【资料】林常树和韩石圭的新电影《那时代，那人》

lwang

All the President's Men: The President's Last Bang ( by Nick North from firecraker magazine )

In Autumn, 1979, heavy countrywide student protests against the repressive authoritarian regime of South Korean President Park Chung Hee began to escalate, sending the country into crisis and precipitating measures such as the declaration of martial law in the city of Pusan. On the night of October 26th, the President gathered with senior government figures - among them strongarm Presidential Security Chief Ch’a Chi-ch’ol and KCIA (Korean Central Intelligence Agency) Director Kim Chae-gyu - at a KCIA safe house restaurant to discuss how to deal with the deteriorating situation. During the dinner, as differences of opinion were voiced and deep-seated resentments bubbled to the surface, Kim shot Ch’a and the President, at once ending a Park's long regime and sending the country spiralling into a new and altogether different crisis.

Director Im Sang-soo, who broke through in the west with the selection of his previous film A Good Lawyer’s Wife in Venice in 2003, loosely reconstructs the astonishing events of this tumultuous night in a blackly humorous film that has already made waves in Korea, where such an overt attempt to dramatise still-contentious occurences has got people talking. For those of us to whom the story is new, on the other hand, The President’s Last Bang acts as an eye-opening version of hitherto unfamiliar historical events, and a rare glimpse into South Korea’s recent and scarcely-documented (in the West at least) political past

As with all such films, reconstruction of controversial events engenders its own controversy, and Im’s depiction of the main players, and the decision to focus largely on the assassins, may encounter Korean dissenters. One thing that remains certain, however, is that all are memorably realised by a uniformly excellent cast, from Jeong Won-joong as the brutal hawk Ch’a, played as a pig-headed thug, to Han Seok-gyu, oozing cool as the gum-chewing KCIA Chief Ju, and Baek Yoon-sik as Director Kim - the assassin himself - a model of professionalism on the one hand, but allowing his pent up frustrations and anger to bubble up and explode as his fury gets the better of him and he makes the final murderous decision to take matters beyond the pale. Then of course, there’s the President himself (Song Jae-ho), seemingly hopelessly out-of-touch with his people and unwilling to seriously address the crisis his country is embroiled in, who ends up dozing the dinner away, drunkenly resting his head in the lap of a hostess.

The first half of the film is where it stakes its claim. Once we are introduced to the characters, and half-way through the boorish mealtime conversation of the most powerful men in the country where resentments and jealousies are barely concealed, the film's intrigue has already been spun into motion. There then ensues a sweaty, drawn-out build up of momentum - to an insistently itchy soundtrack - which ratchets up a gear from the point the furious Kim exits the meal to inform his closest KCIA compatriots of his intentions and to seal their complicity. From this moment, the inevitable is held at arm’s length, as we follow the intricacies of the hastily-arranged assassination, and watch as more KCIA employees are dragged into the scheme, not fully consenting or aware of the nature of what they are involved in. When Kim comes good on his word, and his fellow conspirators are forced to come good on their support by taking out the bevy of guards stationed in the building, it triggers a further chain of events as Kim and Ju attempt to deal with the aftermath, despite having only really planned the assassination itself. What follows frequently veers further into the darkly comic, making good on the thread of black humour which runs through the film from the start. There are real echoes of Dr Strangelove in the believable unbelievability surrounding the absurd situation as the political cognoscenti and army bigwigs flounder to deal with the political vacuum they suddenly face, and hints of farce in KCIA director Kim's poorly-fabricated attempts to explain what happened to the President and his misplaced confidence that he will escape punishment. Similarly, the attempts of the KCIA staff to clean up the murder site venture into the realms of the comic, agents without the full picture still not realising why they were just ordered to gun down presidential bodyguards.

It is in this latter section however that the film threatens to unravel, as the gripping tension which combined so well with an unsettling comic undertone in the build up is jettisoned and the pace of the film allowed to slacken. A telescoping of the post-assassination events might have maintained the momentum of the opening hour into the more farcical events that follow. Still, The President’s Last Bang packs a hefty sweaty-fisted political punch, and largely treads a line between historical reconstruction, intrigue, sensationalism and wicked humour with deftness, and a great deal of cool directorial panache. Contoversy may yet dog its footsteps, but international acclaim and the concomitant exposure would be fully merited.

lwang

Next up is a film I'm head-over-heels in love with after watching it a couple nights ago, I've actually watched it like three times now and I've had it only around a week. This film is called The President's Last Bang, with that title it could have been anything from soft-core porn to a monica lewinsky documentary. It's got kinda wacky title-art too, here's the website so you can see for yourself, with the title and poster I was sure I was about to watch some stupid wacky action buddy comedy you know something where Chris Tucker squeals "Kracker Ass Whitey" while break-dancing with his 9mm hanging off his palm. Fortunately it's a subtle dry black comedy/satire/historical drama profiling the real assassination of Korean president Park Chun-hee, who ruled South Korea with almost dictatorial power from 1961-1979, well at least thats what the opening sub-titles tell me.

