Park Chan-wook Explores Self, Dream in `Thirst’

Seriously. I think Korean movie reporters are the luckiest people in the world. Everything's based in Seoul, so whenever a new movie is being released, we get to meet the director and main cast through a press conference, and then about three weeks before the release, watch the movie with them and ask questions afterward.

As for "Thirst," it's Park Chan-wook. Need I say more?

Song Kang-ho, Kim Ok-vin and Park Chan-wook (Yonhap)

Recently, celebrated cineastes like director Lee Chang-dong (``Secret Sunshine’’) and top stars Jeon Do-yeon and Rain, among many others, were seen visiting the set of Park Chan-wook’s much talked-about feature, ``Thirst.’’ The film’s trailer was revealed for the first time before the press, Tuesday, in Seoul, before its release April 30.

It was indeed novel to see the all-too-familiar, yet distinctly foreign, theme of Universal Pictures opening the impressionable clip. ``Thirst’’ is the first South Korean film to be co-produced and distributed by a major Hollywood studio.

``I’m not so sure how it happened,’’ Park told the crowded press room regarding Korean giant CJ Entertainment’s partnership with Universal. In a video clip provided by organizers, Universal’s Focus Features CEO James Shamus said he was ``desperate to in some small way be part of this incredible filmmaking genius’ work.’’

``I don’t expect big results like grossing high in the American box office or winning an Academy nomination. I think this is the first endeavor for a Korean film to be treated seriously in the U.S. market,’’ said Park. ``But personally, I’ve always admired and was greatly inspired by the foreign movies that Focus Features distributed in Korea, and I wondered if one day my movies could be credited (by Universal). I feel extremely proud to see it’s been realized.’’

The Tinseltwon exposure, however, appears to be just an added bonus for Park. For the director, the priest-turned-murderous vampire story is a very personal project that he spent over a decade dreaming up.

While ``Thirst’’ makes a sharp turn away from his last film ``I Am a Cyborg but That’s OK,’’ it is nevertheless expected to showcase the hallmarks of Park-brand movies. It revisits violent themes explored in his ``Vengeance’’ trilogy and omnibus ``Three, Monster,’’ and like his other works, features well-known stars in improbable roles.

Award-winning actor Song Kang-ho (``Secret Sunshine’’) was cast as Sang-hyeong, a respected priest, who, after transfusing mysterious blood, turns into a ravenous vampire. He starts breaking the 10 Commandments as he lusts after human blood and covets his friend’s wife Tae-ju, played by rising starlet Kim Ok-vin (``Dasepo Naughty Girls’’). Tae-ju is a repressed housewife who awakens to her own desires upon meeting the vampire-priest, and uses her newly discovered femme fatale prowess to convince Sang-hyeong to kill her husband.

" Thirst (박쥐)"

Having grown up in a Catholic environment, Park said he had many opportunities to contemplate the celebrant identity. ``I wondered about the psychological anguish a (priest) would have to undergo if he is forced to commit murder and other sins. I then conceived of the vampire theme and then I integrated elements of an Emile Zola novel,’’ he said.

The two lead actors said the movie was basically a love story. Park agreed, saying ``The movie features many issues, such as the clashing of Eastern and Western cultures. But it boils down to being a story about the struggles of a man who meets the wrong woman.... This kind of personal approach made it easier to direct the movie.’’

The director said he was able to personally relate to the vampire-priest character. ``The priest character integrates much of my own personality, which is a first for my movies. His feeble and somewhat cowardly way of justifying himself and giving excuses for odd mishaps don’t feel like someone else’s story. It’s a very personal matter and I poured a lot of my heart into it,’’ he said. ``Also as a moviegoer myself, this is my kind of movie.’’

About assuming the atypical role, Song said ``I tried to express his character as humanly as possible.’’ Park praised Song’s immense talents and moreover, his ``almost offensive intellect’’ combined with a high capacity to concentrate. Song’s co-star Kim also gave her compliments, saying, ``I was able to feel in the flesh what a true actor is. He was perfect and left nothing out in each and every scene.’’

This is the third time Park teams up with Song, who is also a close drinking buddy. The director first told the lead actor about ``Thirst’’ and ``Sympathy for Mr. Vengeance’’ while shooting their first project, ``Joint Security Area,’’ in 1999.

``When I first heard of `Thirst,’ I was doubtful whether or not such a creative, fantastic and artistic movie can be realized,’’ said Song. ``But Park has proved over the years with his movies that it is possible,’’ he said, adding how honored he was to be part of the project.

Meanwhile, the media spotlighted the casting of Kim by Park, who has worked with the country’s top actresses like Lee Young-ae and Kang Hye-jung. Song praised the actress’ incredible energy that kept him on guard, with competitive spirit, throughout the shoot. ``She has a certain uneasiness and edge to her character… People will wonder, wow was there such an actress in Korea? She has great potential,’’ said Park.

Maestro Paik, Rising Stars to Offer Four Piano Show

Maestro Paik Kun-woo, second from left, will give a rare concert featuring four grand pianos in May with three next generation pianists Kim Jun-hee, left, Kim Tae-hyung, third from left, and Kim Sun-wook, right. /Courtesy of Credia

Following 2007’s historic marathon of Beethoven’s complete piano sonatas in a week, maestro pianist Paik Kun-woo brings another unique project _ featuring four grand pianos in concert with three of South Korea’s hottest young artists, Kim Sun-wook, Kim Tae-kyung and Kim Jun-hee.

The idea for a concert featuring pieces for eight hands was conceived a few years ago, Paik told reporters Monday in Seoul. ``During (Franz) Listz’s time, renowned pianists came together for a concert featuring multiple pianos. I wondered how it would be to do something similar here, today,’’ he said.

