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来源：搜狐
对现代社会的审视与反思
很多韩国情色电影把影片背景放到中产阶级家庭里，从而引发出不少韩国当代社会家庭伦理问题。影片中的丈夫或妻子有了性爱外遇，连带出责任、孩子等家庭困惑。
婚外情导致了诸多的家庭的问题。在威尼斯参展的《偷情家族》更是把此种问题推向了一个极端。家中的妻子、丈夫、婆婆都背叛了家庭，与情人们偷情。其后果是丈夫的情人怀孕，而妻子也怀了他人的孩子，出现了这种错杂的情形。
韩国情色电影对家庭伦理、人际交往、人与人的沟通的关注，实际上是对现代社会的一种审视和反思。一方面是重视传统，另一方面又已进入现代文明，其间驳杂的性别意识和性爱交流引起不少人的困惑。这也是与一般色情电影的重要区别之处吧
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from:koreanfilm.org by Darcy
The 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.
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.
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.
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, portrays an unconventional character with skill, wit, and class. It is almost certain that Kim Hye-soo could never have given the role such life and feeling.
The 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.
A 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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来源：网易
[关于导演]
韩国导演林常树生于汉城，在大学攻读的是社会学，后来进入韩国电影艺术学院。他在朴钟元和林权泽的电影里担任编剧和助理导演。1997年赢得电影振兴公社的剧本招募比赛，正好赶上韩国电影的复兴，比较顺利地得以拍摄自己的第一部作品《开心见性》，描绘都市摩登女性的生活与性渴望，大胆豪放一如韩国版《欲望城市》，获得青龙电影奖最佳新导演。2001年的《激情青春》又对准青春期的放纵，表现四位青少年的颓靡茫然，诚实地记录了少年们在毒品暴力间无所事事的堕落。
林常树显然对于性问题非常痴迷，几部作品基本都离不开这个话题，倒也没有完全沦落为奇观的展示，而是表现出深入讨论的严肃用心，颇具电影社会学家的风范。
[关于影片]
中产阶级的虚伪是很多欧洲大师们曾探讨过的问题，特别是通过看似和睦的布尔乔亚家庭内部的性丑闻来戳破这层伪装更是最常用的手法。这部影片在此方面也没什么突破，还是运用婚外恋的题材去引发危机，解构传统的家庭观念乃至整个中产阶级。
当然韩国电影于情色方面大胆而独特的表现还是会让猎奇的人得到满足，而主角们在循规蹈矩地维护表面美满的幻象与危险越轨之间的微妙平衡关系则给影片带来了张力。文素利的表演令人耳目一新，片中从性冷淡走向淫荡的家庭主妇一角和《绿洲》中的形象完全不同，从脑麻痹患者变身为浓妆艳抹的挑逗浪女绝对让观众大吃一惊。
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《偷情家族》撕开中产的伪善
信息时报 [2003年08月15日]
上届威尼斯电影节获最佳导演和最佳新人的影片《绿洲》的女主角文素利主演新片《偷情家族》昨日在韩国上映，该片还报名参加了本届威尼斯电影节。相比《绿洲》中完全依靠演技、有面瘫症状的“公主”，这次文素利则饰演了一个风骚性感的偷情女子。
影片探讨家庭伦理
《偷情家族》虽然题材大胆，但实际上讲述的是家庭伦理关系。片中身为律师的儿子（黄正民饰）喜欢追求年轻女孩子作为情人；婆婆置自己患病的丈夫于不顾，在外面和别的男人交往；而儿媳妇则和高中生发生了婚外恋。文素利在片中扮演的是儿媳妇殷浩贞，在与邻居家的高中生志云（奉太奎饰）发生了不伦之恋，而且还有了身孕。故事讲述了一家人都毫不顾忌偷情的故事，以虚伪的中产家庭为题材，强烈抨击了伪善的社会风貌。
导演林相守是“角斗士”
该片的导演林相守是韩国电影界闻名的“角斗士”，他的影片直接风趣，他对演员也从不拐弯抹角，喜欢直来直去。但他说：“文素利也不是吃素的。”
