Ryoo Hyeon-kyeong 류현경

October 20, 2014January 30, 2015

Whistle Blower (제보자) – ★★★☆☆

Whistle Blower (제보자)

In 2004, Korean doctor Hwang Woo-suk published that he, along with his team of researchers, had successfully cloned a human embryo and were able to remove stem cells from it. The revelation rocked the scientific community as the breakthrough was the first of its kind, yet it was surpassed only a year later when Hwang claimed to have created 11 human embryonic stem cells. As such, Hwang and his team had the ability to work on remedies for diseases previously believed to be incurable, catapulting the doctor into the limelight as a national hero and a savior of the Korean economy. Except that, as an investigation in 2006 by MBC reporters revealed, it was all a lie. Despite the evidence however, many Koreans still believe that doctor Hwang is the ‘pride of Korea’, and that to question his work is unpatriotic.

Whistle Blower (제보자), by director Lim Soon-rye (임순례) and screenwriter Lee Choon-hyeong (이춘형), is based on the scandalous affair that caused international embarrassment for the Korean scientific community. The thriller focuses on investigative journalist Min-cheol (Park Hae-il (박해일) as he is tipped off about the stem cell hoax by whistle blower Min-ho (Yoo Yeon-seok (유연석). Joining forces with intrepid young reporter I-seul (Song Ha-yoon (송하윤), the duo begin digging into the claims of Doctor Lee Jang-hwan (Lee Kyeong-yeong (이경영), and uncover a series of shocking revelations while also contending with angry Korean citizens.

Producer Min-cheol interviews whistle blower Min-ho, who claims to have knowledge of a national scandal

Given the electrifying and scandalous subject material, the potential for a explosive and culturally resonating conspiracy thriller was high. Yet with Whistle Blower director Lim and screenwriter Lee have crafted a standard effort, one that is competent and ticks all the boxes of the genre yet is uninspired and barely scratches the surface of the core issues with which the film is concerned.

The true-life crime features not only a hoax on an international scale, but the collusion of the then-government and media in both propelling the fraud into the national consciousness as well as stifling the investigation into it, while the zealous nationalistic fervor of the populace offers potent introspective exploration. Such issues are depicted in a very limited capacity or completely omitted altogether which is more than a little disappointing, and while watching Whistle Blower the sense that the filmmakers were censored as much as the characters within the film adds an acute sense of irony.

Where Whistle Blower succeeds is through the journey of producer Min-cheol, as he attempts to uncover evidence to support his case against Dr. Lee. Director Lim does well in representing the variety of obstacles in his path and paces the story well, resulting in a thriller that moves along briskly and is rarely dull. The various tip offs continually spur interest while the back room politics within the station add an additional threat of urgency, as well as hinting at the larger scale corruption of Korean conglomerates.

Producer Min-cheol and intrepid assisstant I-seul uncover the evidence

Producer Min-cheol and intrepid assistant I-seul uncover the evidence

Park Hae-il is in typically good form as the investigative producer, though as there is little in the way of character development the role is far from demanding. He works best when playing off of the supportive cast, particularly his intrepid assistant I-seul and team leader Seong-ho, played by Song Ha-yoon and Park Won-sang (박원상) respectively. Despite their limited presence throughout the film both Song and Park are highly charismatic, endearing protagonists, giving impressive performances and often steal the show whenever they are on screen.

Ironically whistle blower Min-ho is given very little screen-time and development that mostly requires actor Yoo to walk around appearing pitiful, with the narrative largely focusing – repetitively – on his and wife Mi-hyeon’s (Ryoo Hyeon-kyeong (류현경) sick child. This is a great shame and a missed opportunity given that that real whistleblower is still considered something of a traitor by many in contemporary Korea. Luckily however, actress Ryoo provides the best performance in the film despite her extremely limited presence, making the situation one possible to invest in.

Interestingly, the filmmakers have opted to represent the fraudulent Dr. Lee in a rather positive, sympathetic light. The narrative seeks to portray the doctor less as a criminal, and more of a man whose ambition to help both the sick and Korea at large got the better of him. There are occasional hints at his manipulative genius, yet the story doesn’t delve deeper into the illegalities outside of the fabricated stem cell research, which is truly bizarre and a waste of potential.