The film is set in a 24 hour period, starting early the day of the assassination leading all the way to the frenzied hours post-assassination. Stupendously awkward is the phrase I think best describes the tone and intent of this movie, it's paced like a political thriller and if you weren't paying attention you just might walk out feeling that you just saw a damn good. The film is seriously executed, but there's a bit of dry, satirical wit that is hysterical and very much present for the entire film. Imagine a slightly toned-down peter-sellers-less Dr. Strangelove and you'll sort of an idea of what you are in store for in The President's Last Bang. It's almost like a exceptionally produced subtle black comic remake of JFK, except of a foreign leader that ignorant people like me know nothing about.

Every lead of the film is dead-on perfect casting, it's a very much an ensemble of the best of Korean talents today, with leads veterans of such Korean hits like Memories of Murder and Save the Green Planet. As well it is eloquently shot by the cinematographer of Resurrection of the Little Match Girl, with a serene score that masterfully aids the dramatic intensity of post-assassination sequences of the film. This is a perfectly made film from director Im Sang-Soo (A Good Lawyer's Wife) and the producer of My Sassy Girl. It's a film with exceptional ensemble character work, it's juggling perhaps 8 different lead characters, but everyone has moments where you feel for them and are able to identify with them. There's subtle funny moments, wacky moments, brutal moments that are more intense than most action thrillers today, a group of beautiful korean girls topless splashing in a pool, and great drama, this movie's got it all!

I somewhat hope that someone becomes inspired by this film and decides to do a satirical comedy on some dead serious american subject, it would be interesting to see how it would play here. Though it'll probably never happen, as the film didn't even get out of Korea un-scathed, the family of president Chun-Hee sued to block the release of the film in Korea. They didn't get it banned, but it did get about 10 minutes censored out of the film, as well as the courts removed documentary footage that book-ended the beginning and end of the film. If you have the chance to see this next week in Cannes in 35mm, you are a very lucky panda-bear. Otherwise, buy a mult-region player and order the Korean DVD!  ( by ray )

lwang

All the President's Men (and Women)

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Regular readers of this site might recall how Im Sang-soo's last film, 2003's A Good Lawyer's Wife, reduced Filmbrain to a bowl of quivering, whimpering jelly. It's an incredibly powerful film that still manages to leave him weak in the knees, even after multiple viewings (and there have been many!) Naturally then, it was with great anticipation that Filmbrain awaited Im's follow-up. Well, it's arrived, and has turned out to be one of the most controversial films out of South Korea in some time -- a political satire that easily ranks among the best of the genre.

The President's Last Bang is an unabashedly leftist take on a dark period in Korea's history. Set (almost) entirely on the day of President Park Chung Hee's assassination in 1979, the film is an out and out attack on his regime, and paints the former president as a drunken lech with an unhealthy obsession with the Japanese. A (very) brief bit of history: the eighteen years of Parks's military dictatorship was a period where the rich got richer (especially corporations) and human rights violations soared. Torture was not uncommon, and it was all done in the name of fighting communism. Horrible labor laws were enacted that resulted in a large percentage of the population earning sub-standard wages, and corruption abounded in all areas of the regime. In 1979, Kim Jae-kyu, the head of the Korean Central Intelligence Agency (KCIA), assassinated President Park in order to "restore liberal democracy without any self-interest or desire to seize power." (Quote taken from his trial.)

The film was somewhat of a scandal in Korea, and in an unprecedented move (in recent years, at least) Im was forced by the courts to remove documentary footage that bookended the film, with their rationale being that people might not be able to discern truth from fiction. (Park's son was instrumental in having the footage removed.) It was responsible for opening up old debates and arguments between the right wing, who view Park as a hero who successfully fought Communism and created an economic miracle, and the left who cite the nearly endless civil- and human-rights violations that took place while he was in power.