Paik and the three Kims will alternate the parts of first, second, third and fourth pianos for Milhaud’s ``Paris’’ Suite for Four Pianos and Wagner’s ``Overture zu Tannhauser’’ transcribed for eight hands. Also included are Ravel’s ``Bolero’’ transcribed for the four instruments and Rachmaninov’s ``Symphonic Dances,’’ Op. 45. ``The multiple pianos will create grand sounds, and harmonize and resound like the glimmerings of twilight,’’ said the maestro.

While the performance itself is a one of a kind event, however, the pianist noted the significance of playing with young artists. ``If I think about it, my senior Han Dong-il inspired me. When I was going through hard times and loneliness in a foreign place, he was always there for me,’’ said the 62-year-old, who, with the elder pianist Han, was one of the first Korean musicians to debut overseas.

``In the past, Korean musicians had to build their careers on their own, but young musicians these days are blessed with well-trained local teachers,’’ he said. `` I am very proud of this new generation.’’ Paik saw the three young pianists perform in Paris, where he is currently based. ``They are all extremely talented, and cherish one another very much,’’ he said.

The three Kims are friends from the Korean National University of Arts. All barely out of their teens, they are seen as representing the new generation of pure, ``domestically-bred’’ musicians who have championed international events without having studied in the West at a young age. All three agreed it was a great honor to play alongside the maestro, and that it would be ``fun’’ to mix chemistries. >>More

DreamWorks Sees 3D as Key for Future

This is my second time interviewing Mr. Katzenberg (far right above). Like many geniuses, he's quick, brilliant and sligtly irritable because he's so smart. I mean, people around the world are asking him the same questions so it's totally understandable (but he was nicer this time; I asked him more creative ones). Anyway, I thank him for bringing Shrek, Poe and other great characters to life.

Animation maestro Jeffrey Katzenberg sees 3D animation as the key to the future. DreamWorks Animation presents ``Monster vs. Aliens,’’ which, shot entirely in 3D with a completely new technology, is its most ambitious project yet. This can be seen as something of a revolution in not just animation but in all of cinema history.

``The first two great revolutions in film were the introduction of sound and the introduction of color, and the introduction of 3D could be as impact-ful as those were,’’ the CEO of DreamWorks Animation said in an interview in Seoul, Thursday.

Five years in the making with $165 million, the ``very long, very expensive’’ franchise, said the 58-year-old, employed an entirely new technology called InTru3D. Specifically developed for ``Monsters vs. Aliens,’’ it combines DreamWorks’ authoring tools with the latest technology by partner company Intel.

The new tool solves problems posed by past 3D films. ``All of the elements that go into 3D today are so dramatically better than what existed even just a few years ago,’’ he said. Moviegoers must wear glasses, which are polarized and more comfortable than the old colored paper frames. A very powerful digital projector delivers precise images, that ``aren’t blurry, don’t give eyestrain, don’t give you a headache. We are in absolute perfect control of 3D,’’ he said.

This certainly makes a mark in modern day cinema culture, as it provides a one of a kind, theater-only experience. ``Monsters vs. Aliens’’ in 3D cannot be replicated at home _ kissing goodbye to pirated DVDs.

Meanwhile, InTru3D required artists to ``learn a new language,’’ said Katzenberg. He compared the experience to Anglophones having to learn and work in Korean overnight. ``They have to think in 3D now. They have to think about the dimensionality and how the filmmakers will ultimately translate that onscreen,’’ he said, further explaining that artists have to conceive characters differently, such as moving through a 3D room. Though initially a little scared, he said, ``our artists have loved it and have been excited from day one.

``Yes,’’ all future projects will be created in 3D, he said definitively. This comes in spite of technical barriers, that most theaters are not equipped with digital projectors. Providing glasses to moviegoers will also be costly. ``This is just the beginning. I think that there are twice as many theaters (for 3D films) today than there were a year ago. Next year there will be three times as many as today. I think there is a great future. Rome was not built in a day,’’ he said.

``Monster vs. Aliens’’ features retro themes _ quite ironically rendered with the latest modern technology _ ``a happy accident’’ according to Katzenberg. It pays tribute to B-movies of the 1950s and ‘60s and even makes a paraody of ``ET’’ as it tells the story of a young woman who, on her wedding day, is hit by extraterrestrial gunk and explodes into a 49 feet 11 inch-tall giant (1958’s ``Attack of the 50 Foot Woman,’’ anyone?). She’s immediately captured by the military and is detained along with other strange creatures. When aliens attack Earth, however, this ragtag group of monsters becomes mankind’s only hope.

Korean screen beauty Han Ye-seul provides the voice for the main character, which was originally dubbed by Reese Witherspoon. ``She (Han) is a very talented actress and has a very beautiful melody to her voice, which is a very good match for her character. And I think she did a really great job,’’ said Katzenberg.

Dreamworks’ previous franchises such as the ``Shrek’’ trilogy and ``Kung Fu Panda’’ have scored well at the local box office. ``In the field of feature animation, DreamWorks has become the most successful and biggest studio in the world,’’ he said. In the past five years, DreamWorks and Disney/Pixar have both created and released 10 films, grossing $4.8 billion and $3.2 billion worldwide, respectively.

``So we’re 50 percent bigger on a worldwide basis. You know, I’m proud of that. I think that’s a great accomplishment. Of course they and others like Blue Sky make great movies,’’ said the former Disney studio chairman.

When asked about the company’s secret to success, he said, simply, ``good storytelling. I think that’s the most important thing.’’

``Monster vs. Aliens’’ is due in theaters April 23. Polarized glasses will be available in theaters.

Take a Bite of the Big Apple

Photos by Lee Hyo-won, except for green apple, below (Korea Times File)

NEW YORK - The Big Apple continues to symbolize the great American melting pot, and a culinary adventure to savor all of New York City’s dizzying food culture is not only ambitious but almost impossible in a limited amount of time, especially since chic restaurants and eateries seem to mushroom here continuously.

