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British KFilm Bonanza!!!
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金知云《蔷花，红莲》（A Tale of Two Sisters）：8月13开映
$ W8 |# q3 O5 E8 U: A" R奉俊昊《杀人的追忆》（Memories of Murder ）：8月13开映 X9 `1 R6 U5 g! C7 @. S# E! C
金基德《漂流欲室》（The Isle）：9月10日开映2 r U D9 k: j) c: k5 Q6 T4 K
《鬼铃》（The Phone）：8月27开映8 K$ D# M, m3 c o- E. [
0 _! e8 @2 l3 r8 s2 B- D————以上这些是英国院线近期引进了四部韩国电影~~~% b8 H7 O$ A8 \1 z- U6 ^3 W
早在今年6月份，这几部电影在伦敦街头的广告宣传就开始了，伦敦的电影报刊杂志对韩国电影和导演的介绍也渐渐多了起来。' F" D5 {' F* j
今年九月号的 《Sight&Sound》(英国著名电影杂志)里韩国电影的份量就不小~有一篇《蔷花，红莲》的影评和一篇<鬼铃>的影评,还用了长达三页的篇幅介绍<杀人的追忆>并附带导演奉俊昊的访谈录。5 Q, L4 Z q9 n; l
下面是这本《Sight&Sound》九月号的封面，如果在英国的人可以买来看看啊~哈哈~: V b9 ?8 _' s5 ]0 ]
http://www.bfi.org.uk/sightandsound/2004_09/images/cover.jpg: R* g/ o/ B; m2 `. x
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下面这篇是伦敦的《卫报》（《The Guardian》）本月所刊载的一篇关于韩国电影的文章，重点介绍了金基德、朴赞郁、奉俊昊和金知云这几位重量级导演的其人其影，篇幅很长！写得很好，读起来真是爽！ E( B/ B$ l' b c4 ^5 U
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Monday August 2, 2004
! x( s7 T, J/ a# YThe Guardian
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（转者注：从金基德开始讲起。。。） : w8 ]" }5 ~, N A1 ^0 A
Kim Ki-duk likes to claim that he doesn't make films to shock. "I make films thinking that life is beautiful," says the director. "That embrace happiness and unhappiness. They are one." Anyone who has seen his film The Isle may disagree. The Isle lures people in with beautiful lakeland scenery, only to send them out vomiting, thanks to some horrific scenes involving fish-hooks. The film's UK release has been delayed until this September, as the British Board of Film Classification objected to scenes involving cruelty to fish and other creatures. Kim feels some remorse: "We cooked all the fish we used in the film and ate them, expressing our appreciation. I've done a lot of cruelty on animals in my films. And I will have a guilty conscience for the rest of my life."
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0 ]- Q% r5 E2 S/ I4 H) @The Isle is one of at least six new Korean movies that are coming to the UK in the next three months. In the past decade, South Korea's film industry has staged a miraculous renaissance, going from mediocre to a standard probably higher than Britain's. Last year it was one of the few places in the world where homemade films outsold Hollywood ones; and South Korean films have been scooping up major prizes at festivals like Cannes and Berlin, and are being exported in ever-greater quantities.
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The films heading for the UK are either horror movies (A Tale of Two Sisters) or dark thrillers featuring gruesome crimes (Memories of Murder). The country seems to excel at this type of hard-boiled material; there seems to be a distinctively Korean style emerging here and in previous releases like Nowhere to Hide, Sympathy for Mr Vengeance, and Bad Guy - a combination of art film sensibilities and commercial slickness, with a tone that floats somewhere between tragedy, horror and absurdity. For those who can stomach it, it's uniquely invigorating.
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Kim, who also directed Bad Guy, has reluctantly become something of a cheerleader in this department, although he is by no means a team player, or a typical Korean director. Before teaching himself film-making, he worked in factories, spent five years in the marines, and went to Paris to learn painting, despite not speaking a word of French. "There are those who make films to make money, but I want to make films that conjure up questions about life," Kim says. His films have often conjured up more than just questions. In Bad Guy, a female student is abducted and forced into prostitution; the film drew criticism from women's groups.
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2 H( p4 _3 M0 b+ @; @Kim made some amends with this year's Spring, Summer, Autumn, Winter ... and Spring, a semi-abstract Buddhist parable set on a tiny floating monastery. Sumptuously photographed, universally accessible and relatively kind to fish (one gets tied to a rock), it was well-received around the world. Kim's latest, Samaritan Girl, has done even better, winning the Silver Bear at this year's Berlin film festival.
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( A- k5 W! A. |) |: ?6 D（这里开始讲朴赞郁，提到他的《JSA》、《我要复仇》、《OLd boy》。顺便说一下，偶刚刚才知道《Old boy》跟《华氏911》仅差一票  ）
' w/ B7 u* t5 Z* vThe nearest Kim has to a soulmate is possibly Park Chan-wook, Korea's other rising international star. Park has enjoyed greater commercial success than Kim at home. His Joint Security Area, a tough thriller about escalating tensions with North Korea, became the country's most successful film ever back in 2000. His follow-up, Sympathy for Mr Vengeance, with its kidnappings, drownings and electrocutions, was too bleak for most audiences, but Park responded with Old Boy, which won him the Grand Jury prize at Cannes this year. Out here next year, Old Boy has been hailed as a Korean classic, although it still presents some challenges to the viewer. In one scene, the hero eats a live octopus.