The reporters must contend with rampant nationalism in their quest to expose the truth

Verdict:

Given the scandalous true story on which the film is based, Whistle Blower had the potential to be an explosive thriller and a keen exploration of a variety of facets in contemporary Korean culture. Yet director Lim Soon-rye and screenwriter Lee Choon-hyeong have produced a standard, uninspired example of the genre, one which fulfills the criteria but never delves deeply into the issues of the time. Whistle Blower is competent yet disappointing, and is a real missed opportunity.

★★★☆☆

Reviews

Young Kim Geum-hwa is visited by a plethora of gods on her path

February 17, 2014January 30, 2015

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Manshin: Ten Thousand Spirits (만신) – ★★★★☆

Manshin: Ten Thousand Spirits (만신)

Manshin: Ten Thousand Spirits (만신) had the distinction of being the opening film for the 2013 DMZ Documentary Film Festival, and deservedly so. Director Park Chan-kyong’s (박찬경) film not only provides an autobiographical account of renowned shaman – and intangible cultural asset – Kim Keum-hwa, but also explores her life and times in conjunction with an incredibly tumultuous period of (recent) Korean history.

The result is a fascinating look at key components of Korean history and culture through the endurance of Kim Keum-hwa and her dedication to traditional shamanism. By delving into her past and reenacting key moments, issues ranging from the evolving state of feminism, the relationship between North and South Koreas, and the Park Chung-hee era all combine into a portrait of a woman and a country who have held on to tradition despite the odds.

Kim Geum-hwa endured an awful childhood in North Korea before embracing shamanism

Kim Keum-hwa endured an awful childhood in North Korea before embracing shamanism

Director Park Chan-kyong has previously expressed his interest in shamanism through his excellent short film Night Fishing, yet with Manshin he examines the cultural form in a much more profound fashion. One of the great strengths of the film lies in not only exploring but reenacting Kim Keum-hwa’s life. Talented actresses Kim Sae-ron, Ryoo Hyeon-kyeong and Moon So-ri all depict the shaman at different stages of her development and portray the various trials she was forced to endure with sincerity and depth. These scenes, combined with Kim Keum-hwa’s interviews and quotes from her published work, make the autobiography a palpable and moving account of a woman who has endured much throughout her life. Her marriage at 14 years old in North Korea is a harrowing story of violence and fear, while her embrace of shamanism and emigration to the south years later is one of hope and sorrow; the persecution Kim experienced in her middle-ages despite her dedication to Korean culture adds even further tragedy. Each stage of Kim Keum-hwa’s life would be enough for a novel or film in itself, yet her perseverance through so many challenging events is constantly admirable, while the poignant performances of the three lead actresses, in conjunction with Kim’s interviews via voice-over, add incredible weight to the story.

Brilliantly, in depicting Kim Keum-hwa’s life Manshin also reveals Korea’s astonishing recent history. Director Park seamlessly aligns Kim’s efforts to remain alive and strong with that of the country and culture itself, as the shaman attempts to avoid the Japanese occupation in North Korea, her departure to the south following the outbreak of civil war, and dictator Park Chung-hee’s desire to erase anything considered old or antiquated in his quest to modernise the country. Director Park emphasises Kim’s struggles as national ones, trials dedicated to the preservation of cultural materials and practices despite the odds. As such the film never takes a stance on whether shamanism is real or otherwise, instead focusing on cultural value and national identity, as well as Kim’s empowering status as an intangible cultural asset.

Young Kim Keum-hwa is visited by a plethora of gods on her path

Manshin is also a very attractive documentary. Director Park Chan-kyong certainly has a keen eye for composition, with shots throughout the reenactments of the shaman’s life often akin to paintings. Furthermore symbolism is also skillfully woven within such scenes, from the connotations of finding a shoe through to the appearance of the gods themselves, that add an understated beauty and mysticism. The use of light and colour are consistently appealing and capture the vibrancy of Korean shamanism with confidence, as well as conveying the different stages of Kim’s life, her emotions, and her otherworldly abilities. The animated sequences, which serve to explain philosophies behind shamanism, are exquisite and beautifully convey the uniqueness of Korean culture, and are a genuine delight whenever they appear.