There are countless ``it’’ bars and brunch places that have international audiences smacking their chops while watching ``Sex and the City.’’ In the jungle of luminous skyscrapers, yellow cabs and poker-faced pedestrians, there is, without fail, a hotdog or pretzel stand in every corner. Then there’s Little Italy, dotted with pizzerias; Chinatown, teeming with dimsum places; and Koreatown, lined with round-the-clock ``galbijip.’’

Still, there’s nothing like cuisine that embodies the soul of a culture and a people, and one can only attempt to take a big bite of the Big Apple. The following is a very modest -- and very subjective -- list of low- to mid-budget treats the city has to offer. But what is certain is that this reporter finds herself going back to them time after time.

NY Exotica

Forget the hotdogs and the pretzels. The best street food -- and tastiest halal dish -- in the city can be found at the corner of 53rd Street and 6th Avenue. The modest truck is hard to miss, considering how a long line of hungry pedestrians can be spotted even in the wee hours around 4 a.m. For $6, you get a plate full of scrumptious lamb and chicken (you can choose either or both), rice and pita bread. Don’t forget to smother it with the white sauce, bottles of which can be found next to the truck. But the red chili sauce should be handled with care, because it will burn you.

Quintessential New York cuisine _ an eclectic mix of Spanish, Chinese-American and Kalyustan flavors, among other influences _ comes in tasting portions at Alta (slightly hidden on the south side of 10th Street between 5th and 6th Avenues). Chef Harrison Mosher offers small, fun dishes like ``Brussels Sprouts’’ with Fuji apples, crème fraiche and pistachio nuts or Moroccan Bistilla of chicken confit, creamy eggs, and scallion with harissa mayonnaise. The restaurant features small rooms with orange-colored walls and heavy wooden furniture, providing a cozy, intimate dining experience _ particularly since you’ll have to lean over the table with your company to taste the small yet satisfying portions. Call (212) 505-7777.

Prince & Pauper

Caviar for breakfast? ``Sex and the City’’ fans will be familiar with Norma’s, the chic brunch place found on the ground floor of Le Parker Meridian Hotel (West 57th Street between 6th and 7th Avenues). Don’t worry if $1,000 is too much for breakfast (appropriately named the Zillion Dollar Lobster Frittata), because Norma’s other meals are under $30. Try their lovely eggs Benedict and fluffy blueberry pancakes. Open from 7 a.m. to 3 p.m. everyday. Call (212) 708-7360.

Le Parker Meridian, however, is also home to the city’s secret obsession, the Burger Joint. Literally a hole in the wall, it is tucked away next to the front desk, with only a mini neon hamburger sign announcing its presence. After entering the posh marble-floored hotel lobby, you’ll be surprised to walk into the down-to-earth diner, where names are scribbled on poster-covered walls. You can order your hamburger ($7) at different levels of ``doneness’’ (rare, medium or well done) and choose the dressing (tomatoes, onion, etc). You can taste the smoky flame flavor from the charcoal grill. Cheeseburgers ($7.50) include two types of cheddar for special effect. Complete the experience with greasy fries ($3.50) and a cup of milkshake (vanilla or strawberry, $5) or beer. Call (212) 708-7417.

Art & Food

Gustav Klimt and Vienna coffee are a couple of Austria’s hottest assets, and you can get both at the Neue Gallerie (corner of 86th Street and 5th Avenue). This gallery is home to the painter’s gold-encrusted masterpiece ``Adele Bloch-Bauer I’’ among other works. Café Sabarsky on the ground floor features tasteful food and period objects. Sit at the classic wooden table below the beautiful lighting fixtures and savor Vienna coffee, desserts and sausages by chef Kurt Gutenbrunner. Closed on Tuesdays. Call (212) 288-0665.

After gallery hopping around Chelsea, swing by the meatpacking district’s never disappointing Balthazar. The onion soup gratinee ($10.50) is a steady pleaser, and other standard French bistro dishes such as moules frites (oysters with French fries, $20), steak frites with Béarnaise sauce ($29.50) and duck confit ($21) are delectable. Call (212) 343-1274.

Eastern Inspiration

You don’t need to be in Koreatown (West 32nd Street) for tasty ``bibimbap’’ (Korean mixed vegetable rice) and charcoal barbeque. Gyu-Kaku, a fashionable Japanese eatery in mid-town (East 50th Street and 3rd Avenue), offers Japanese-style ``galbi’’ (Korean barbeque) and kimchi bibimbap, which the server mixes for you. Call (212) 702-8816.

In the East Village, David Chang’s much talked about Momofuku Ssam Bar (corner of 13th street and 2nd Avenue) offers modern, upscale spin-offs of traditional Asian cuisine. The dishes, such as kimchi Fuji apple salad, boast creative presentation and delightful taste, but are rather tiny. This would be a better place to enjoy ``sake’’ (Japanese rice wine) and fun foods after a light dinner. Call (212) 254-3500. Another great place to hang out is the Bryant Park Grill. On a summer afternoon you can sip ice tea in view of the green park, while on a calm autumn evening you can sip cocktails at the romantically lit bar. Call (212) 840-6500.

Sweet Tooth

A meal is never complete without a dessert. Cupcakes are all the rage in Korea, and a New York trip is never complete without a mouthwatering visit to Magnolia Bakery (three shops found, one in the downtown area, the second near Rockefeller Center and a third one uptown). The sugary Red Velvet, served with traditional whipped vanilla icing, is a must ($3). Visit www.magnoliacupcakes.com.

A more formal venue for dessert is the ``Sex and the City'' favorite Payard's (Lexington Avenue, between 73rd and 74th Streets). The bistro-patisserie offers a mean onion soup gratinee that's topped with a generous amount of Gruyere cheese ($10), but the true highlight is the dessert menu. The cakes, such as the warm chocolate toffee cake with marshmallows, are to die for, even though they're a little pricey ($13). Call (212) 717-5252.