据说，在拍首场戏时，林导演先对文素利甩了一句：“听说小文挺利害的？”文素利立刻回了一句：“听说林导演也不简单嘛。”戏就这样拍下去，拍摄过程十分顺利。但据说在一段4分30秒的床上戏让文素利费尽了心力。这个戏拍了足足9个钟头，拍完下来时文素利身体左侧已经完全麻木了。
最后“角斗士”导演林相守这样评价文素利“平时温柔得像只猫，可是一旦站在摄影机前就变得如狼似虎，充满战斗力”。
文素利专访：
《偷情家族》是文素利继《薄荷糖》、《绿洲》之后的第三部影片，也是她在去年获得威尼斯电影节最佳新人奖之后的又一次打破常规的选择。上月29日，《偷情家族》在汉城进行了试片会。会后，记者对文素利进行了专访。她想做中性人
最让记者感兴趣的当然是文素利的“暴露戏”。记者开门见山地问她，“为什么接拍这么难拍的作品？”而她的回答却简单又明快，“我需要变化。我想挑战新的角色。”
对于性，她甚至坦率地说：“如果有一天我结了婚，可能反而会对性不太感兴趣了，希望做一个中性人。”
由于片中文素利饰演的浩贞生下了私生子，记者向文素利提出了有关户籍制度的社会热点问题，文素利的回答极具个人特点。有记者提问：“如果浩贞真有其人的话，她今后如何在社会上生存下去？”她说：“在韩国的社会里，这样的私生子暂时是不会有合法的身份的，要想改变韩国的户籍制度恐怕也是很困难的。总之孩子今后走什么样的人生道路，作为母亲的我也会陪他一起走下去，当然这并不妨碍我继续和别的男人交往。”《偷》比《绿洲》轻松多了
当被问及《偷情家族》与《绿洲》的差异之处时，文素利说：“在演技付出上我感觉都差不多，不过在肢体语言方面，这部戏要轻松多了。在《绿洲》中，必须始终把身体蜷缩起来，还要作出扭曲的面部表情，而在这部片中，不需要这么辛苦。”不过，对于文素利来说，在《绿洲》中，只有“公主”一个人的戏分。而在《偷情家族》中则需要和周围所有的人配合好。
对于浩贞这个角色，最初人们认为她的精神不太正常，而文素利本人的看法又是什么样的呢？“对于家庭的解体，不需要太过担心。与其把家庭内部的矛盾隐藏起来，倒不如把问题暴露出来，更容易找到解决的方法。”李沧东比林相守难沟通
针对有人提出比较李沧东（《绿洲》导演，上届威尼斯电影节最佳导演，韩国“国宝级”导演，现任韩国文化观光部长官）和林相守两位导演的风格，文素利回答说：“这两位导演在交流方面给人的感觉是完全不同的。李沧东导演比较不苟言笑，经常是很久才说一句话。而林导演则完全不同，是个性格外露，喜欢开玩笑的人。甚至有时连‘你像个傻瓜’这样直率的话都能说得出来。”文素利还表示，虽然有时候和林导演难以沟通，不过这并不妨碍自己发挥演技。
有记者问：“拍摄过程中有没有觉得辛苦？”文素利回答：“拍《绿洲》时，为了追求效果逼真，经常在没有炉火的冰冷房子里拍摄，与当时的艰苦相比，这次是在位于平昌洞的豪华公寓里拍片，大理石房间里始终温暖如春，在这样的环境里拍片，自然没那么艰苦了。”（陈弋
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来源：搜狐
参展影片介绍：《偷情家族》(韩国)
《偷情家族》导演林常树在韩国是一个具有争议性的导演。他擅长利用性爱方面的题材来表达对社会现象的看法。他以对社会不同面的尖锐洞察力和判断力而著称。
林常树的第一部第二部分别是讲十几岁至三十岁的性爱故事，第三部《偷情家族》则将范围扩大至三代人的伦理，性爱故事。正如林常树所说《偷情家族》并不是一部纯粹的情色电影，他是想借用此片展现现代韩国家庭所逐渐面临的危机，引导观众一起探讨和揭示其中的问题。
特受“威尼斯”宠爱的女人
《偷情家族》主演文素丽在去年凭《绿洲》获得威尼斯电影节新人奖后，几乎又获得了韩国所有的奖项，成为韩国最受瞩目的演员之一。
剧情：前舞蹈家浩珍跟律师永作结婚后，丈夫却因为忙于工作、交际应酬和探望自己的旧模特儿情人，经常早出晚归。渐渐地浩珍发现自己有性冷淡，就连可以令自己高潮的位置也找不到。而浩珍后来认识了邻家的男孩后，便开始偷偷地跟他发生性行为。
永作发现情人有了自己的骨肉而浩珍也发现自己已经怀了高中生的孩子，两人都陷入难以抉择的痛苦中……年过花甲的婆婆背着身患绝症的公公与中学时的“老相好”旧爱重燃，在与丈夫过了十几年的有名无实的夫妻生活后才真正体会到“人生滋味”。
整个家族都在“爱”着，但却爱得如此扭曲，演绎着一场说不清道不明的婚外情。
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[ Last edited by 阿韩 on 2004-6-3 at 07:00 PM ] |
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匿名
发表于 2003-12-8 10:12
发表于 2003-12-5 22:09
呵呵, My mistake.