However, Manshin is an extremely ambitious documentary, so much so that the overall film suffers for it. In attempting to contain so much about Kim Keum-hwa’s life, shamanism and Korean history, the film becomes a somewhat superficial exploration, exploring key moments yet tending to gloss over further details as well as occurrences in the intervals between. Manshin often loses focus due to this, and the structure of the film generally is rather loose requiring audiences to ‘stick with it’ for certain periods before getting back on track.

Despite such criticisms, Manshin is a very rewarding documentary, and one that serves to enlighten and entertain in a myriad of ways.

Kim Geum-hwa is persecuted by Protestants during the Park Chung-hee regime

Kim Keum-hwa is persecuted by Protestants during the Park Chung-hee regime

Manshin: Ten Thousand Spirits (만신) is a very enlightening documentary about Kim Keum-hwa, Korea’s premiere shaman. Director Park Chan-kyong beautifully captures, and reenacts with three of the country’s top actresses, the key events of her life from Kim’s youth in North Korea through to her contemporary life in the south. Masterfully, director Park also depicts Kim’s life as a shaman in conjunction with the development of Korea itself and the preservation of cultural identity. While the structure is uneven and the story tends to lose focus, Manshin is a rewarding and illuminating experience.

★★★★☆

Reviews

The gay community enjoys a lavish finale

July 29, 2012February 1, 2015

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Two Weddings and a Funeral (두 번의 결혼식과 한 번의 장례식) – ★★★☆☆

Two Weddings and a Funeral (두 번의 결혼식과 한 번의 장례식)

While narrative conventions of heterosexual relationships enjoy an almost absurd level of repetition, homosexual couples are still very much a rarity in world cinema. This is especially so in Korea, where homosexuality has only in recent times considered to even be in existence. In a culture predicated on the importance of marriage, the traditional family unit, and the continuation of bloodlines, Korea has – as with other countries – struggled to accept gay culture within itself.

This is precisely the situation tackled by first time director Kim Jo Kwang-su (김조광수) who, upon discovering the extreme lack of ‘queer’ movies in the Korean film industry, resolved to redress the balance. With Two Weddings and a Funeral (두 번의 결혼식과 한 번의 장례식) the director explores the complexity of being gay in contemporary Korea, as a gay man and lesbian woman marry to offset suspicion. The film is an interesting amalgamation of camp comedy and social issues although never manages to perfect the cohesion between the two, resulting in an enjoyably quirky yet underdeveloped romantic-comedy.

In a lovely ceremony, Min-su (Kim Dong-yoon (김동윤) and Hyo-jin (Ryu Hyeon-kyeong (류현경) are married in front of their dearest loved ones, all of whom are blissfully happy that the couple can now enjoy wedded life and the happiness that follows. Yet unbeknownst to them both Min-su and Hyo-jin are homosexual, performing the sham marriage to halt nagging parents and to help adopt an abandoned baby. While Hyo-jin’s lesbian lover Seo-yeong (Jeong Ae-yeon (정애연) lives next door, Min-su’s new boyfriend Seok (Song Yong-jin (송용진) moves into the marital home. As family members, friends and colleagues become evermore curious about Min-su and Hyo-jin’s relationship, their ruse becomes increasingly problematic with the tension threatening to destroy everything they have worked so hard to conceal.

Min-su and Hyo-jin keep up pretences to make their lives more comfortable

From the outset Two Weddings and a Funeral is a jovial affair, as Min-su explains with the use of graphics and diagrams his frustrations at being a gay Korean man, which is wonderfully juxtaposed with the sham wedding ceremony in which only a select few know the truth beneath the huge smiles. Once things settle however the film struggles to find direction, introducing Min-su’s gay friends who act as comic relief, and a troupe performance in which he is due to feature, as the only impetus for the troubled young man. It is only with the inception of Korean-American Seok that Two Weddings and a Funeral begins to take flight, exploring his and Min-su’s burgeoning relationship that must be hidden from prying eyes, which director Kim Jo Kwang-su poignantly conveys as simultaneously saddening, frightening, exciting and romantic in equal measure. Their relationship is wonderfully charming, featuring kissing and other amorous scenes that contain far greater passion than most heterosexual scenes of a similar nature, while both protagonists also experience their own different forms of prejudice and pressure to conform. Themes of traditional marriage are also humorously undermined through the unscheduled visitations of Min-su’s mother, as Hyo-jin must not only pretend to understand her husband implicitly but also adhere to the stereotypical role of the dutiful wife. As such gender politics as well as sexuality are interrogated in a thought-provoking (albeit farcical) manner.

