Showing posts with label Yeong-ae Lee. Show all posts
Showing posts with label Yeong-ae Lee. Show all posts

Thursday, May 17, 2007

Joint Security Area


Chan Wook-Park's JOINT SECURITY AREA is a noble, and reasonably successful, attempt to grapple with issues of power, warfare, and common humanity. It doesn't say anything new or particularly startling about the human condition, but it does a fine job of capturing its time, place, and people. For a movie billed as an action thriller, this is a pleasant surprise.

Here's the setup: a Swiss major of Korean ancestry (and a Korean accent, but watcha gonna do?) reports for duty at the Joint Security Area, the zone in Panmunjong that's run by Switzerland and Sweden and serves as a meeting point and negotiating center for the Koreas. There's been a border skirmish that could get ugly, as the South accuses the North of having kidnapped one of its men and the North accuses the South of violating its territory. There's an injured South Korean sergeant who was either a victim or provocateur, there's a Northern sergeant who was either a victim or provocateur, and there's a guardpost full of dead communists. This being Korea, everyone's hewing to their respective party lines. What happened? Who was to blame? Can the major avert a war?

JOINT SECURITY AREA proceeds along the lines of an investigative thriller, building tension in anticipation of the inevitable skirmish as it meditates on the nature of nationalism, friendship, and human nature. We get to know both sergeants, we get to like them, and we come to mourn the requirements of patriotism and power. JSA puts us in that guardpost and it breaks our hearts. Not bad for an action thriller.

Monday, November 20, 2006

Lady Vengeance

I was all set to love Chan Wook Park's LADY VENGEANCE. I thought SYMPATHY FOR MISTER VENGEANCE was excellent, and I think OLDBOY is one of the best films of the decade. When the beautifully stylized opening credits rolled, I sat back and got ready to wrap myself in the world of a master.

But here's the problem: people have been telling Park (Or is it Chan? I wish we could all settle on a Western standard.) that he's a genius, and he's starting to believe them. LADY VENGEANCE spend so much time cycling into and out of normal narrative time, its subnotes are so cute, and its flights of fancy so indistinguishable from mental instability, that LV fairly screams, "Look at me! I'm the work of a genius, dammit! A genius!" I could not immerse myself in its world because it couldn't quite decide in which world it wanted to immerse me. I could not empathize with its protagonist because by the time the film gave me enough material to do so, I had ceased to care. I could not enjoy the film because the film gave me no cause to do so.

LADY VENGEANCE is the kind of film in which the production designer seems to struggle with the lighting guy, who struggles with the cinematographer, who struggles with the director, who struggles with the actors. They're all trying to one-up each other, all trying to showcase their Genius. But they forgot about me, Joe- Guy -on -the -Couch -Whose -Back -Hurts -from -Raking -Leaves. Entertain me, people. Make me think. Hell, dazzle me. But don't distract me with your Genius.

Just tell me a story.