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楼主: 忘忧草

【资料】2005《亲切的金子》(李英爱、崔岷植) 导演朴赞郁

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 楼主| 发表于 2005-7-19 15:30 | 显示全部楼层
金子拍摄花絮照片


                               
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 楼主| 发表于 2005-7-19 19:36 | 显示全部楼层

                               
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李英爱变了
在她主演的《亲切的锦子》(28日上映)中,锦子是为报复背叛自己的男子,忍气吞声13年的“狠毒”的女人。虽然在《春逝》(2001年)中,银珠有时对尚宇(柳基泰饰)很凶,但“像氧气一样的女人”李英爱扮演报复心强烈的女人似乎格格不入。

但《亲切的锦子》导演朴赞郁说,李英爱的变化很大。在拍摄现场观察李英爱几个月的朴赞郁谈起了自己对她的看法。顺便还告诉记者曾出演过自己影片的崔珉植、宋康昊、李炳宪、柳基泰、申河均是什么人。

▽诚实的化身,李英爱=在拍《共同警备区JSA》(2000)时,经常与李炳宪、金泰宇、申河均等演员一起会餐。而每次会餐时,李英爱都唱着歌,玩得很高兴。但这次因为自己要带动影片,能明显看出她很紧张。

在拍精神上、肉体上都不堪负荷的场面时,李英爱从没有露出疲惫的表情,而且每次都要求“再来一次”。即使是我认为OK,她也要求“再来一次”。虽然李英爱自己说:“由于扮演困难的角色,没有自信。而且也没有掌握明确的(演技)方向。”但我认为,她自己觉得没有达到自己规定的要求。刚开始,我也想过“已经很好了,为何还要重新拍”,但很多时候多拍几次,演技就变得更好。

李英爱是一个非常执著的人。她喜欢提问题,“为难”导演,直到得到完美的答案为止。如果男演员中有李炳宪,女演员中就有李英爱。李英爱要么是善于掩饰内心想法的人,要么是过于单纯的人。我眼中的李英爱属于后者。

▽“敷衍”对“寻根问底”=演员中有两派,一是导演一要求怎么做,就回答“是”,但实际上却按照自己的方式演戏的“敷衍”派,再一个就是向导演询问“为什么这么做?这样做不行吗?”的“寻根问底”派。

曾出演我的影片的崔珉植、宋康昊、申河均是“敷衍”派。其中,最典型的是申河均。他对导演的要求,一概不予回应。

崔珉植是最专业的演员。无论是演技,还是个人生活和信念都是如此。他最重视作为艺术家的自尊心。宋康昊在演戏时喜欢删除台词。如果拍摄时导演说:“这一部分没有必要,不要了”,那么他最高兴。申河均是一个少言寡语、缺乏幽默感的人。但他内心有一股狂热劲。

李炳宪、柳基泰、李英爱是“寻根问底”派。其中,最典型的是李炳宪。李炳宪比起艺术家的自我意识,更重视普通人的常识。正因为如此,他希望自己能被观众接受。在拍《三野兽》时,我要求他用屁股写名字,但他不但没有抱怨,反而说:“哇,太有意思了。”柳基泰是很努力的演员,他的努力往往能得到很好的回报。在《春逝》、《老男孩》、《女人是男人的未来》等一系列影片中,他都表现出不同的进步。

“敷衍”派自己知道该怎么做,所以导演很轻松。但“寻根问底”派在互相询问、回答的过程中,能制作出一部更好的影片。导演也参与讨论过程,所以很有意思。
http://china.donga.com/gb/srv/se ... ;biid=2005071938058
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 楼主| 发表于 2005-7-19 19:43 | 显示全部楼层
两年前因为这个神情喜欢上你,今天再次看到这样的你,依然如昔


                               
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发表于 2005-7-19 19:47 | 显示全部楼层
Originally posted by 忘忧草 at 2005-7-19 07:39 PM:


