▲主题整理▲2003朴灿玉《嫉妒是我的力量》Jealousy is my middle name

阿韩 · 发表于 2004-11-21 02:16

朴灿玉作品
主演：朴海日、裴宗玉、文胜谨

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2003荷兰第32界鹿特丹国际电影节官方竞赛单元入围、新人导演龙虎奖（VPRO Tiger Award）；
2002年第7回釜山国际电影节[新浪潮]单元参展、最优秀新人剧作家奖（NEW Currents Award）；
2003第24回青龙赏脚本赏；
2003第4回釜山映画评论家协会赏男优新人赏；
2003第2回大韩民国映画大赏男优新人赏；
2003第23回韩国映画评论家协会赏男优新人赏；
2003第11回春史映画艺术祭男优新人赏；
2003第16界东京国际电影节之「亚洲风」<新作全景>单元参展、亚洲电影奖special mention；
2003韩国第8回女性电影节参展；
2003瑞士第17界Fribourg电影节参展；
2003阿根廷第5界布宜诺斯艾利斯国际独立电影节官方竞赛单元入围；
2003第16界新加坡国际电影节[亚洲电影单元]参展；
2003俄罗斯符拉迪沃斯托克国际电影节参展；
2003第5回汉城女性电影节参展；
2003美国第29界西雅图国际电影节[韩国电影特别展]单元参展；
2003英国第57界爱丁堡国际电影节[Rosebud单元]参展；

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电影导读

“男女間欲拒還迎的微妙關係報告書” “讓我想起詩人奇亨度的詩…我只剩一聲歎息” 《我的名字叫嫉妒》是一部很微妙的電影。不少人會聯想到洪尚秀導演，但《我》的魅力卻是洪導演作品中所沒有的。比起洪導演把社會問題本身作?作品全部表現主題的風格來，朴導演更注重在這樣那樣的社會問題下人物內心世界的波動。電影主人公Won-sang就是個例子。洪導演電影裏的男子也是些地被欲望抓牢的平凡俘虜，但《我》一片充分展現了主人公Won-sang的矛盾和苦惱。電影以社會學者般的洞察力記錄下Won-sang的內心活動，最終揭露出Won-sang所缺乏卻又一心追求的正是我們人人都稱讚的“年輕”、“青春”。這也使得電影被歸入另一範疇的青春電影類。刻畫了青澀苦痛青春歲月的另類青春片《我的名字叫嫉妒》曾獲鹿特丹國際電影節金虎獎。
fm：K-fasion

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影评区

[ 原创 by Kittymimi]三言二语话韩片之嫉妒是我的力量（第17、18楼）

映畫評論：《嫉妒是我的力量》

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影音区

预告片下载：
mms://vod.hani.co.kr/cine21/multi/trailer/i-j/jiltoo_pre.asf

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图片区

http://www.movist.com/movies/vie ... &tp=p&num=1

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[ Last edited by 阿韩 on 2004-11-21 at 03:02 AM ]

阿韩 · 发表于 2004-11-21 03:01

English Reviews

by lor_ac

Jealousy is my Middle Name"

         I watched this movie last night and found that even though it took a while to get into it, it left an impression. I'm still thinking about it. The movie starts with a voice over that is not translated to English. Was it integril to the story? Could this be why I was missing the story in the beginning.

This movie is subtle, and as the story progresses each layer reveals more about the characters, until you become interested and concerned with their outcome. There are no villians, just people living their lives to the best of their ability. What an ambiguous ending!

Has Park Hae Il done other movies? I noticed he is not in the actors database.

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by axleu

Very, very, very good movie! Excellent direction, perfectly written scenario, and FABULOUS casting!
A really good surprise!
Try it

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by lor_ac

I think I just answered my own question on movies with Park Hae Il. Was he the serial killer in Memories of Murder? I'm shocked!

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by RiverPlate4Life

Great film.

Movies like Jealousy Is My Middle Name is the kind of Korean drama features need to be headed towards. Ambiguous, allowing audiences to get to know and explore the characters and their malfunctions instead of having it spoon-fed to us, and paced patiently so the viewers can sink in the tone of the film.

Definitely more people need to see it.

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eliza bennet

This is a film I could not get into and to be brutally frank I was totally bored with it. It was obvious that it meant a lot to the writer/director but not to me in the least.

I liked Park Hae Il both in MOM and Scent of Love, and he is a decent actor with very distinctive facial features. They worked against him in this one, imho. He did not look masculine enough (nothing wrong with his acting though) for this part.

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by    kerpan

Another "yes" vote for this (based on one viewing). It reminded me a bit of the work of Hong Sang Soo -- but with less humor. I need to re-watch this, though, to come up with a more settled opinion.