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! T! {' Y: K3 j. e8 Y6 N3 H5 ]3 N: uThe gruesome streak running through these movies should perhaps be attributed less to the individuals than to the country in which they grew up. It's easy to forget what a turbulent 20th century Korea had. Having freed itself from Japanese occupation after the second world war, the country was thrown into its own civil war, by the end of which most of Korea's film heritage had been destroyed. . x7 b. m1 K; t% l0 l, I4 @
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"Dark and aggressive" is how director Bong Joon-ho describes 1980s Korea. "But at the same time, it resembled a comedy. It was an irrational era." Bong's Memories of Murder provides a flavour of that time as it re-creates the story of the country's first serial killer, who murdered 10 women in the 1980s. The film focuses on the tragically/ comically inept police investigation, but includes background details such as schools practising "blackout drills" in anticipation of an invasion by North Korea. / ?6 ]1 w2 [4 }$ l2 Z3 p
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The end of South Korea's military dictatorship in 1992 opened the floodgates for the current period of cultural liberalisation. "The political inspections have disappeared and we are now free to make movies on any topic," Bong says. "Young and fresh-minded producers have entered the market. In other words, there has been a generation shift in the movie industry." / W9 S& I6 T b! A% V/ k; o
) @8 E& k0 v0 `# @: Z, e4 KRather than censoring its film-makers, the government now supports them. A quota system, stipulating that Korean cinemas must screen local films at least 146 days per year, has encouraged investment. The Pusan film festival, established in 1996, has become one of Asia's main events and has supported and promoted the current generation, leading to a healthy level of activity across all genres. Studio films like Joint Security Area, Shiri and this year's big hit Taegukgi (all of which, to some extent, reference North-South tension) have regularly beaten the likes of Titanic and Harry Potter at the box office, and there is a consistent flow of high-school movies, melodramas, comedies, action thrillers, and animated movies.
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( D* t- O! q, e6 g* k（转者注：哈哈~最后是金知云和《蔷花，红莲》。。。对韩国电影现状和未来的冷静思考）
& C7 r! Q% s- a/ d! QPerhaps unsurprisingly, horror fans are well catered for. The country is now a regular contributor to the growing Asian horror trend started by the likes of Japan's Ring movies. Many of these mine similar territory - you can probably guess where the evil lurks with titles like Phone and Into the Mirror - though Kim Jee-woon's forthcoming ghost story A Tale of Two Sisters is a superior example, thanks to some powerful acting and beautiful production design. It is based on a Korean folk tale in which the siblings are terrorised by their evil stepmother; the director, however, also namechecks Robert Bresson, Stanley Kubrick, Alfred Hitchcock and other western influences. "Ten years ago, I didn't enjoy watching Korean movies," Kim says. "But now there are a lot of talented people in the industry. However, I'm not saying the future of Korean cinema will be bright all the time. I think we need to try harder to make better films." ' y7 N Y2 X+ x* _
" p3 m2 m: \( E7 R: y. W6 JHow much better can Korean cinema get? The current boom undoubtedly has its roots in the repression of the past, and historically, that pent-up energy eventually dissipates. And international interest is notoriously fickle, as previous next-big-things like Hong Kong or Iran can testify. Despite the awards, directors like Kim Ki-duk and Park Chan-wook have yet to break out of the cult category. Domestically, the industry is in good health, but the quota system has been under attack for some time, particularly by the US. When a quota change was mooted in 1999, there were hunger strikes and boycotts of Hollywood films, and 100 film professionals shaved their heads in protest - an indication of the passion South Koreans now have for their cinema. Perhaps that's the only asset the country really needs." t2 K# d4 X5 K, H& [6 N
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英国BBC官方网站刊登的; X0 |. t& {3 a3 O N
《杀人的追忆》及《蔷花，红莲》影评（确切的说是Preview）两篇。6 b) I4 t/ ]8 T8 i3 j
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9 {& L1 u/ s- d _5 D7 z3 l杀人的追忆：
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蔷花红莲：9 s5 [" M4 J3 G
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6 F+ r# P- o3 Q: T* M' W a伦敦的《标准晚报》(Evening Standard)8月12日也有刊登英国著名影评人Will Self 对《蔷花红莲》跟《杀人的追忆》影评。
- a! c" K- H, N其中关于《蔷花，红莲》的最后一段是这样写到的：
, N6 Z. `" o# Q6 o" E* I"I have taken to eating Korean food recently, and, like Kim Jee-won's direction, I have found it to be a cuisine with Japanese subtlety married to an unnerving, gamey strength. No mere fusion of styles, but something quite unique. You could do worse than immerse yourself for an evening with a trip to see this film and a matching meal. Which way you order the complementary experiences depends entirely on the strength of your stomach."' c: _) M% c2 O- }# E5 x* [
其他的详细内容见报纸原文如下，点击图片看大图（上版为《蔷花红莲》篇幅较长，下面是《杀人的追忆》。）：
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# C; ^; C4 G3 v2 q0 i+ x0 D3 p[ Last edited by 阿韩 on 2004-9-17 at 06:09 PM ] |
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发表于 2004-8-15 03:46
发表于 2004-8-15 10:25