Yet if you put politics aside for a moment and consider The President's Last Bang simply as film qua film, you're left with an almost flawless work -- one where every element comes together in a cinematic harmony that is all too rare. From Kim Woo-hyeong's cinematography, with its warm brown tones and breathtaking tracking shots, to Kim Hong-jib's lush score, which sounds like a cross between Astor Piazzolla and Ryuichi Sakamoto, the film is a feast for the eyes and ears. Im once again proves that he is a tremendous director of actors, and the performance by Baek Yun-shik as KCIA Director Kim (recently seen as the abducted and tortured businessman in Save the Green Planet) is every bit as remarkable as Moon So-ri's in A Good Lawyer's Wife. Told primarily from his perspective, we sense his weariness from the opening moments, but Im portrays him neither as hero nor brilliant political strategist -- his decision to kill Park is a spur-of-the-moment decision (and one of the film's funnier moments) and his slow burn up to that point is a wonder to behold. One memorable scene has Kim sitting in the garden of the President's pleasure palace at sunset, quietly having tea as he hears of a plan to raze the universities in order to quell the student uprisings. The beauty and serenity of the scene contrasted with the flippancy of the minister who champions the idea is the kind of absurdity found throughout the film.

Im's magnificent screenplay also includes some richly developed supporting characters, including a tough-talking, gum-chewing KCIA agent (Shiri's Han Suk-gyu, in perhaps his best performance), a thug for a security chief, and the iconic ever-present, all-seeing and knowing butler. Not simply comic relief or filler, they are all essential elements in re-creating the mad world of the Park regime.

The humor is decidedly black, and razor-sharp throughout, but is distributed in very controlled doses, and often arrives at unexpected moments -- during a lengthy tracking shot of people being held in prison cells we see a man being tortured for owning a Picasso (he was a communist after all); or a shot of high-school students wondering if they are allowed to cross the street while the national anthem is playing. However, the controversy surrounding the film has less to do with the humor than it does with the scathing portrayal of Park and his henchmen as degenerates who have nothing but contempt for the average Korean citizen. Most offensive to some was Im's emphasis on Park's adoration of Japan, but there's a great deal of truth to it. Park, who began his military career in the Japanese army, often spoke Japanese, and fancied himself a modern-day samurai. He worshiped the Meiji era, and on the night of the assassination, he is shown getting drunk with a few of his ministers and two young actresses, one of whom specializes in singing Japanese enka. Im skillfully frames most of this sequence like something out of a period Kurosawa film -- plenty of low angles and wide, centered shots through doorways.

The second half of the film concerns the events that take place after the assassination, and it is here that the film begins to resemble a more classic political satire, though it's no less perfect than everything that comes before it. Amidst the chaos of those first few hours after the assassination, the focus still remains on Kim, though Im isn't interested in romanticizing the character, nor does he pour on the adulation. (Kim had plenty of blood on his hands even before the assassination.) Instead, he becomes a somewhat tragic anti-hero, and the film's rather abrupt ending avoids any attempt at interpretation. At the same time, the farcical nature of the film provides Im with a certain distance from the actual events.


One of the few films to already grace Filmbrain's "Best of 2005" list, The President's Last Bang is a triumph of acting and directing that allows Im Sang-soo to rub shoulders with the likes of Kubrick, Mamet and Altman, and a cutting satire that works even if one is limited to a rudimentary understanding of the events portrayed. Filmbrain can only pray that this finds US distribution, but it seems unlikely.

lwang

An Interview with Im Sang-soo
           by Paolo Bertolin

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After majoring in Sociology at Yonsei University, Im Sang-soo (Seoul, 1962) attended the Korean Academy of Film Arts (KAFA) for one year and then worked as assistant director to Park Chong-won and Im Kwon-taek (on The General's Son, episodes I and II). In 1998, he unveiled his directorial debut with Girls' Night Out, registering a solid success among Korean audiences. In 2001, his sophomore outing Tears failed to raise equal interest, but in 2003 his third and most refined picture, A Good Lawyer's Wife, a mature and convincing drama on the hypocrisy of the bourgeoisie, intelligently bashing the institution of the traditional family, topped the local box office for three weeks and was invited to the Venice Film Festival's competition.

Surrounded by major controversy for its depiction of President Park Chung-hee's assassination in October 1979, and still in the courts due to Park's son's reproaches of defamation against his father, Im's fourth film, The President's Last Bang (Keuttae Keusaramdeul) had its international premiere at Cannes' Quinzaine des Realisateurs (Directors' Fortnight). The following interview took place in Cannes the day after the first screening of the film.


I was surprised to see that the version of the film screened in Cannes was the same that was approved for release in Korea. I was hoping that for the international release of the film, the documentary scenes ruled out by a Seoul court would be reintegrated.

For the moment, this is the definitive version of the film. But, of course, if the French distributor opens the film in January next year, perhaps then, if we have a positive result in the courtroom, the version with the cut scenes would be restored.