Another great place is Café Lalo (West 83rd Street, between Amsterdam and Broadway). While overrun by tourists, this charming French café fails to displease with its juicy berry pies, Belgian waffles and espresso. Breakfast sets range from $4.50 (Paris style croissant and coffee) to $18 (large Jewish lake sturgeon with salad, bagel and drink). Call (212) 496-6031.

On the Go

If you’re craving fresh crème brulee on the go, and happen to be in Greenwich Village, stop by the Dessert Truck (8th Street and University Place). The truck offers chocolate bread pudding, molten chocolate cake and more at reasonable prices. The slow-baked apples and cinnamon features a light, buttery pastry with caramelized baked apple and a heap of cinnamon, tart cranberries and streusel topped with light whipped cream _ ``it’s like autumn in a cup’’ as one fan said.

Whether you’re in a hurry or want to enjoy a nice sandwich in a cozy place, Le Pain Quotidien is the place to be. It’s a bakery with a large, wooden communal table in the middle, where you can munch away soups, tartines and baguette sandwiches. The chain shop can be spotted all over town. Visit http://www.lepainquotidien.com/.

Last but not least, you cannot leave New York without tasting New York-style pizza. Lombardi’s in Little Italy is more than famous, but Two Boots can be a fine alternative to busy people. The kitsch retro diner features a pair of boots by the window and pizzas with strange names inspired by celebrities, movie characters, etc. Toppings are fresh, diverse and generously served on your choice of crust (Sicilian or whole wheat). Visit http://www.twoboots.com/. You can order deliveries by phone or online.

`Private Eye’ Signals New Detective Genre

"Private Eye" (그림자 살인 Geurimja Sarin)
Directed by Park Dae-min (박대민)
Starring Hwang Jung-min (황정민), Ryu Duk-hwan (류덕환)

Debutant director Park Dae-min brings a delicious mix of drama, comedy and adventure in ``Private Eye,’’ which, moreover, paints rosy prospects for South Korean cinema as it signals the potential of homegrown detective films.

Set against the Japanese colonial period (1910-45), the movie invites viewers to hop on coolie-drawn carts and join an accidental Sherlock Holmes (Hwang Jung-min) in tracking down a serial killer on the loose.

If 2007’s ``Shadows in the Palace’’ hinted at the possibility for an Agatha Christie-style suspense, ``Private Eye’’ promises something more solid, and perhaps even a serial franchise. It keeps things smart and intriguing rather than mind boggling or cryptic, and leads the audience half a step ahead in the cat and mouse game. The movie also manages to be entertaining without being too light as it gives birth to a detective with character.

Hwang plays Hong Jin-ho, one of those amiable rude people, whose successful survival is more a factor of luck than skill. He’s nevertheless a detective who is well equipped for the job, with his sixth sense for investigation _ but he keeps far away from dangerous cases that might spoil his hand-pressed suit and white hat. Instead, he pockets money by catching cheating housewives and other small matters that decorate tabloids _ in order to manifest the great American Dream in a country with a larger population and thus more adulterers and more income.

The ``Happiness’’ star brings yet another unforgettable character, and the film actually allows the actor’s immense talents to fully sparkle _ as if to make up for how ``A Man Who Was Superman’s’’ narrative flaws eclipsed the endearing persona Hwang pulled off, and how the suspense factor got lost in the gooey gore of ``Black House.’’

Rising actor Ryu Deok-hwan (``Our Town’’) melts into his role, somewhat reminding you of a young Park Hae-il, as Jin-ho’s unlikely sidekick Gwang-soo. The enthusiastic medical intern finds an abandoned corpse in the woods that would be perfect for dissecting, but his lucky day turns into a nightmare when the dead man turns out to be the missing son of a powerful politician.

Afraid of being accused of murder, Gwang-soo seeks the help of Jin-ho. Our dandy personal investigator refuses, naturally, but is eventually won over by the hefty cash reward. The two are forced to team up and solve the puzzle with a couple of clues found at the murder site, a small pack of white powder and a mysterious Japanese ``karakuri’’ doll.

As the two explore odd corners of old Seoul, the viewer is taken from secret drug rings to exotic Joseon-era circus shows during a time when slaves cost less than cattle. The artist of last year’s hit ``The Good, the Bad, the Weird’’ provides exquisite period details.

Despite their initial bickering, intuitive Jin-ho and brainy Gwang-soo become a productive pair. Meanwhile, Um Ji-won makes a small but memorable appearance as Sun-deok, a quiet noblewoman by day and quirky inventor by night who provides C.S.I.-worthy tips and nifty gadgets for the case.

Shortly thereafter, another important social figure is killed and discarded in the same manner. Here, the movie lets the viewer know whodunit, and the task at hand is to figure out the tantalizing why bit. The police, led by ambitious social climber Young-dal (played by yet another talented actor, Oh Dal-su), are eager to close the case by framing an innocent man. Jin-ho and Gwang-soo, however, discover crucial evidence that leads to astonishing secrets.

English subtitles will be available at CINUS Myeongdong and Gangnam. The movie will be released nationwide April 2. 15 and over. Distributed by CJ Entertainment.

Luxurious Korean Beef Dishes at Hanok

청담동 고기집 '하녹'

The typical ``gogijip,’’ or Korean barbeque restaurant, is a large, open, loud and smoky hall lined with long tables, where big groups of families or corporate workers sit on the ``maru’’ (floor) and enjoy charcoal grilled meat with rice, side dishes and various stews and noodles.

"Yukhoe bibimbap (육회 비빔밥)"
Korean mixed vegetable rice with beef tartare
/Photo by Lee Hyo-won

Hanok, in Cheongdam-dong, is a refined and elegant spin-off of the average Joe’s gogijip. Here, down to earth Korean dishes are upgraded _ in both price and quality.

The owner used to run the fashionable Italian restaurant Il Mare, and Hanok, in tune with the upscale neighborhood, features a chic, simple décor with sleek, modern furniture and traditional lattice windows _ most appropriate for a place with a name homonymous with the Korean word for traditional house.

