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发表于 2003-11-2 20:36
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Originally posted by 彼德潘 at 2003-11-2 08:30 PM:6 V5 J* x8 q/ T, ?$ _ b& ^0 Z
偷情家族？应该就是《A good lawyer‘s wife》吧
, J: h( T. K- f, M对，就是同一部。在威尼斯公映的时候，好多老外都很喜欢。是部情色喜剧片，但比色即是空深刻多了。它探讨的是家庭问题，有点象李安的喜宴探讨的问题，即家到底是 ...
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! t, O6 }6 t8 t$ pThe original title of A Good Lawyer's Wife refers to a family where everyone leads a rather errant lifestyle. The husband, a lawyer, is having an affair with a younger woman. The wife starts up an affair with the high school boy next door. Even the husband's elderly mother is seeing another man, and having sex for the first time in 15 years. A glance at the film's poster -- a provocative staging of actress Moon So-ri, who looked so utterly different as the female lead in Oasis -- gives you a pretty good idea of how the film was marketed. Lured by a brash, clever trailer and perhaps a whiff of scandal, audiences bought tickets in droves, pushing the film to #1 at the box-office.: ~! R$ c9 W6 q* z5 T1 O4 E! Y
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Actually, the scandalous outer layer of A Good Lawyer's Wife can be peeled back to reveal a quite serious and nuanced core. Director Im Sang-soo has already shown a talent for presenting frank sexuality and nonconformist heroes in his two previous films Girls' Night Out (1998) and Tears (2001), but A Good Lawyer's Wife establishes him as a director with formidable skill and potential. Im's reputation abroad was given a boost when the film was invited to the main competition section at the Venice International Film Festival, where it screened to generally favorable reviews. Yet foreign audiences are likely to view this film in a different way from how it is viewed in Korea, where attacks on the institution of family ring with much stronger resonance.9 i2 a, k- |* m* _, F+ K7 C: `
$ M1 n( p/ d6 e% o: a& ^On one level, the family members presented in this film display a refreshing level of honesty and open-mindedness in their speech and actions (particularly the women). It seems at first that the director is advocating more openness and honesty within families, even at the expense of marital fidelity. Yet as the movie progresses, the mood darkens. Many of the male characters struggle with guilt; the husband's father, for example, drinks to wash away the memory of leaving his own family in the North during the Korean War. Sudden outbursts of blood or violence also punctutate the narrative. We usually think of families as something to shield us against violence, yet on closer examination, much of the pain seen in this film originates in some way from inside the family. Unhappy families are a common sight in contemporary Korean cinema, but very few films ultimately deliver such a sober-eyed and aggressive questioning of the idea of family itself.
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In late 2002, production company Myung Films originally cast actress Kim Hye-soo (Kick the Moon, YMCA Baseball Team) to play the lead role of the wife. Kim subsequently changed her mind and pulled out days before shooting started, in order to take a role in the TV drama Jang Hee-bin (which was ultimately a major flop). Myung Films was furious and filed a lawsuit against Kim which was later settled, but in retrospect this was the best thing that could have happened to the movie. Replacement actress Moon So-ri, after her award-winning turn in Oasis last year, turns in a remarkable performance, portraying an unconventional character with skill, wit, and class. It is almost certain that Kim Hye-soo could never have given such life and feeling to the role.
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$ n9 L) [3 ^1 C; P1 GThe supporting cast is no less impressive, with Hwang Jeong-min (Roadmovie) as the husband, Yoon Yeo-jung (Kim Ki-young's 1971 feature Woman of Fire) as the husband's mother, Kim In-moon (Hi Dharma, Potato) as the husband's father, Bong Tae-gyu (Tears, Conduct Zero) as the wife's teenage lover, Seong Ji-ru (Tears, H) in an important supporting role, Baek Jeong-rim as the husband's outspoken lover, and Jang Jun-young as the couple's adopted son. All are fantastic, with perhaps a special mention given to Bong Tae-gyu's funny and touching role as the teenage lover. Bong is also involved in one of the film's most cutting inside jokes, when he and Moon So-ri go to a deserted theater to see a movie (Im Sang-soo's second feature Tears, which was a box-office bomb), and he laughs out loud at one of the film's most harrowing scenes, when the main character (played by the same actor!) is sprayed in the face with mace.9 [/ ^% j& o# X# K
% d; K* ?/ J7 C" V# Z) Y2 uA Good Lawyer's Wife turns out to be a much different film than its poster or its breezy, rhythmic editing and music would suggest. This is not a movie about the flaunting of social and sexual conventions, however much it may appear to be. Instead, much of the main characters' breaking with convention seems to be more of a survival mechanism. It's in some ways remarkable that such a serious, downbeat film could have reached so many viewers. In the process, Im Sang-soo has proven that he deserves as much attention as other top Korean directors who emerged in the late 1990s. (Darcy Paquet) |
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发表于 2003-11-2 17:37
发表于 2003-11-1 14:31
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