I keep saying the uncut version, but actually in Korea there was only one premiere and very few people saw the film with the documentary scenes. The definitive version of the movie thus would be the cut version, also because all the international buyers are seeing this version and it was this version that was selected for Cannes.


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The original title of the film, "Keuttae keusaramdeul" (The people of those days), refers to a song by singer Shim Su-bong, who was at the private party the night of the assassination. Why did you choose this title?

"Keuttae keusaram" is a very popular song in Korea. In my film, singer Shim sings Japanese enka at the private party, but according to the official versions, it is said that she was singing the song "Keuttae keusaram". For this very reason this song is very popular with Korean people, because they are familiar with the fact it was sung in that context. Hearing the title of the song immediately makes a bell ring for Korean people, as they know what is the issue under discussion: Park Chung-hee's assassination. The title "Keuttae keusaramdeul" thus is meant to immediately bring people back to the night of Park Chung-hee's murder.  [note: the song's original title is "The Person of Those Days," and Im's title is modified to read "The People of Those Days." --ed.]


It seems people in Korea know quite a lot about Park's assassination.

Yes, everybody knows about the assassination case. When the President of a country is murdered by the secret service, that is undeniably a very important and shocking event. In Korea we have a lot of archives and documents about the murder case, but in order to write the film we needed to find details and had to reinvestigate the facts in detail. The problem is that in Korea the investigation was done very quickly, and people just forgot all the details because they were regarded as "not important". Everything was very fast and very vague: the investigation was very fast, the trial was very fast, and even the executions were very fast. (in English) They buried the truth.


Was there a long or particularly difficult process of documentation in order to reconstruct the happenings of that night?

(in English) It was very fun to me.

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The judge's sentence that eventually allowed the release of the film stated that it is clear that the film is fiction, that it is a satire. I was wondering how much of the plot is faithful to what documentation has proven, and how much is a satirical or grotesque rendition of the events?

You can see an insert before the opening credits of the film saying, "This film is a work of fiction"; that is the point of view of my producer, because, as far as I am concerned, this is the truth. Even if no one knows the real truth, except the gods! There are only three people who survived the event: the two girls -- the singer and the starlet -- and Secretary Yang who are still alive, and we really cannot confirm that what they are saying about that night is the truth, because what is the truth? Truth is when you have a lot of details and lots of explanations about facts and who was there, from a lot of different people. Here instead we just have three people. I would then say that this is the Im Sang-soo version of what was going on that night. I would not say that this is a satire, or a work fiction or a grotesque rendition of reality. I just say that, as far as I am concerned, this is the truth and that it is my version of it.


How would you describe your style, especially in comparison to other films dealing with the historical trauma of assassinations of a head of state, such as Oliver Stone's JFK?

I would not say my style is this or that, because I think this should not be my concern. I just shoot my film and it happens to have some kind of style, but that is something that comes out naturally to me as a director. Thus, regarding the style of the film, it is more up to you to know how my style is, according to what you find in it.

I think JFK is quite different from my film because the aim of that film was to discover the mystery behind that assassination, while my movie is "just observation" (in English) of what happened then. More than trying to discover something that nobody knew behind the surface of events, with my film I was just trying to deal with the issue of corrupted power.

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To Park Chung-hee's son, who tried to block the release of the film, one of the seemingly most contentious aspects is the depiction of President Park as infatuated with Japanese culture. In the film he speaks Japanese fluently and loves to listen to enka, traditional Japanese songs. KCIA Director Kim often resorts to speaking Japanese as well. Are these details faithful to the historical truth?

(in English) Yes. My father who is same age as Park Chung-hee or Kim speaks Japanese fluently because during the occupation [by] Japan everybody was forced to learn and speak Japanese. That is quite natural. About the Japanese enka, according to the official records, singer Shim never sang Japanese enka that night. Back in those days, though, she was an underground singer famous for enka songs. She was often invited at such big power men's parties and sang enka, and all the power men who adored Japanese culture applauded her enka. So, I still believe she did sing enka, even though the singer herself denied it, the investigators denied it and nobody acknowledged that. Still, there is a big possibility she really sang enka.


But what about Director Kim and his frequent use of Japanese quotes?

(in English) For a person of his age it is natural. He can speak Japanese. That's natural, realistic in cinema, but symbolically... (switches to Korean) those people, President Park and Director Kim, during the Japanese occupation used to be army generals who were in charge of capturing Koreans in the resistence movement who were fighting for independence. They were collaborators repressing the struggle for Koreans' independence. After Korea's independence, they became President and Director of the KCIA, and I think this fact represents the biggest tragedy in contemporary Korean history, and I wanted to symbolize it through their use of Japanese and fondness for Japanese culture.