Along with regular tables and chairs, it features an elevated maru where diners can be seated, shoes off. Unlike most family restaurants, this place features a concaved space beneath the tables for the legs, allowing comfortable seating for skirted women and those unused to sitting in the traditional style.

The menu includes various meat dishes, from barbeques and grills to ``naengmyeon’’ (cold buckwheat noodles) and stews. At an open kitchen counter, chefs can be seen mincing the meat, all guaranteed to be ``hanwu’’ (native Korean cattle) beef and of A to triple A quality. The price is naturally rather high.

Various types of ``bulgogi’’ (marinated beef) and ``galbi’’ (beef barbeque) cost between 23,000 won and 46,000 won per serving. ``Chadolbagi’’ (beef brisket) costs 35,000 won, and ``deungsim’’ (grilled beef sirloin) costs up to 63,000 won per serving. The meats are prepared raw and cooked on the spot over a tabletop griller, just as at any other gogijip.

You can order wine or traditional drinks from the adequate wine menu, featuring bottles that cost between 40,000 won and 230,000 won. A 10 percent tax is included.


"Chadol doenjangjjigae (차돌 된장찌개)"
Soy bean paste stew with beef brisket
Photo by Lee Hyo-won

Epicurean bloggers love the ``fresh meats’’ but if you’re not looking for a big barbeque meal, the a la carte menu, featuring popular Korean dishes, will be more than satisfying. We ordered two must-haves, ``yukhoe bibimbap’’ (mixed vegetable rice with beef tartare, 11,000 won) and ``chadol doenjangjjigae’’ (soy bean paste stew with beef brisket, 11,000 won).

The two meals were served with several side dishes, each one very delicate and savory. The bibimbap came in a large clay bowl filled with carefully prepared greens. The steamed rice and raw beef came separately, as did the red pepper paste. A small pot of doenjangjjigae accompanied the dish.

After adding the meat, rice and pepper paste, you can mix it all up _ using chopsticks rather than your spoon so as not to crush the fresh ingredients. The chilled meat tasted fresh, chewy and juicy, like finely prepared tuna belly sashimi. The red pepper paste had a mild consistency and spiciness that anyone, even those with delicate palates, can consume without worrying too much. While the yukhoe dish is highly recommended, those who aren’t fans of raw meat can order regular bibimbap (8,000 won).

The chadol doenjangjjigae was absolutely delightful. With the addition of thin, fatty strips of beef brisket, the typical clam-flavored stew tasted rich and super savory, dripping with protein in every spoonful. It was served with a bowl of rice. Other stews offered at Hanok are regular doenjangjjigae, kimchi ``jjigae’’ (stew) with pork and ``galbitang’’ (beef rib soup), which are priced between 7,000 won and 16,000 won.

Hanok is located behind the main strip of Cheongdamg-dong, which is lined with fashion boutiques. The closest subway stations are Apgujeong on line 3 and Cheongdam on line 7. To get there, go up the alley next to the Prada flagship store and make a left. You can easily find a black sign with white letters in English. Open everyday from 11:30 a.m. to 10 p.m., with a break between 3:00 and 5:00 p.m. Call (02) 3445-7857.

`Traditional Hanok Villages'

"The Spirit of Korean Cultural Roots 25: Traditional Hanok Villages"
by Oh Hong-seok
Ewha Womans University Press: 172 pp., 15,000 won

This comprehensive book presents different types of housings and buildings and their functions and characteristics within the context of the community. While detailed and full of colorful photographs, and covering a wide timeline across different Korean dynasties, the book is very compact.

The book begins by examining the development and decline of old capitals and goes on to introduce specialized villages such as the detached palace or regional fortress villages, those around shrines, mountains and seaside, and villages inhabited by scholars and grave keepers. The function and role of each are described.

The author shows that the tradition of a village is sustained in harmony with historical development but in other cases it changes and disappears. With the introduction of Western culture and belief in its superiority, rapid modernization took place, accelerating the decline of the traditional Korean village.

Leon Lai, Zhang Ziyi's `Paper Handcuff Fame'

Leon Lai doesn't age, like a Stephenie Meyer vampire (or perhaps the art of science? A state of mind? It's amazing, whatever it is). Ms. Zhang was really adorable. I loved her little outfit, complete with T-strap patent leather shoes.

Leon Lai (여명), Chen Kaige (첸카이거) and Zhang Ziyi (장쯔이) /Yonhap

Chinese superstars Leon Lai and Zhang Ziyi can relate strongly with their ``Forever Enthralled’’ characters, legendary Beijing opera singers who were constantly trailed by camera-totting reporters.

``Thank you for all the camera flashes,’’ Lai told reporters at the Korean premiere for the Chen Kaige film, Tuesday, in Seoul. The period drama awaits nationwide release here, April 9, after topping the Chinese box office and circuiting the Berlin International Film Festival. Despite the mounting irritation among press members over the event’s delay, camera flashes did not cease as photographers tried to capture every gesture of the lead actors when they finally emerged.

``The camera flashes conjure up fond memories from the film shoot. Back in the days (of the film’s early 20th-century setting), reporters had cameras that took a long time to flash. There are generational differences, but some things remain the same,’’ he said, smiling. In the 1990s, the actor broke women’s hearts in romances like ``Tian Mi Mi (Comrades: Almost a Love Story),’’ and at 42, he looked as young as ever in his gray jacket and jeans.

In ``Forever Enthralled,’’ Lai plays Mei Lanfang (1894-1961), who is still remembered as ``the emperor of Beijing opera’’ for his roles as women more beautiful than women. The film features a peculiar scene where a disgraced actor is forced to parade around wearing paper handcuffs _ ``It’s a manifest metaphor for the dispossession of personal freedom that often accompanies stardom,’’ explained director Chen.