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by lor_ac

>Ambiguous, allowing
>audiences to get to know and explore the characters and their
>malfunctions instead of having it spoon-fed to us

Good points. I rewatched the movie last night and have more insight into the characters. Somehow I think the situations reflect real life. I think we let things go by without reacting, and then may regret it later. I'm thinking of the last scene with the photographer and Park's character. She just sits there in disbelief after he leaves, not outwardly reacting. The director allows stillness to define a scene.

I'm of two minds in regards to the last scene and the editor's daughter. On first viewing I thought she distrusted Park's character, but on second viewing I think she was strangly attracted.

I find this to be a very thoughtful movie, something not easily forgotten. And the comment about the characters masculinity, I'm sure it's all a matter of taste. He is compelling and attractive even though somewhat feminine. He also projected that sort of vibe in Memories of Murder. A true metrosexual . . . in the sense of how I view the meaning of the phrase. Sexy, sensitive, masculine and feminine, open-minded, insecure, self-assured . . . sorta like Junah.

http://www.koreanfilm.org/dc/dcb ... listing_type=search

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Variety Jealousy Is My Middle Name
Derek Elley
Nov 29, 2002

The emotional compromises forced by heart and career make engrossing viewing in "Jealousy Is My Middle Name," a complex relationship drama that marks an impressive feature debut by former shorts maker Park Chan-ok. A raft of strong performances around a quieter central character, plus dialogue brimming with small ironies and truths, made this the most substantial new Korean pic unveiled at the Pusan festival, co-winner of the event's competitive section, New Currents. A solid fest career looks certain, with sales to quality webs and some niche theatrical business also on the cards.

Park's previous work as an assistant director included Hong Sang-soo's "Virgin Stripped Bare by Her Bachelors" (2000). Though her filmmaking style is less detached than Hong's, there are surface similarities in her main protag's indecisive personality and the way in which the pic deals obliquely with human emotions.

Lee Weon-sang (Park Hae-il) is a 27-year-old academic completing his master's thesis in literature and planning a stay in London. Working part-time as a plumber, he lives simply in a rented room in a house run by lively young Ahn Hye-ok (Seo Yeong-heui), who looks after her father (Gong Ho-seok) and emotionally damaged brother (Son Jeong-hwan).

As a favor to a friend, Weon-sang agrees to write an article for a magazine and subsequently joins its staff, even though he's learned the publisher, Han Yun-shik (Mun Seong-geun), is the man his girlfriend recently dumped him for. Weon-sang's life changes when he's paired on an assignment with the sparky, independent Park Seong-yeon (Bae Jong-ok), a freelance photog who also does part-time veterinary work.

The scene of their first meeting, as Seong-yeon casually performs surgery on an unconscious animal, sets up the low-key humor that percolates throughout the film. Six years his elder, and with tomboyish looks and a casual dress sense, Seong-yeon intrigues the dopey Weon-sang but proves elusive sexually. Weon-sang also finds himself liking Yun-shik and his family, despite the older man's tough professional shell, and agrees also to do menial jobs like driving him to work.

When Seong-yeon offhandedly starts sleeping with Yun-shik, Weon-sang pleads with her to stop -- in vain. Meanwhile, Weon-sang's de facto landlady, Hye-ok, starts making advances at him, and his ex-g.f. threatens to spill the beans to Yun-shik over their previous relationship.

Basic material has all the ingredients of a revenge thriller, with a younger man insinuating himself into the confidence of an older man who scuppered his relationship, only to find he no longer hates him. Pic's appeal is that helmer always leaves that subtext on the table and instead goes for a more oblique approach in which the characters take precedence over suspense.

The experienced Mun, one of South Korea's finest actors, dominates the going in an assured, laid-back performance as a serial womanizer who seems to have his work, marriage and affairs in perfect control. Mun is nicely matched by Bae (who debuted back in Park Kwang-su's "Chilsu and Mansu," 1998) as the photog, an equally assured character who -- in some of the film's best scenes -- gradually becomes surprised by the depth of her feelings for the younger Weon-sang.

Leon Lai look-alike Park Hae-il plays Weon-sang as a study in emotional stasis, a guy who's drawn to more experienced, emotional people but is painfully out of his depth. When Weon-sang finally makes a decision in his life, it hurts only a bystander to the central drama -- and the coda hints that he's going to make the same mistake all over again.

Technically, film is fine, with an uncluttered look and largely static setups that are well-lit and composed by d.p. Park Yong-su. Pacing over the two-hour length is moderate but never boring, thanks to the performances. For the record, Bae also plays Weon-sang's ex (whose face is never seen), though the character's voice is dubbed by another actress.