是不是我们这些喜欢这个造型的人都属于BT啊,偶晕

悄悄告诉你,那天我们聊天问你要的图片做好了,实在太漂亮了,都舍不得给你了


这个造型很神秘很特别,"妖艳的沧桑"是目前我对"金子"造型的定位!~造型先放一边,老朴这一次啊走古典风.很值得期待的作品~你啊!可以第一时间欣赏,眼红ing

PS:我接到你的消息,就上来巴巴等着你,不给是不行的!!!
PS2:悄悄告诉你,是"金泰希"哦!
Cherish what you have!!
本人此ID仅限韩剧社区使用,其他网站任何讨论板块出现的相同ID均非本人使用。

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 楼主| 发表于 2005-7-19 19:47 | 显示全部楼层
"金子小姐"李英爱,"我一直渴望成为一名演员"

李英爱揭开了她选择接拍“亲切的金子”(由 Moho 电影制作)背后的故事。7月18日在首尔龙山进行的 CGV11 电影院试映会之后的记者招待会上,李英爱透露了她的心声“你们也知道,‘大长今’获得了巨大的成功。但是还缺少点精髓,包括我想要成为一名演员的渴望,”她坦白地说道。

“每种有特别的风格的戏都有它的内在限制,我渴望改变已久,很想拍些较艺术的电影。在‘大长今’接近尾声的时候我询问了朴赞郁导演,碰巧他心目中也有部适合我的电影。这就是我为什么会接拍这部电影的原因,”她解释着。y

“拍摄时当体能遇到很大挑战的时候,我就不断地回想自己在拍‘大长今’的那段时光,鼓励自己说要诠释那样一个独特的角色并非易事,但我也能够克服了”她补充说。

当一名中国记者问她,由于‘大长今’现在让她在亚洲地区非常受欢迎,而这部电影这的角色完全颠覆了她的形象,否会因此而感觉到压力,她回答说“只通过之前的形象喜欢我的人这次可能要失望了,但如果是长期关注我的演艺事业的人,我相信你们会尊重我的选择且会很正面地看待它。”
“作为一个演员,我是自愿选择在冒险,”她补充说。“亲切的金子”朴赞郁复仇三部曲的最后一部,由李英爱彻底转型担纲演出,将于7月29日全线公映。

韩翻英 by:leeyoungae.net
英翻中 by:withyoungae.com dessler
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 楼主| 发表于 2005-7-19 19:54 | 显示全部楼层
Originally posted by lalanono at 2005-7-19 07:47 PM:


这个造型很神秘很特别,"妖艳的沧桑"是目前我对"金子"造型的定位!~造型先放一边,老朴这一次啊走古典风.很值得期待的作品~你啊!可以第一时间欣赏,眼红ing

PS:我接到你的 ...


已经更名了吗?OK,立马改去,炳哥的名字现在好象很多新闻里改过来了,韩国演员的名字还真应该全部重申下,太多不付责任的乱翻译

金子确实走的古典路线,特别是造型上,在金子的官网上可以感受到浓郁的古典味道
其实试映前我很担心大众的口味无法接受金子,昨天的试映会上反响好象还不错
但是毕竟是朴导演,要让大众接受就不是他风格了,哈哈

PS:你的图片选的不错,所以做出来效果好棒
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 楼主| 发表于 2005-7-19 19:59 | 显示全部楼层
‘金子小姐的诞生’,来自朴赞郁自己的叙述

7月18日首尔龙山CGV11影院,在记者招待会之前举办了“亲切的金子”的试映会,导演朴赞郁以一篇题为“金子小姐的诞生”的文章解释了这部电影诞生背后的故事。

“要决定下一部戏的方向我最先考虑的是它与我最近前一部电影会有着怎样的关系,”他在文章的开头说到。“从这方面来说,作为‘复仇三部曲’开端的‘我要复仇’真正的意图是要针对南韩国内社会阶级问题,它是作为涉及南-北韩半岛分裂题材的‘JSA共同警备区’的延续而产生的。”