The movie’s lead actor, when asked if he could relate to such paper handcuffs, said, ``Zhang Ziyi is certainly wearing paper handcuffs these days, perhaps with some photographs taken at the beach.’’ The rest of the room, including Zhang, exploded with laughter at the upfront mention of the so-called Internet ``sex photo gate’’ stirred by the ``Crouching Tiger, Hidden Dragon’’ star’s public display of affection with fiancé Vivi Nevo.

``My privacy was invaded recently as well, when the paparazzi took pictures of my home through a window with drawn curtains. But what can you do? I try to be pleasant about it,’’ he said. Zhang, who kept her composure while appearing chic in a jacket and mini skirt, provided no further comment. Despite the inconveniences of his celebrity status, however, Lai said if he had to choose between love and career like his character, he would choose the latter.

Art of Opera

For director Chen, who grew up watching the actual Mei Fanlang perform in his father’s theater, the biographical film bears the fruits of his lifelong dedication to capturing opera onscreen. In his 1993 classic ``Farewell My Concubine,’’ Leslie Cheung immortalized a character crafted after Mei. Regarding the inevitable comparison with the late actor in playing Mei, however, Lai said he felt ``no pressure at all.” He added, ``Leslie Cheung is a senior actor whom I deeply love and respect, and I played no part to inspire such comparisons with him.’’

The director agreed, saying that ``Farewell My Concubine’’ is ``a very different piece.’’ ``If Dieyi (Cheung’s character) was like fire, then Mei (played by Lai) is like water that trickles into any form, to play any character. He is a personification of the Asian spirit,’’ he said.

Zhang, who plays the role of a singer impersonating male characters onstage, said she had to undergo intense training to master the subtle dance movements and quivering vocals of opera. The filming itself took over seven months, the longest ever period for a Chinese language film. Both actors do all the singing and dancing.

The movie touches hearts as the two sacrifice their love for the stage; but those who expect a sensual beau-monde China romance like ``In the Mood for Love’’ may be disappointed by the platonic affair. It is nevertheless engrossing as actor Sun Honglei, a household name in China, heightens the dramatic tension as Mei’s obsessive manager who is ready to sell his soul for the singer.

The transporting experience of the film is made complete by the refined period details and an otherworldly exoticism and sexuality, where men play graceful heroines and women, masculine heroes, and powerful middle-aged men exploit the beauty of pretty boy opera singers.
But the film also seethes with laughter and life. ``My character is a novel and bright personality, like sunshine,’’ said Zhang. In one scene the svelte, feminine actress sings with a low, bellowing voice _ without warrior costumes and a beard _ opposite Lai, who plays a blushing maiden in a fine linen suit and neatly cropped hair.

In theaters April 9. 118 minutes. 12 and over. Distributed by SK Telecom.

Sarah Brightman 'Symphony: Live in Vienna'

Sarah Brightman
`Symphony: Live in Vienna’
EMI

Sarah Brightman’s unforgettable ``Symphony’’ tour came to an end in Korea, Friday, but fans can review the spectacle in the specially released album featuring the CD and DVD of her Vienna performance.

It features powerful rock-inspired tracks such as ``Fleur du Mal’’ from the album ``Symphony’’ as well as signature songs ``The Phantom of the Opera’’ duet, with Chris Thompson, and ``Time to Say Goodbye.’’ Also included are passionate duets with Alessandro Safina.

The DVD captures the fantastic stage sets that dazzled concertgoers. Her studio recordings are top notch, but the queen of popera sparkles with that special something in the live performances.

Korean Films to Return, Compete in April

South Korean cinema offers only a handful of releases this month, but a big lineup of homegrown films awaits moviegoers in April.

Some 10 domestic titles are slated for release next month, of which a majority are mainstream franchises that will play in theaters nationwide.

Leading the pack is ``Private Eye (그림자 살인),’’ coming to screens April 2, starring Hwang Jung-min as a private detective and Ryu Deok-hwan as a young medical trainee who try to solve a serial murder case during the Japanese colonial era (1910-45). A special preview of the film with English subtitles is taking place at 7 p.m. tonight at CINUS Myeongdong Theater. The subtitled film will be available on the official release date at the venue, as well as CINUS Gangnam.

"Urijibe Wae Watni"
(Why Did You Come to My House; 우리집에 왜 왔니)

A week later, Gang Hye-jung, the charming heroine of ``Welcome to Dongmakgol,’’ will return to the big screen opposite Park Heui-soon (``Seven Days’’) in ``Urijibe Wae Watni (Why Did You Come to My House?),” a quirky tale about a bizarre young woman who interrupts the suicide attempt of a frustrated man.

``Breathless (똥파리),’’ which recently made headlines by winning a series of awards at European festivals, will be released April 16. It’s expected to continue the renaissance of independent cinema here, following the hit movie ``Old Partner.’’

On April 23, Kim Ha-neul and Kang Ji-hwan will star as secret agents tangled up in a comical love affair in ``My Girlfriend Isn’t an Agent’’ (working title; 7급 공무원).

"Thirst" (박쥐)

April 30 will have a big showdown for Korean films, with the simultaneous release of celebrated director Park Chan-wook’s provocative vampire story ``Thirst,’’ starring award-winning actor Song Kang-ho and starlet Kim Ok-vin; ``Insadong Scandal’’ (working title), a conspiracy story involving the local art scene with heartthrob Kim Rae-won and sex symbol Uhm Jung-hwa; and ``Gimssipyoryugi (Adventures of Mr. Kim; 김씨표류기),’’ a comedy in which an unlikely pair, Chung Yeo-won and Jung Jae-young, end up stranded on a desert island.

All three franchises feature big stars and unique storylines and are backed by some of the country’s major producers and distributors. Several other indie flicks also await release in select theaters.

The mass release of Korean films in April can be seen as a result of avoiding the months of March, which is usually a slack time for cinema, and May and June, when Hollywood blockbusters start rolling in.

