ruling elite. Masquerade is undoubtedly one of the best films of the year and is highly, highly recommended.

★★★★☆