“所以,无论你相信与否,这两部片是配对的。它们都触及了这个社会最敏感的问题,它们有点像是相互的电影姐妹篇”,他补充说。

“选择拍摄‘原罪犯’的唯一原因无疑是崔岷植。因为之前已与韩国历史两位最难忘的演员之一宋康昊合作过两次,接下来最让我感兴趣的当然是和另一位的合作。当有人告诉我崔岷植有可能会接这部电影时,甚至在还没来得及看它的喜剧原著的情况下便匆匆接下了这部电影,”他写到。(接下来的部分省略)

“这样,两部片由最棒的两位演员来担纲(崔和宋),它们也是互为姐妹篇的。(省略)突然我意识到自己已经执导了两部关于复仇的电影。接下来如果我现在选择抛开愤怒、仇恨和暴力会是比较好的,但可惜事情并没有朝这个方向发展。相反,我想引入一种更优雅的愤怒,更高尚的仇恨和更娇弱的暴力。因此‘亲切的金子’就这样诞生了”,他写道。(接下来部分省略)
朴导演承认之前的电影都是两男一女的组合,“女主角的内心感受都相对地被忽略掉。接下来的电影会由女性担纲,她的任务是要让在地狱里的男人也害怕,这是我之前的构思。”


韩翻英 by leeyoungae.net  momo
英翻中 by withyoungae.com  dessler
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发表于 2005-7-19 23:10 | 显示全部楼层
转自krf.org的讨论
Darcy参加了媒体试映会,他对这这部电影评价粉高啊

Darcy Paquet
Mon Jul-18-05 10:10 AM


#12970, "LADY VENGEANCE: initial thoughts"
Mon Jul-18-05 10:19 AM by Darcy Paquet

           Barely managed to get a ticket into this press screening... the producer apparently didn't want any of the "international press" seeing it, but I'll be writing some short impressions that will appear in Cine21 next week, so they got me in. (As part of the deal, the piece I write will appear on their website in Korean translation only instead of the usual bilingual deal, at least until the Venice film festival) Meanwhile Kyu Hyun will be writing a review for this site that will be posted shortly after the film's commercial release on the 29th.

I did like it quite a bit. It's perhaps harder to digest in one sitting than OLD BOY or MR. VENGEANCE. Even though watching it is quite intense in parts, it's the sort of film that leaves you thinking afterwards, and I imagine my feelings about it will continue to evolve over time.

I suppose the first thing to address is what people should expect after OLD BOY. It's a much different film... somewhat meandering and preoccupied with the character of Geum-ja, as opposed to the unstoppable forward narrative drive of OLD BOY (or the slower, but equally unstoppable momentum of MR. VENGEANCE). In the latter two films you get the impression that the characters' actions were not really born out of free will... like a Greek tragedy, where the end is foretold. On the other hand, Geum-ja (while just as motivated) seems to be making her own choices. In that sense, we're dealing with a completely different kind of moral landscape.

Don't get your hopes up too high regarding the appearance of Choi Min-shik. Not that he acts badly or anything (could he act badly if he tried?), but the character he portrays is very thinly characterized... He's simply evil, and that's it. I can't think of any other character appearing in a Park Chan-wook film who is presented in such black and white fashion, which leads me to believe that he's meant to be read as a symbol, rather than seen as an individual. Certainly it's intriguing to think about what he may represent. I could call him Stalin if I wanted, and that would give the film a very interesting twist.

Of course, it will come as no surprise to anyone if I say that the film is beautifully shot. Not stylish in the same way as OLD BOY, but almost. Lots of those weird, quirky Park Chan-wook touches... some funny, some bizarre in a damp, clammy sort of way. The tempo is slower. If OLD BOY was allegro and MR. VENGEANCE was largo, then this is moderato.