"Insadong Scandal (인사동 스캔들)" (working title)

But the high competition, with additional rivalry from highly anticipated foreign films due in April, is not always in the best interest of local ticket sales, according to some film marketers. In February, three homegrown thrillers, ``Marine Boy,’’ ``The Scam (작전)’’ and ``Handphone’’ were released at one-week intervals, and while each received positive feedback, ticket sales were split among the three and none marked a big hit.

``The lineup of foreign films waiting to be shown in April is pretty tough, and it’s a big worry that all these Korean movies will be released around the same time,’’ said one marketer for a domestic film awaiting release next month.

SAC Hosts Orchestra Festival Throughout April

Classical music aficionados may be disappointed by the cancellation of tours by many foreign orchestras, but performances by domestic troupes will be in full swing throughout April with the Seoul Arts Center’s annual Orchestra Festival featuring 17 top Korean ensembles.

Violinist Stefan Jackiw
/Courtesy of Seoul Arts Center

The 2009 program will take place April 3-21, beginning with the Bucheon Philharmonic Orchestra. The opening night will feature violinist Stefan Jackiw, a noted Korean-American artist who is known here as a member of the popular chamber group Ditto and as the grandson of the famed writer Pi Cheon-deuk. The 17-day relay concert will continue with performances by a different orchestra each day.

This year marks the 20th anniversary of the event, which began in 1989 with the opening of the center’s Concert Hall. It has developed into a major music festival that gathers top national artists in one place.

Expectations for the event are high, as top musicians will appear as soloists for concertos ranging from Brahms to Beethoven and Berlioz. Future leaders of classical music will participate, including up-and-coming pianist Kim Tae-hyung (Daejeon Philharmonic, April 4); cellist Koh Bong-ihn (Jeonju Philharmonic, April 5), who is balancing a medical career at Harvard with playing alongside artists like Yo Yo Ma; and Lim Dong-min, who is a star pianist here along with his brother Dong-hyek (Suwon Philharmonic, April 17).

Conductor Yeo Ja-kyung
/Courtesy of Seoul Arts Center

Also notable is that a prominent female conductor, Yeo Ja-kyung, has been invited to lead the KBS Symphony Orchestra, April 16, which is a first for the event. Other maestros such as Kim Hong-je (Ulsan Philharmonic, April 8), Jesus Amigo (Gyeonggi Philharmoinc, April 11) and Baldur Bronnimann (Seoul Philharmonic, April 13), will take the baton. Child-prodigy-turned-maestro pianist Ian Yung-wook Yoo will close the festival with the Busan Philharmonic, led by Alexander Anissimov, April 21.

For the first decade, the event helped to promote the growth of classical music in Korea, and the last decade was devoted to enhancing the performance level of individual musicians. In doing so, new talents across the country were discovered and these musicians matured and developed their own musical color over the years.

As such, two newcomers selected through the Guest Players Audition ― violinist Kim Hyun-gi and bassoonist Lee Min-ho ― will appear with the Seoul Philharmonic, April 13, and Changwon Philharmonic, April 14, respectively.

The performances will take place at the Concert Hall of the Seoul Arts Center. Tickets cost from 10,000 won to 30,000 won. Discounts are available for members of the Seoul Arts Center as well as for students and group reservations. For more information on the event, call (02) 580-1300 or visit www.sac.or.kr/eng (English).

Korean Films to Meet Int'l Audiences

Three South Korean films, with support from the Korean Film Council (KOFIC), will soon be available to international audiences, the council announced Wednesday.

Yoo Ha’s ``A Frozen Flower,’’ starring heartthrobs Zo In-sung and Joo Jin-mo, will premiere Friday in Taiwanese theaters. Infinity International secured the distribution rights for the sexually charged historical drama.

Eleven Arts acquired the American distribution rights for Noh Young-seok’s ``Daytime Drinking,’’ which is tentatively scheduled to enter U.S. cinemas April 10. The humorous indie flick revolves around an unfortunate man who is dumped by his girlfriend, stood up by his friends and victimized by the Korean drinking culture.

Belgian Cineart pursued the rights to screen Na Hong-jin’s gritty thriller ``The Chaser.’’ Belgians will be able to view last year’s multi-award winning film beginning April 22. The film recently won Best Action Asian Film Award from France’s Deauville International Film Festival.

Meanwhile, ``Breathless’’ by Yang Ik-june won the top prize at the Fribourg International Film Festival in Switzerland. This adds to the independent film’s roster of awards including coveted awards at the Las Palmas de Gran Canaria, Rotterdam and Deauville festivals.

Young Star Pianists to Go On Stage

Young, popular pianists will grace Seoul Arts Center this week ― Kim Sun-wook, 20, who is seen as a future leader of the Korean classical music world, will appear Friday with the Seoul Philharmonic Orchestra; Lim Dong-hyek, the 24-year-old with the following of a rock star, will perform Sunday with the Northern Sinfonia; and Evgeny Kissin, the 37-year-old Russian sensation, will perform a long-awaited recital for local fans on April 2.

>>Click for details

Korean Directors Possible Candidates at Cannes'

There may be a possibility for two big name Korean film directors to compete in the Cannes International Film Festival, to be held in May 13 to 24. Park Chan-wook's newest release ``Thirst'' and Bong Jun-ho's new thriller ``Mother'' are the potential candidates, AFP reported Saturday.

Park Chan-wook, who won the top award at 2004 Cannes Film Festival for his internationally-acclaimed film ``Old Boy,'' will return to the movie scene with a vampire thriller, ``Thirst,'' after a three-year hiatus. It tells the story of a respectful priest (Song Kang-ho) who becomes a vampire after receiving a blood transfusion from an unknown source. The vampire-turned-priest then falls in love with his friend's wife (Kim Ok-bin) and the two lovers plot a murder. The movie is slated for release on April 30.

Bong's thriller ``Mother'' stars veteran actress Kim Hye-ja as its main character, differing from most thrillers which usually boasts a lineup of younger male actors. Kim plays the role of a distressed mother who fights against the world in her struggle to prove the innocence of her son (Won Bin) from a false charge of homicide. Slated for release in May, Bong hopes to explore the unconditional love that all mothers have for their children. The director received the award for Best Director at 2007 Oporto International Film Festival and at the 2007 (Korean) Grand Bell Awards for his monster film ``The Host.''