Of course, this all has to do with the role of the US, because the US preferred to have in government people who had been working for the Japanese Army, who were compromised and corrupted, because it was much easier to manipulate them than people who had fought for independence.

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What brought you to this controversial project? What pushed you into engaging in such contentious issues?

Well, there is a basic, practical reason, because my high school was very close to the place of the murder. Anyway, I think that as a director I wanted to make this controversial issue into a filmic adaptation and it just came as a natural instinct for me to do so.


Why did you focus only on the very last night of Park Chung-hee and the events following his murder?

Yes, the film only deals with that night, and not the whole night, but just a few hours of that night. I think this is a very effective cinematic presentation, as I wanted to put in a one-hundred minute film not only the few hours of that night, but the whole eighteen years of Park Chung-hee's regime. That's why I resorted to all these symbols, the enka songs and the Japanese language: my ambition as a director was to represent those eighteen years through just one night and in one hundred minutes.



Paolo Bertolin, CANNES May 2005

阿韩

来源：亚洲周刊
作者：南黎明
（源自韩朝风ST的转载）


朴正熙功过影人评说　

韩片《那个时候那些人》评说前总统朴正熙，再现他以铁腕推动国家现代化，扬言「即使面对一万名示威者，也要用坦克辗过去」。影片被指丑化了主人公，也有网民认为，朴正熙的贡献足以弥补他拖慢民主化的过错。


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月前，韩国上映了一部再现前总统朴正熙的电影，片名为《那个时候那些人》，描述朴正熙被暗杀惊天血案的全过程。说及韩国的这位前总统，各方各界的评价可谓眼花缭乱，也天差地别。

韩国从上世纪五十年代初第一届总统李承晚以来，历届所有总统之中，没有一位给人民留下如此深刻的记忆。从七九年朴正熙被刺客暗杀以来至今，三十多年已过去，但是他的功与过，现在仍是韩国民众时常谈论的话题。

《那个时候那些人》一方面展示朴正熙的冷血，他曾说对付要求民主的大学生最好「狠揍一顿」，「即使面对一万名示威者，也要用坦克辗过去」。他还主张研发核武器，即使弄得国家一穷二白也在所不惜。另一方面，影片也试图以黑色幽默来轻松描写血腥枪杀案。但评论家认为，影片在吸引观众方面并未获得成功。导演着重描写朴正熙如何喜爱酒色，遭许多民众的抨击。在电影的网站上，网民抨击电影对过世多年的朴正熙过于丑化，更批判当局试图向民众丑化前总统朴正熙，也给在野党施加压力。

据电影《那个时候那些人》当中的描述，朴正熙平时非常喜欢用日语交谈，谈到兴致处，或者进行秘密谈话，都会情不自禁地讲起日文。至于日语歌曲，尤其钟爱。电影似乎影射甚至印证朴正熙历史上「亲日」的传闻。无独有偶，去年卢武铉政府提出政客家族史是否有「亲日污点」的问题，在政界引发轩然大波。

但是，也有人对此表示异议。要说「亲日」，又岂止是一个朴正熙﹖今天六、七十岁的韩国人，不少都懂得一点日文，喜欢日语歌曲，因为这些人当年都是在日本统治下的学校就读，说日文、唱日本歌，对于这些老人家来说，就是对自己青春岁月的一种追忆。就连「特劳特」（一种韩国民谣），也很大程度地接受了日本传统音乐的影响。因而朴正熙究竟是否「亲日」，至今在韩国也没有人能够下一个确切的结论。朴正熙毕业于满州的日本军官学校和大丘师范大学，也曾经做过一段时间的教官和教师，留下讲日语的习惯是理所当然。或许正是这种经历，使得日本军人作风与影响在年轻的朴正熙的思想当中占据很大的位置，也促使他在政治上采取高压政策。但是，也有人士透露﹕朴正熙还曾在大街上殴打、教训过那些调戏朝鲜妇女的日本人。韩国浦项钢铁公司（现在的POSCO）的建设和发展，很大程度上也是接受了日本的援助和指导。

电影《那个时候那些人》还有涉及政治的大量描写，因此韩国法律部门要求影片删除很多片段，使得故事情节在不少地方难以衔接，观众看了摸不着头脑，有空虚的感觉。

朴正熙多才多艺，不仅拥有雷厉风行的领导才能，而且琴棋书画样样也具专业水平。朴正熙还极为爱好摄影，给家人拍摄了不少出色照片，更写上诗句赠送夫人路英修，表达挚爱。可惜路英修也先于丈夫五年被刺客暗杀。

