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发表于 2004-5-7 17:34
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English reviews
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7 e* F# S, \* Q+ A! D9 F7 `8 MMade while Hong Sang-soo still held a day job at SBS, The Day a Pig Fell Into the Well fell into acclaim at international festivals, winning him dual Tigers, that is, the VPRO Tiger Award at Rotterdam and the Dragons and Tigers Award at Vancouver. It was not without success at home either, for Hong also doubled up on the Dragons by winning the Best Director at Korea's Blue Dragon awards. Although Hong would still keep a second job teaching film at Korean National University of Arts, the critical success of A Day a Pig Fell Into the Well did not prove fleeting, for Hong is still considered one of the primary auteurs of the new Korean Cinema that began to form after 1996.
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3 z; m+ A6 q6 p* F3 f( g Separated into four narratives, we slowly learn how each character is connected. Hyo-sub (Kim Eui-sung) is a struggling writer who isn't really struggling because of his writing, but because of his impulsive, angry tendencies. He is sexually involved with both Min-jae (Cho Eun-suk) and Po-kyong (Lee Eung-kyung) who each are followed in the final two narratives. Min-jae is a 24 year old woman making due with random jobs, both of which enact surveillance of her movement and voice. She pursues the affections of Hyo-sub even though he treats her like crap. Po-kyung is treated a little better by Hyo-sub because he claims he loves her. Po-kyong appears to walk, as if pulled along, in and out of Po-kyong's embrace. It even appears that she might be leaving her husband for him, however, if this is the case, this effort is thwarted like so many efforts in Hong's films. Her husband Dong-woo (Park Jin-song) is followed in the second narrative and he heads to Chunjoo for business that is never consummated. Instead, he spends the night in a love motel with a prostitute trying to obtain something from her he could never have. ^+ v" ~# A3 }7 `) X5 L
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Many of the themes consistent throughout Hong's later films find their origins here in The Day A Pig Fell In The Well. We follow separate narratives, although a greater number of them than we've followed before. Each main character is presented with serious flaws that inhibit their chances of finding fulfillment in their personal and professional lives. And moments that may initially seem irrelevant or represent bad editing choices amount to significant scenes with multiple viewings.
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Yet what is most interesting about this film is what Hong chose to portray that he has since stayed away from in his later work. Dong-woo and Hyo-sub are probably the most pathetic men Hong has ever portrayed. The image of Dong-woo with his head down, arms and legs clamped, body shaking vigorously as he sits on the bed of the Love Motel is one of the most harrowing we've seen in Hong's films because this man appears to be losing it right before our eyes. Also, Hyo-sub and one of the side characters in this film are portrayed much more violently than any other character in any of Hong's films to follow. And it is the presence of these two differences, (plus, perhaps, the lesser production quality present here that we find throughout the Korean film industry until 1998), that give this film a feeling of hopelessness that I have not felt in any of the three films to follow this one. In the later films, although each main character traveled in a trajectory of poor choices, I always felt that there were positive trajectories available to them that could help them stray from their unhealthy patterns if they would only simply choose these alternate routes. Here, everyone seems to be trapped in their own personal wells with a rope not long enough to scale their way out, but definitely long enough to hang themselves. (Adam Hartzell) / I2 {8 `/ u8 Z$ [- ]! Y5 D6 r
http://koreanfilm.org/kfilm96.html#pig2 q6 I W7 _4 s' T. R7 _1 ~
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* Y9 `% a/ I7 \. U. g3 ? Q3 ADate: 14 May 2004
! N* b) N0 V- I$ T; GSummary: Not a pig or a well in the entire film
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The debut film by the great Korean filmmaker Hong Sang-soo may have a bit more going on dramatically than the later ones, but it also shows many of the trademarks that would achieve more polish as Hong refined his rambling, low-key style. "The Day a Pig Fell in the Well" is a fine debut, and the director carries it off with the assurance of a pro. Hong's always liked to portray loser men and the women that suffer them (he's a kindred spirit of the great Japanese director Naruse Mikio), and he's come up with a pair of real sad-sacks here. A failed writer leaches off of a girl who's smitten with him; meanwhile he latches onto a married woman, and demands that she only sleep with him. Her traveling businessman husband is a manic-compulsive who mopes over a family falling to pieces and a wife that will no longer touch him. - Q6 W, b/ n+ @! I! k5 M8 y% }/ Y
3 d; y% j, Z3 f' n0 }& \Hong's structure here is similar to the films he'd make later: each of the main characters gets a section of the movie and we slowly learn how their lives relate to each other. In "Pig," Hong punctuates his typically languidly paced scenes with clips of the characters' dreams and flashbacks, a technique that he'd ditch in favor of a more straightforward approach by his next film. Hong is a sharp guy and wants you to pay attention to the details (though his seemingly haphazard style initially gives a very improvised and random impression). Minor details or people who make cameos in one section of the film become major factors or players later on, whereas things or people that come off as potentially important in the beginning might only briefly be mentioned in a later section or play no part at all. The director's always mined the ways in which chance and fate play a part in human relationships (this theme is probably best represented in the superb "Power of Kangwon Province"), and the ways in which people fail to make the right decision when presented with a possible way out of the pit they've dug themselves into. Hong's first film is also his darkest; it's lacking in the occasional dry humor of the later pictures and it's only one where the path ends in bloodshed for any of the characters. "Pig" packs a quiet punch and has recently been voted one of the greatest Korean films ever made by critics there. It has also finally got a DVD release in Korea (the rest of the director's films are also on DVD), though the English subtitles are rather poor.3 N2 u: `* `9 o+ |* j$ C+ u
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disole-2 (disole@hanmail.net)
0 N9 S) F, T( j1 [2 C/ e- C$ ULondon, UK% a J/ {: o' h8 U( I
0 d9 z1 U+ w( F, |/ TDate: 12 September 2000! ^ s X) W% G! a2 f
Summary: The one of most intellectual movie in Korean film history.
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' C) N% `+ p+ s2 X) w# {! J3 X) i. lThe magnificent plot about an enervated author, who has cheated on two women, has been made up in absolutely silent atmosphere. The director Hong kept his temper about debut obsession. This movie totally looks like made by well-experienced artisan. And all lively character's lines make audience be immersed in those. Fantastic! Don't miss it. + D0 l; W5 t- ?* [( b4 C' e X8 u
http://us.imdb.com/title/tt0116005/usercomments$ `6 a7 t* c" o1 [
$ E% ~8 z# Q! R( V0 b$ _[ Last edited by 阿韩 on 2004-6-21 at 12:22 PM ] |
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发表于 2004-5-7 09:12