I'll be very, very curious to read the reviews of this in the Western press. Many critics dismissed OLD BOY as technically brilliant but thematically empty, but I don't think that will be possible with this film. It's obviously taking on real issues. However the violence -- physical and emotional -- is strong enough that many will feel that their emotions are being handled in too brutal a manner. One scene in particular contains really no onscreen violence at all, but it's the sort of scene that you can never, ever forget, especially if you are a parent.

I'm guessing that most people who were really floored by OLD BOY might feel a mild disappointment after watching this, and some will find the ending a bit flat, but I think that this is a movie that will age well and be remembered as a work by a director who was at the top of his form.

After watching this I'm also going to go back and re-watch one of the masterpieces of early German cinema, which seems to bear more than a passing resemblance to this film. (though I don't really want to say which one)

--Darcy


=========================




Damian Mon
Jul-18-05 12:38 PM
  

#12976, "RE: LADY VENGEANCE: initial thoughts"
In response to Reply # 4


           Darcy, there was a report at Twitch which mentioned that Park had originally planned the gradual fade into B&W, but was so taken by the finished full colour presentation that he was now toying with which version to release. It was then alleged that we may see both versions on the eventual DVD, but I don't believe any of the info has been confirmed beyond hearsay. Thanks for sharing your thoughts on the film, by the way. Am also grateful that you didn't give away plot points as well - much appreciated. Personally, think I'm still anticipating A Bittersweet Life just that little bit more, but that could well be due to the DVD now being just around the corner. Think we'll be lucky to see Lady Vengeance on DVD before year's out, but fingers crossed all the same. I actually hope they hold out as long as necessary in order to complete the DVD release it deserves first time around, instead of the 'Ultimate Edition' situation we had with Oldboy...



============================


dandredger Mon
Jul-18-05 07:50 PM


           Could you send me the title of that early German masterpiece referenced in Darcy's post? I'd appreciate it...unless, of course, knowing the plot of the German film will in some way ruin a bit of SFLV.

Thanks.

- Dan



=========================


Darcy Paquet
Mon Jul-18-05 08:59 PM
  

#12983, "RE: LADY VENGEANCE: initial thoughts"
In response to Reply # 11
Mon Jul-18-05 09:01 PM by Darcy Paquet

           I was referring to this:

http://www.criterioncollection.com/asp/release.asp?id=30

(if you don't want to know, don't click on the link).

On second thought, I don't think there's too much of a connection between the two films. A couple aspects of the plot are similar, but it doesn't seem like Park is referencing it in particular, the way that the school flashback in OLD BOY feels like an homage to VERTIGO. The way the two films are constructed is also completely different.

I'm not sure if saying the title qualifies as spoilers or not... probably not, but better to err on the side of caution, I guess.

--Darcy


=======================


Q
Mon Jul-18-05 12:47 PM
   

#12977, "RE: LADY VENGEANCE: initial thoughts"
In response to Reply # 0


           Like Darcy, I think I must also watch it 3-4 times more at least to come to full understanding of how I feel about it. It wasn't quite the kind of overwhelming experience that SYMPATHY FOR MR. VENGEANCE or OLD BOY was, although it was unmistakably a Park Chan-wook film: breathtakingly beautiful, absurdly, blackly comic, insanely inventive, deeply moving, perplexing.

My biggest surprise was how Geumja's revenge sort of made the left turn in the last third of the film. Depending on how it can be interpreted, the film at that point becomes either tritely Hollywood-like, at least in spirit if not in action, or emotionally accessible to the "ordinary" viewers in the manner reminiscent of JSA, opening the film up to genuinely hardboiled reflection on the nature of justice, good and evil, and meaning of revenge and how it can become indistinguishable from acts of crime that spurred it. Those who found MILLION DOLLAR BABY no big deal might not like this film either. On the other hand, I dare any mainstream American critic to call the last third of the film "emptily stylistic" or "Tarantinoesque."