路英修被刺之后，愁云惨雾笼罩全家，陷入极度困境，接下来又是一家之主朴正熙遭枪击丧命。大女儿朴槿惠告别人生的一帆风顺，与婚嫁无缘，至今独身一人。唯一的儿子深陷于吸毒，不久前于不惑之年才得以成婚。二女儿则「销声匿迹」，过着不为人知的生活。

然而，前总统朴正熙却是韩国民众「永远说不尽」的话题，许多人首先想到的是，他为国家经济崛起所作的重要贡献。五十年代初，韩国遭受战后的穷困，民不聊生。一九六三年朴正熙当选为总统，首先主导发展国民经济。他一方面扶植了像现代、三星、东亚、大宇等国家级大企业，协助他们兴建公路、电子和汽车等成为国家经济命脉的巨型产业。

朴正熙相信大企业会给国家和自己的人民带来财富。他还同时支持东亚、现代等企业向集团化发展，让它们不仅在国内承接大型工程，同时也进军利比亚等中东地区，包揽了中东地区的大型国家基础设施建设，大大弘扬了韩国的名气，至今韩国在当地经济方面的影响力依然举足轻重。中东地区今天已成为包括电子、汽车、轻工业产品等韩国商品出口的一个主要地区。朴正熙扶持大企业发展经济的另一主要业绩是创建和发展了浦项钢铁公司。浦项钢铁的发展，为韩国的汽车等主要产业的发展奠定了基础。

在扶持大企业蓬勃发展的同时，朴正熙还在韩国开展了大规模的「新生活运动」，倡导全体国民一起奋发努力，改善国家经济和人民生活。

牺牲亲情报效国家

三十岁的职员洪骏杓说﹕「我小时候，对父亲几乎没有什么印象，因为父亲只有周末才能回家。」洪说的情况，在六、七十年代的韩国家庭是非常普遍的。今天韩国的年轻一代人都有「亲母亲而疏父亲」的倾向，其实都是当时跟父亲缺少交流的后遗症。

如今父辈人看到韩国蓬勃发展的经济，一方面对于自己年轻时的献身精神感到无比光荣﹔另一方面也因家人感情难以融合而烦恼不已。今天，凡是在韩国公司工作过的外国人，都会惊叹于韩国人工作的忘我和拼命，这也正是朴正熙时代人们养成的习惯。即使累死在工作现场，也不肯苟且偷生。据说如今在美国，企业里「最好说话」的就是韩国人，因为他们不会因为加了几小时的班就会要求加班费，因为对韩国人而言，加班加点是家常便饭，而不让超时工作的公司反而不放心。

对于朴正熙对韩国经济发展作出的贡献，韩国人异口同声地表示认同，尤其是老一辈人常说﹕「没有朴总统，我们哪辈子才能从那穷困的日子里解脱出来啊﹖」

但是朴正熙的政治手段，却被相当一部分民众视为无法原谅的错误，甚至罪恶。朴正熙发展经济动力就是维持一个安定的社会，但是为了维持社会秩序，朴正熙采取践踏法治的高压政策。对于反对自己的人，无论是资深政客，还是少不更事的大学生，一律强行镇压。当年，韩国的年轻一代接受盟国美国的民主化思想，受到朴正熙的无情打击，但朴本人也因而「自食其果」，最终遭到了热烈向往国家民主化的情报处特工人员的暗杀。

朴正熙大女儿朴槿惠，在父母先后被刺杀的情况下，虽悲痛欲绝，但仍然步入政坛，有志继承父业。卢武铉当选韩国总统后，屡次表示「希望能够和朝鲜领导人金正日会晤」，但是平壤至今毫无反应。而朴槿惠却被邀前往朝鲜，并跟金正日会晤，令政客嫉妒。

对于朴正熙的功过是非，每届政府都要唇枪舌剑辩论一番，尽管得不出什么结果。《那个时候那些人》无非以电影方式重复了一次针对朴正熙历史评价的辩论，也可以预见，这种对以电影方式的评价辩论今后还会有。但是在当今强调经济发展的氛围当中，不少人都在情不自禁思考﹕朴正熙对韩国经济的贡献，是否足以弥补他在民主化问题上的过错﹖

蔷花嬖人

                               
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就算你的头壳中对于韩国的那段错综复杂的历史政治背景是一片空白，也丝毫不会对理解这部电影造成障碍。林常树从来就对宏大叙事没有兴趣，他是个冷面调侃的高手，即便是“朴政熙被刺事件”这样的严肃题材，在他的举重若轻的把玩之下也成了出带着林式风格的黑色幽默剧。此片不带任何政治观点，既没有批判什么，也不是在控诉什么，观影的过程是诙谐逗趣的，可观影的心情却并不轻松。