Copyright © 2002 Reed Business Information

http://print.google.com/print/doc?articleid=RxtcTY0fX13

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Jealousy is My Middle Name

A soft-spoken, fastidious graduate student Won-sang (Pak Hae-il, Waikiki Brothers) goes through a bad break-up with his girlfriend. He gets a job at a small but prestigious literary magazine, and is attracted to the magazine's part-time photographer, a permanently disheveled but freewheeling veterinarian Seong-yeon (Bae Jong-ok). To his consternation, however, he finds out that his boss Han Yun-sik (Moon Seong-keun, Green Fish, Virgin Stripped Bare by Her Bachelors), the outspoken, charismatic and womanizing editor-in-chief, was responsible for snatching his girlfriend away. Han has now set his eyes on Seong-yeon. Won-sang tries to drive a wedge between the two, but in the process, his relationships with both Yun-sik and Seong-yeon grow more and more intricate. Meanwhile, Won-sang becomes an object of clumsy courtship by his young landlady, Hye-ok (Seo Yeong-hee), who is frightened that the allegedly hereditary mental illness in her family will claim her.

Upon its release, Jealousy was instantly compared to Hong Sang-soo films by the Korean critics. They pointed to meticulous observations of the everyday minutiae, naturalistic performances of the actors, restrained editing and camera movement and other common features. While these similarities do exist, in tone and in characterization Jealousy is as different from Hong's films as John Cassavettes is from Ingmar Bergman. First-time director Pak Chan-ok (not to be confused with Pak Chan-wook, the director of JSA) chooses to gradually reveal the character's inner colors by piling up vignettes upon one another. The film's narrative is nowhere nearly as tightly designed as a Hong Sang-soo film. The engine of the narrative is its characters, all seemingly "normal" people but always slightly on the edge, as if trying to prevent by ignoring sudden outbursts of frustrated emotions. The movie treads the middle ground between the naturalistic "slice of life" observations one the one hand, and a drama tracing the arc of the relationships on the other.

Jealousy is a good film, but not an entirely satisfying one. We gain much insight into what makes the characters tick (other than Won-sang), but we are not told why we should bother caring about them (or despising them, as in a Hong Sang-soo film). The fact that the erstwhile protagonist of the movie, Won-sang, is nothing more than a suggestive blank may appeal to some sensibilities, but it is a source of frustration for me. What makes him attracted to Seong-yeon, for example? Why does he want her not to make love to Yun-sik? Is it out of sheer jealousy and is he in fact using Seong-yeon? Or does he genuinely care about her? It is difficult to tell. Frankly, I am still not sure whether the film's title, Jealousy Is My Middle Name (or the Korean title, "Jealousy Empowers Me") is meant to be taken literally or as an ironic statement. Won-sang's behavior seems hardly motivated by any real emotion, much less jealousy. Casting of Pak Hae-il as Won-sang for me strengthens this impression, with his feminine-handsome noh mask face, although one cannot certainly fault his performance.

Interestingly, Jealousy can be interpreted as really about the homosocial relationship between Won-sang and Yun-sik, with women playing supporting roles, who in effect bring the two men closer to one another (a la Eve Sedgwick's Between Men). As the film progresses, Won-sang becomes, for all intents and purposes, Yun-sik's "girlfriend" (or "lover" if you prefer), except that they do not actually engage in sex.

For me, the film's main pleasures are derived from watching Moon Seong-keun essay the role of Yun-sik, one of the most interesting male characters in recent Korean cinema. To be sure, Moon is a riveting presence in any film he is in. He is like what Woody Allen might have become had he grown up with the face and body of, say, Daniel Day-Lewis: smart, charming, neurotic or dangerous, or all at once if called for. Yun-sik is an uncommonly well-written role that allows Moon to present different facets of the character, his intelligence, confidence, callousness and vulnerability, without compromising the empathy of the audience.

The film also contains many moments of insight into human condition, some of them quite touching. For instance, Yun-sik gently but decisively rejects his father-in-law's well-intentioned advice that he stops fooling around behind his daughter's back, only to regret his stubbornness later. Moon's performances in these scenes, as well as the restrained, unforced way these episodes unfold, create exquisite emotional effects.

All in all, Jealousy marks an auspicious debut for Director Pak, who adds her name to the increasing number of talented women directors in Korea.    (Kyu Hyun  Kim)

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zizi-702002 · 发表于 2005-5-11 13:32

说实话，真的不喜欢这部电影，看的莫名其妙，不知所云。

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