I would also be very interested in knowing the foreign viewers' response (in the US, Japan, Europe, Sinophone nations and Southeast Asia) to Lee Young-ae's performance in this film. Don't expect DAEJANGGEUM, of course, but assessment of her performance will be controversial. Some Anglophone viewers might groan again at the fact she speaks English in some scenes, even though her Korean-accented English makes sense in the context of LADY VENGEANCE. All I can say at this point is that Director Park knew exactly the strengths and weaknesses of Lee Young-ae as an actress and tried his best to place her in the best possible light.

But the bottom line is that this is a Park Chan-wook film (his sixth already!) and I won't go so far as Marlene Dietrich who claimed that people should make a sign of cross whenever they utter Orson Wells's name, but look, I know you know and we all know that this is a cinematic tour de force and you are going to have to watch it, if you have any claim on being a film fan. I already feel that I can write a 150-page book on the film and I have seen it only ONCE.


======================
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 楼主| 发表于 2005-7-20 18:09 | 显示全部楼层
YTNSTAR 对朴赞郁和英爱的专访(4:58)


                               
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 楼主| 发表于 2005-7-20 18:09 | 显示全部楼层

                               
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 楼主| 发表于 2005-7-20 18:10 | 显示全部楼层
wowet 报道(6:11)



                               
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 楼主| 发表于 2005-7-21 15:39 | 显示全部楼层
导演朴赞旭:复仇毫无意义

联合通讯社首尔7月20日电 朴赞旭(42岁)导演目前处于超负荷状态,因为接受采访的频度和压力不亚于任何明星。好不容易赶在18日的首映式之前封镜,但作为影片《亲切的今子》的导演不得不面对媒体接连不断的采访要求。
         
        19日至20日,朴赞旭从上午10点到下午晚些时候在新罗酒店20层每个小时都在接待“客人”。他自己认为,目前情况类似于在前一部作品《老男孩》中,吴大洙被“监禁”时的情景。目前,他受到的关注程度甚至超出影片主人公李英爱。
         
        记者与这位嘎纳电影节也推崇的导演匆匆进行了50分钟的对话。
         
        以下是对朴赞旭导演的采访摘录。
         
        问:我觉得《亲切的今子》幽默和戏虐多于《我要复仇》和《老男孩》。
         
        答:对,前两部比较严肃。要绷紧神经看,而且过于严肃,连我自己都觉得累。所以在拍摄《亲切的今子》的时候,虽然结尾部分又会出现紧张的镜头,但在前面相当长的戏中,观众还是可以以轻松的心情观看。
         
        问:这样一来,觉得电影似乎离现实更远了些。
         
        答:我想,在现实中完全可以发生这些事情。那种感觉也许是因为影片的氛围略倾向于童话,但影片的情节在现实中完全可能发生。
         
        问:电影似乎对李英爱最为“亲切”,通过拍这部电影李英爱作为演员可能很过瘾,但感觉导演做出了很多让步。
         
        答:啊,为什么会那么想呢?如果是因为没有性爱镜头,这并不是因为李英爱,而是在拍摄前一天我做主删掉的,否则我觉得似乎限制观众的想象。原来设计的场面是要抓住李英爱面无表情的性爱镜头,但后来觉得似乎没必要。另外一个原因是当初想定为15岁以上观众观看的电影,虽然有白先生夫妻的性爱场面,但没有身体的裸露镜头,因此我觉得应该可以通过,(但该影片最终还是被定为18岁以上观看等级)。如果不是李英爱,不仅是那个场面,整个电影可能完全变样,要是那样,不知道会拍出什么样的电影。
         
        问:您的电影一直都以男人为主人公,而这次却把主人公定为女人。
         
        答:正是由于这个原因,当初策划时,带着向观众和女演员求谅解的心情,下决心要拍一部女性电影。但在拍摄过程中却没有拘泥于那种心态。反正我也不能彻底了解女性的心态,并且女性也千差万别,所以不能从头到尾都以女性的视角和立场拍片。而且当时觉得也没这个必要。我在制作该片子的时候想,主人公是个“女子”,但首先她是一个“人”。另外,也许想得过于想当然,当时的想法是不论我怎么指挥,该电影会被李英爱这个女演员表现得很女性化。
         
        问:今子的职业为什么是面包师?
         