Yet Two Weddings and a Funeral never quite knows what film it wants to be, and as such the balance between comical gay life and socio-cultural examination do not coalesce well. Min-su has, other than to stop his nagging parents, no real reason to marry and his plans are rather immature while Hyo-jin needs the marriage to help adopt an abandoned child. The decision to focus on Min-su and his gay friends results in the shocking underutilization of Hyo-jin’s incredibly important narrative arc, as the potential to show homosexuals as loving parents is wasted. Hyo-jin and lesbian lover Seo-yeong feature very little throughout the film despite their relevance, with the extensive time devoted to Min-su’s gay pals somewhat of a mystery as aside from comic relief they offer precious little else. Additionally these friends are generally woeful as they are essentially infantile stereotypical ‘queens’ rather than fully formed characters, with the overacting at times cringeworthy as they ‘perform’ gayness in a silly and irreverent manner. This is acutely ironic as the writers go to great lengths in attempting to dispel myths surrounding homosexuality yet they – and the male actors – seem unaware of what being gay truly is, aligning it with overt-feminization and transvestitism throughout the narrative on several occasions. The most prominent character in this regard is Tina (Park Jeong-pyo (박정표) who is a genuine irritation, yet during more intimate scenes where over-indulgences and ‘performing’ homosexuality are cast aside the protagonist is highly likable and conveys the potential of a route not followed. As the title suggests there are three events that take place and while the first wedding is the catalyst for the film, the funeral is predictable and the second marriage fantastical. The funeral could have spurred an incredible social drama with the married couple yet instead with limited running time remaining, the writers clearly wrote themselves into a corner and the ending, despite being jovial and in keeping with the opening, feels tacked on for the sake of brevity.

Min-su and new boyfriend Seok enjoy a date away from prying eyes

As the central couple of Two Weddings and a Funeral, Min-su and Seok – played by Kim Dong-yoon and Song Yong-jin respectively – are a delight. Neither one portrays homosexuality as a ‘performance’ and as such their sexuality and their relationship are conveyed as natural and organic. Song Yong-jin is by far the best actor in the film as he inhabits a fraught individuality, playful and innocent whilst on dates yet poignant and emotive when relaying his past. Kim Dong-yoon is much more stoic than his co-star making him less likable initially, yet he seems to loosen as time passes and his emotional scenes are competent.

The supporting cast of gay men provide occasional moments of comedy, yet are generally frustrating with their ‘performances’ of homosexuality as extremely-feminized men. As such the artifice of their acting and roles shine through and hampers the narrative, which would not be so problematic if they actually contributed to Min-su and Seok’s journey in any way. Unfortunately, aside from – ironically – creating a stage performance, they do not and their inclusion tends to detract from the main arc.

It is difficult to comment on Ryoo Hyeon-kyeong and Jeong Ae-yeon who, as long-term lesbian lovers Hyo-jin and Seo-young, are pushed to the fringes in order to focus on Min-su. While on screen both actresses are competent and convey their predicament with sincerity.

The gay community enjoys a lavish finale

Verdict:

Two Weddings and a Funeral is an interesting take on homosexuality in contemporary Korea, with a compelling central couple (who convey more romance and passion than a lot of heterosexual counterparts) and a mixture of comical sequences and socio-cultural examinations. However the disparate features never quite manage to converge as a unified whole, with a supporting cast that offers precious little while other more intriguing arcs are brushed aside. As such Two Weddings and a Funeral is generally light-hearted fare that, while enjoyable, never fulfills its potential.

★★★☆☆