谁都知道10.26那天发生了什么，但具体的细节已是不可重现和复原的，林常树在史实原貌的基础上做了大胆的设想，以另类的视角将这次历史事件诠释得非常具有戏剧性和荒诞性，而对那些真实历史人物的笔触细致生动的刻画，也都是在他个人独特视点下的编织和重塑。林关注的始终还是个体和人性，他以冷漠的口吻和略带悲悯的眼光注视着那个时代的大人物和小人物们，引发观者对个人命运沉浮的感慨与思索。影片尾声那段，旁白静静的述说着这些小人物的结局，最后镜头聚焦在那个冷眼旁观了这一切的厨师身上，让人感觉悲凉无比。影片中更牵动人心的正是这群平凡小人物们的命运，林常树着重表现了他们的矛盾与无奈，他们思想上细微的挣扎，他们没有选择的余地，只是一个时代的牺牲品，然后被遗忘在历史的角落。

剧情进展到高潮即将到来的临界时分，有一个持续时间很长的室内推轨长镜头，观众伴随着镜头静静的环视着那些即将被无辜卷入的人们，此刻的他们有的正在拍照留念，有的正举杯同乐，浑然不知命运即将和他们开一个荒谬而残酷的玩笑。在凝重低沉弦声配乐中，他们此时的嘈杂喧哗声反而更增添了一种肃穆与凄凉的氛围。。。。此后又有一组从屋顶俯拍而下的长镜头，与之前的场景相对照，我们还是这样静静看着那群人，只是此刻他们都倒在了血泊中。。。红，惨红一片。

影片中有相当多让人忍峻不禁的细节。比如朴政熙他们口中时不时的蹦出几句日语，这显然在影射和调侃传说中朴政熙政府的亲日倾向。当内阁成员群体出动到医院亲自确认朴政熙死讯而默哀的时候，有一位军官慌忙冲到遗体旁动作尴尬的用军帽盖住他的那个隐秘部位（因为朴政熙的遗体正一丝不挂的袒露在众内阁大臣的面前）。还有全载奎开枪到一半竟然没子弹了，还冲到室外向手下要子弹，十分的搞笑。

整部电影就发生在一天的时间内，故事相当简单，复杂的是对各色人物的描写，而这也是这部电影最值得称道的成功之处，林常树对这形形色色出场人物的性格塑造处理得相当出色，无论配角还是主角都让人过目难忘，每一个人都那样的立体而丰满。

众所周知，这电影是秘密拍摄的，拍摄过程完全对外封锁消息，为的是让拍摄工作能在不受干扰的顺利进行。但在电影出炉后自然还是遭到了抗议，朴正熙的儿子朴志晚以损坏父亲形象为由向汉城地方法院申请禁映此片，虽然最后法院拒绝了他的申请，但却对《那时代那人》下达了删除影片中插入的三个记录片段的判决，只有删除△“釜马民主抗争”示威场面△朴正熙总统去世后红衣主教金寿焕表示哀悼的场面△朴正熙总统的葬礼这三个纪实场面后才可以在商业电影院放映，否则每上映一场罚款3000万韩元。这震怒了已习惯自由恩宠近十年的韩国电影圈，有人说这是以法律的名义进行变相审查，林常树甚至愤怒的说道“这简直是国际性丑闻”。从朴政熙时代到金大中时代，韩国电影人争取自由的抗争史依稀就是那激情与血泪交织的民主进程史的侧影，1996年底电影审查制度于被正式取消，韩国最高法院的判决是：“从宪法的精神出发，对完成片的审查和删坎是非法的”。现在的政府没有审查电影的权利，也就是说，《那时代那人》的案例并不是政府行为导致，而完全是法律行为。这牵扯到一个错综难辨的问题——当作者的创作自由与公民及死者的名誉权发生冲突时，法律应该保护谁？

法院拒绝朴大公子禁映申请的理由是：“由于该片是建立在虚构的基础上的黑色喜剧，讽刺性是其本质，因此公众人士应该在某种程度上忍耐对私生活的侵害，而且该片还不至于会使对故人的评价发生大的改变，因此对电影本身下达禁止上映有些过分。”
法院删除三个记录片段的理由是：“该片的开始和结尾部分插入的故人葬礼仪式等纪实场面没有特别的说明，并占据了很长时间，有可能会给观众留下影片不是虚构，而是事实的认识，包括这一部分的影片有侵害人格权的余地，因此应该删除相关情节后再上映”