        答:希望在今子与遗属完成“大事”后,用什么东西来招待他们。我觉得应该拿什么东西来精心招待,而最好的莫过于吃的东西。那么,比起自己买或叫外卖,亲手制作是最好的方式。但也不能煮汤或烤肉。我觉得最好的还是蛋糕,干净而且很多人作为餐后甜点食用。并且今子本身是爱美的女子,所以我觉得蛋糕的华丽的装饰与其相称。
         
        问:到最后电影是不是告诉人们不要报仇?
         
        答:这是当然。不是不应该,而是没必要。即使复仇也不能让死去的孩子得到重生,只是浪费精力,毫无意义。但重要的是不能否定在心中涌动的对复仇的欲望。当仇人毫无防备地站在跟前,而我手里拿着凶器,如何压住复仇之火呢?即使再无意义的事情,人总是有阴暗的欲望去尝试。(完)

http://chinese.yna.co.kr/service ... 165459J1&Cid=04
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 楼主| 发表于 2005-7-21 15:43 | 显示全部楼层

                               
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FILM 2.0采访内容--“亲切的金子”里的李英爱

Q:请简单地谈一下‘亲切的金子’

Y:如你所知,这是个关于一个名叫金子的女人,坐完13年牢后开始复仇的故事。在监狱里她是亲切的金子,在出狱后,开始复仇的她表现的是完全不同的另一面。她是一个非常复杂和多面的角色。这会是一部有趣的电影。


Q:你为什么来选择了部电影?

Y:当时我这方面不是马上就说OK的。原本我打算接的是另一部电影(也是由朴赞郁执导的),但顺序调换了,他要先拍‘亲切的金子’。那时我也有所犹豫,因为这个角色有点太强也很有挑战性。但在‘大长今’后我一直想有所转变,电影似乎是一个比电视剧更好的机会。因此我开始寻找像朴赞郁执导的那些艺术性和实验性较强的电影,我对他的信任最后也让我能够抛开疑虑。


Q:这个角色有点粗暴与强悍,一点都不像你以前的角色。

Y:所有的行为与情节都在表现这一点,但她是非常多样化的角色也有许多不同面,因此看起来才会有趣。由于我之前从没扮演过这样的角色,困难的部分是我自己与导演之间关于表演的力度的调节。例如,我想用三分力,但他实际上要的是五分。大致上,这是一次挑战也是有趣的经验。毕竟,无论是在过去还是将来,对一名演员来说这都是一次得来不易的宝贵机会。


Q.你觉得与朴赞郁一起工作怎么样?

Y.嗯,你也知道,他是个很酷的人。(笑)他可能不会注意每位工作人员个人方面的小细节,但他会引导他们在愉快的气氛中工作。我们的第一次合作是在‘JSA共同警备区’,由于这是第二次合作,于是在拍摄前我们花了很多时间来进行讨论,所以每件事都能完成得很顺利。


Q:观众对这部电影的期待会让你感觉到压力吗?

Y:我也曾经饱受压力,但已过了那个阶段,现在感觉很得意。(笑)个人来说,当我看完电影样片后,我认为出来的效果比原来的剧本更好。我希望这部电影不会辜负有所期待的观众们。


Q:最后想对观众说些什么吗?

