Showing posts with label shim hye-jin. Show all posts
Showing posts with label shim hye-jin. Show all posts

Thursday, December 16, 2010

The Green Fish: You Need to Go Down to Get Deep


The loss of innocence is so upsetting sometimes. Even if you factor in that innocence and adulthood are pretty much incompatible, watching a late-bloomer fall from grace can make for a painful viewing experience. And coming-of-age only gets crueler the older you get. In Lee Chang-dong's masterful first film The Green Fish, the naif about to lose it all is earnest 26-year-old Makdong (Han Suk-kyu). He's a poor, eager-to-please guy who, recently discharged from the army, ends up working for ruthless mobster Bae Tae-kon (Mun Seong-kun) after one unlucky circumstance. Bae's girlfriend Mi-ae (Shim Hye-jin), for her part, is about as far from innocence as you can get. Pimped out by her boyfriend when she's not being harassed by customers who ridicule her nightclub act, she knows she's sinking more and more deeply into the mire but she can't find a way out. She's drawn to Makdong not because he's cute but because he's the least corrupt thing she's seen in God knows how long. He'll never be the life preserver he and she wishes he could be; the few times he tries, he proves a terrible protector since he's adhering to a school boy code in a roomful of truants. But their love is inevitable. Just as their future is doomed.

Saturday, January 3, 2009

Acacia: When the Bough Breaks the Family Will Fall


High art horror? It can happen. Acacia is proof of nothing less. Park Ki-hyeong's slow-burn psychodrama about a middle-aged couple who adopt an autistic boy (Mun Oh-bin) is simultaneously an avant garde portrait of middle-class ennui with its prolonged silences of estrangement and its sinisterly surrealist touches and a typical Saturday afternoon chiller with spooky music, sudden camera lurches, and a building body count. Neither approach feels at cross purposes with the other since Park is committed to both in full. Sure, he'll have the psychotic mother (Shim Hye-jin) wield scissors against her husband (Kim Jin-geun) but he'll also have her do it in a living room that she's converted into an art installation of red yarn. Why shouldn't life be acted out amid a gallery's worth of symbols? By the final climax, during which two murders -- one present; one past -- are revealed, Acacia has so effectively grafted its two opposing genres together that you accept the tree in the backyard as a harmless plant that the crazies have laden with meaning and as an evil force incapable of mercy. No interpretation is wrong. Freezeframe the Munch-like drawings by the precocious orphan if you're looking for further explanation.