对于这样的判决，原告被告双方当然都不会满意，但也不会完全得罪哪一方，表面上是走了中庸之道的明智之举，但对比1996年的判决和2005年的判决，也让人感觉到尴尬的味道。而作为影迷，我们的权利也在无形中被剥夺了，因为不能看到完整版的电影，不爽的说！但还好，删除的只是记录片片段，真是不幸中的万幸！如果是在某些国家，这样“有损**光辉形象”的电影别说上映，就是有拍片的思想意图也早就被政府扼杀在摇篮中了。

[ Last edited by 蔷花嬖人 on 2005-6-23 at 03:43 AM ]

[ Last edited by 阿韩 on 2005-7-18 at 06:17 PM ]

feizi

电影比我想象中的荒诞色彩要淡（我之前把它设想成发条橙子那样恶搞型荒诞），人文色彩要浓。无论情感题材还是政治题材，人文关怀始终是林常树影片的特点，就是这个特点，让我对林导演始终保持信心。
PS.我不认为韩石圭在此片中的表演有过人之处，有NO3，和红字的影子，显得浮了些，不如其他演员扎实。

feizi

                               
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这个小孩经常跟林常树混啊，自从演了《激浪青春》，林的每部电影都有他哦。
名字音译应该是奉太圭吧，长得亦庄亦谐，我觉得挺可爱的，可塑性强，哈哈。
这次是演一个小看守，可惜俺截的图放不上来。

[ Last edited by feizi on 2005-6-23 at 01:17 PM ]

lwang

感觉是今年看到的演绎的最好的一个角色了.

清新★空气

片子没看，但是很有兴趣看下，韩国的讽刺作品很好。。。

阿韩

Originally posted by feizi at 2005-6-23 11:59 AM:
电影比我想象中的荒诞色彩要淡（我之前把它设想成发条橙子那样恶搞型荒诞），人文色彩要浓。无论情感题材还是政治题材，人文关怀始终是林常树影片的特点，就是这个特点，让我对林导演始终保持信心。

的确，电影比偶预想中的要沉实得多，不似《孝子洞理发师》那般恶搞。要说较有荒诞色彩的，是对事件真相之谜的诠释，戏剧感十足。

无论是女性电影《开心见性》《偷情家族》，还是表现暴走一族的青春片《泪》（激浪青春），林常树以前的作品都对人本的关注，从女性和少年的视角切入，表现其对人的生存困境和精神困境的深切关怀，而这次的《那时代那人》依然是以人为本，用平静的眼光观望着人性的弱点和生命的残破，融入了更为广阔和深远的悲悯情怀。

这是群戏，配角和主角其实没有明显的区分，导演在设计上让每个角色都有自己发挥空间，让片中每个演员都能有自己的精彩。观众基本上会对片中每一个出场过的人都留有很深的印象，这也是导演的意图所在，让我们记住，那个时代的那些人。
片中表现最抢眼的白允植非常擅长演这类带点偏执色彩的人，他是被《拯救地球》挖出来的国宝。
尹如静客串了片头几个镜头也让人难忘，现在一想到她就想发笑。片尾的旁白也是她亲自献声。
那个洞悉一切的厨师，在片中是最为冷静的一个人。
。。。

Originally posted by feizi at 2005-6-23 01:14 PM:
这个小孩经常跟林常树混啊，自从演了《激浪青春》，林的每部电影都有他哦。
名字音译应该是奉太圭吧，长得亦庄亦谐，我觉得挺可爱的，可塑性强 ...

是啊，奉太奎，《激浪青春》和《偷情家族》都有他。偶也注意到了，他客串那个小看守。
尹如静最近也都跟着林常树啊。
还有林常树本人也客串个了那个医生的角色，听他的口音，感觉南方腔很浓。

[ Last edited by 阿韩 on 2005-6-23 at 01:41 PM ]

lwang

是韩国电影里少见的大气的作品.

阿韩

觉得可以跟《杀人的追忆》齐名！

lwang

<那时代,那些人>,导演的目的应该达到了.

每个演员都给人留下了深刻印象,这个应该也和<杀人的回忆>差不多.

<杀人的回忆>是一幅历史的画卷,<那时代,那些人>也是.

feizi

片尾的旁白原来是尹如静啊，强

嗯，奉俊浩有鬼才式的犀利，林常树感觉上宽厚些，没准后劲更足呢，赫赫。说起来，林常树也在奉俊浩的门口狗中客串过，也许私交不错。

说到电影的删减画面，感觉对电影的主题还算阉割不多，比起某国经常出现一部电影两个结局的怪现象来讲，确实强多了。

[ Last edited by feizi on 2005-6-23 at 02:44 PM ]