Y:作为复仇三部曲的终结篇,大家似乎都期待这会是部震撼力十足,有惊吓与颠覆情节的电影。(笑)但里面不是这回事。我更希望它是一部让你与朋友在喝茶饮酒时会谈论起的电影---虽然它是个复仇故事,但也是一部温暖人心的电影。


韩翻英 by leeyoungae.net  momo
英翻中 by withyoungae.com   dessler
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 楼主| 发表于 2005-7-21 16:03 | 显示全部楼层
'Lady Vengeance' Director Looks for Atonement

By Kim Tae-jong
Staff Reporter

Actress Lee Young-ae and director Park Chan-wook at the news conference for “Sympathy for Lady Vengeance”  
Director Park Chan-wook has been acclaimed for his previous films about revenge, but he says he believes revenge is meaningless and his coming film, the last in his revenge trilogy, takes a new look at the concept.
``This film is not only the last installment of my trilogy on revenge, it is also the conclusion of all three films,’’ said Park Chan-wook Monday during a news conference in CGV theaters in Youngsan, Seoul after a preview screening of ``Sympathy for Lady Vengeance (Chinjolhan Kumjassi).’’

``I wanted to transcend the inaccurate concept of revenge in which people throw the entire blame on others and think `if I kill them, I can solve the problem.’ This film is more about the atonement for sins and the salvation of the soul,’’ Park said.

Starring Lee Young-ae, the film revolves around Kum-ja who is falsely charged with the murder of a kidnapped boy and is put behind bars for 13 years. After serving the sentence, she sets about getting revenge on the man who caused her misery.

However, Park said that unlike his previous works, the new film shows the main character admits to her own sins and looks for a way to be redeemed.

With ``Sympathy for Lady Vengeance,’’ Park has completed his trilogy on revenge after the 2002 film ``Poksunun Naui Kot (Sympathy for Mr. Vengeance)'' and the 2003 ``Old Boy,'' which garnered Park the grand jury prize at the 57th Cannes Film Festival.

To link all three films, Park said he intentionally had main the characters from the previous films show up in ``Sympathy for Lady Vengeance.’’

The film also stars Choi Min-sik from ``Old Boy’’ as an evil character. And Song Kang-ho and Shin Ha-gyun from ``Sympathy for Mr. Vengeance’’ and Yu Ji-tae and Kang Hye-jung from ``Old Boy’’ make cameo appearances in the last part of the trilogy.

But Park said the biggest difference between this film and the previous two films is definitely that the main character who attempts to take revenge is a woman and she doesn’t do a good job of it.

``When people think of a woman taking revenge in a movie, they tend to expect to see strong actresses like Sigourney Weaver. But I needed a character who has two opposing different personalities, and that’s perfect for Lee,’’ Park said jokingly.

In the film, Lee plays a character who shows a very kind and soft image and at the same time is cold-hearted with a strong desire for revenge.

As Lee previously played typical feminine characters, such as Jang-gum from the historical television drama ``Jewel in the Palace (Taejangum),’’ which is now airing in many Asian countries and is hugely popular, she first found the role in the upcoming film very challenging, but she soon wanted to star in the film as she believed it was time in her career to take on a different character as an actress.

``Those who like my characters in other films and TV dramas might be disappointed by my role in this film, but I really wanted to get out of my stereotyped image and I tried to do my best to show my different sides,’’ Lee said.

``Sympathy for Lady Vengeance’’ opens at local theaters on July 29.



e3dward@koreatimes.co.kr


http://times.hankooki.com/lpage/ ... 071919483211690.htm
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 楼主| 发表于 2005-7-21 16:04 | 显示全部楼层
Sympathy for Lady Vengeance' breaks new ground in director Park's trilogy


                               
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Award-winning director Park Chan-wook's latest film "Sympathy for Lady Vengeance" (Chinjeolhan Geum-jassi) seems unusual in many ways.
For one, his trademark outpourings of violence have been replaced by smiles and kindness. The plot is also predictable, and there is no last-minute twist like the shocking and memorable ending of his previous hit "Oldboy."

But the seemingly innocent facade of the movie, to be released nationwide on July 29, is as beguiling as Geum-ja, the main character played by Lee Young-ae, one of Korea's top actresses.

This last installment of Park's "Vengeance Trilogy" - the first was "Sympathy for Mr. Vengeance," the second "Oldboy - attempts to turn upside down the presumptions about life, value and judgment. Whether such a lofty aim works depends partly on whether the viewer is a fan of director Park, one of the most-admired cinema stylists in Korea. If not, the movie might come off as too bland - or even boring.


Lee Young-ae

Although the English title is made to fit with the image of the Vengeance Trilogy, the film's Korean title, if literally translated, means "Kind Lady Geum-ja." And the word "kind" is highly ironic and holds the key to unlocking the riddle posed by "not-so-kind" director Park.

Geum-ja has served 13 years in prison for kidnapping and killing a child. The heinous crime was committed when she was just 20. The public was shocked, first at the brutality of her method, and second at her stifling beauty. The duality of Geum-ja, inevitably, throws out the crucial question for both the fictional public in 1991 and the real audiences in 2005, "Is Geum-ja an angel, or a devil in disguise?"

Geum-ja, who is extremely kind to every prison mate, is determined for revenge on Mr. Baek, an English teacher played by Choi Min-sik, known for his impressive role in "Oldboy."

In "Oldboy," Choi's character seeks revenge against a mysterious person who imprisons him for no apparent reason. This time, Choi's character is largely on the defensive. Although Geum-ja looks extremely fragile and feminine, her resolve to have Mr. Baek punished is as firm as any other revenge-obsessed character in the trilogy.

The theme itself is serious enough. But director Park's playfulness makes it difficult to focus on the grave issue involving what revenge really means for sinful human beings. For instance, Geum-ja makes a comment unsuitable for an impeccable beauty, which is both funny and confusing. There is even a scene in which a narrator, who makes ironic comments throughout the movie, claims there is a "callous director" who attempts to make a movie out of the brutal kidnap-and-murder incident related to Geum-ja, obviously cracking a joke about Park himself.

But the film swings back on to the original track whenever Geum-ja inches toward her goal, step by step, utilizing all the resources and the network she has earned in return for being ostensibly kind to other struggling inmates.

As expected, she is totally innocent of the charges of kidnapping and murder of a little boy, who might have grown to be an old boy resembling exactly one of the main characters shown in "Oldboy." But her revenge scheme, brewing for 13 years, puts a spin on the innocent-or-guilty formula.

There is no question about Mr. Baek's sinfulness. His crimes stem from his mercilessly money-oriented desire, and his talent in playing the hypocrite is up to the standard of a true "bad boy."

The troubling issue is that Mr. Baek's wayward behavior often reflects his twisted mind-set, which views other human beings as mere tools to use to achieve his goal. When it comes to using and abusing other people for personal reasons, the innocent-looking Geum-ja is as guilty as Mr. Baek.

Interestingly, Geum-ja is portrayed as extremely callous once she is outside the prison. Everybody who knows her is surprised at her sudden cold attitude, devoid of any sympathy for other people. Do the audiences have to have some sympathy for this too-kind-to-get-real-atonement lady?

For those who are familiar with director Park's cinematic language and tricks, such a question does not matter much. "Sympathy for Lady Vengeance" is full of sophisticated visuals and cinematic devices. In addition, much black humor and scenes are interspersed throughout the movie, allowing the audience to enjoy the film in a leisurely fashion.

But there is an unkind trade-off. The movie's departure from violence-driven storytelling makes it unique in the trilogy, but the story loses steam whenever major developments go in a predictable way.

"Sympathy for Lady Vengeance" is sure to evoke either sympathy or empathy among those in the audience who manage to get the intriguing question about the questionable good-and-evil classification. But for those who get swept away by actress Lee's admirable acting and her indisputable beauty may be disappointed by the predictable storytelling.

That's not kind at all, but that's a real and final vengeance dispensed by the wickedly kind director.


from:http://www.koreaherald.co.kr/SIT ... 20/200507200015.asp
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