As for the potential winner of the Golden Palm, or the Palme d'Or, AFP listed world-renowned directors such as Jane Campion, Quentin Tarantino, Johnnie To Kei-Fung, Pedro Almodovar and Ken Loach.

The General Delegate of Cannes International Film Festival Thierry Fremaux told AFP that Cannes is always open to ``discovering new talented directors.'' The final list of successful candidates will be announced April 23.

Greatest Maksim

Maksim Mrvica
`Greatest Maksim’
EMI

Charismatic pianist Maksim Mrvica wowed Korean fans in his March 18 concert, and this compilation album of his greatest hits will help concertgoers relive the experience while servicing those who missed it.

In addition to his unconventional crossover music, the Croatian’s rock star good looks continue to attracted a staunch fan base here. Maksim’s fingers fly across the electronic piano in ``The Flight of the Bumblebee,’’ silencing complains that classical music is boring.

Also featured are ``Exodus,’’ ``Wonderland’ and ``Nostradamus,’’ as well as ``Merry Christmas Mr. Lawrence’’ from the Japanese film.

Rain Ordered to Pay $8 Mil.

K-pop singer Rain and his managers were ordered to pay more than $8 million to Hawaii promoters for canceling a 2007 concert in Honolulu, the Associated Press reported, Thursday.

An American federal jury said the 26-year-old star, his agency at the time JYP Entertainment and two South Korean promotion companies breached a contract to perform, and defrauded Click Entertainment. Nearly $5 million was called for in punitive damages, with Rain and JYP each ordered to pay $2.4 million. An additional $1 million was awarded for damages related to the fraud and $2,286,000 was called for breach of contract. This amounts to about 11.27 billion won.

``We're obviously very disappointed with the jury's decision in this matter,'' Rain's lead lawyer, Jon Crocker, was quoted as saying. ``We maintain our position that both JYP and Rain fulfilled all their obligations with regard to the Hawaii performance. We will continue to vigorously defend them, wherever these promoters bring these baseless lawsuits.''

Rain's concert was canceled a few days before the scheduled June 15, 2007, event at Aloha Stadium. It was supposed to be the first stop of the ``Rain's Coming'' United States tour, and fans paid as much as $300 for a single ticket and flew to Honolulu from as far away as Japan. >>More

Who is Rain?
The 26-year-old singer is widely known as ``the Justin Timberlake of Asia.'' In addition to his dance music, he gained popularity for his roles in ``Full House'' and other Korean TV soaps. In 2006, Time magazine named him one of the ``100 most influential people in the world,'' and nominated him again this year for the online vote.

He made his Hollywood debut last year in the Wachowski brothers' film ``Speed Racer'' and will appear in a leading role in the upcoming action film ``Ninja Assassin,'' co-produced by the brothers and directed by James McTeigue.

Foreign Orchestras Cancel Korean Tours

Amid the financial downturn, several big overseas orchestras scheduled to perform in South Korea this year have CANCELLED, boohoo:

• April: Radio France Philharmonic Orchestra with maestro Chung Myung-whun called it quits; also cancelled Japan tour
• May: Korean sponsors uninvited thePittsburgh Symphony due to the terrible exchange rate.
• October: Cincinnati Symphony's Korean debut with flutist Choi Na-kyung is cancalled; also called off Taiwan tour, but Japan tour remains intact. Facing financial troubles, the American ensemble was forced to cut 20 percent from salaries for orchestra members, said Vincero, the local concert organizer.
• December: Dmitiri Kitajenko-led Vienna Symphonywithdrew plans to tour Korea and China.

Until recently, orchestra performances were the cream of the crop among classical concerts here, as they often attracted generous corporate sponsorship and high ticket sales. But such concerts are now a mounting concern for organizers, as unfavorable exchange rates raise guarantees and airfare, while corporate sponsorship and profits are dwindling.

Last fall, in spite of successful ticket sales and positive reviews, organizers of the La Scala Opera Theater Orchestra and Los Angeles Philharmonic concerts suffered a deficit due to the weak won. As various Asian tours are being called off, European and North American orchestras and music management agencies are also suffering.

But!

Tours by the Northern Sinfonia, led by Thomas Zehetmair featuring pianist Lim Dong-hyek as soloist on March 29, and the Tokyo Metropolitan Symphony Orchestra, with violinist Kwun Hyuk-joo on April 16, remain intact.

Concertgoers can also look forward to performances by domestic troupes such as the Seoul Philharmonic, KBS Symphony and Bucheon Philharmonic Orchestra, among others. Seoul Arts Center is hosting the Orchestra Festival all throughout April.

Miura’s Flight as `Japanese Butterfly’

Late Japanese soprano Tamaki Miura
(public domain photo)

The premier opera theater Trieste Verdi gave its first performance in South Korea, from March 12 to 15, with its original cast and chorus from Italy. Japanese soprano Mina Yamazaki, who appears in various European theaters, shared the role of Cio-Cio San in Puccini’s ``Madame Butterfly.’’

During a different time, however, casting a ``Japanese Butterfly’’ would have made headlines, as was the case for the late Japanese soprano Tamaki Miura (1884-1946).

``Madame Butterfly’’ was inspired by the short story by J.L. Long, and Puccini, never having traveled to Japan, composed music featuring faux Japanese tunes. Things Japanese were in vogue at the time, and the opera was a success. It remains one of the most frequently staged works to this day.

In 1915, Miura, a petite Japanese soprano, stole the international spotlight by debuting as Cio-Cio San in London _ becoming the first Asian woman to play an Asian character in the West. Shortly thereafter, she made her American debut.

``The novelty of the title role being sung by a young woman from the Orient attracted a large audience,’’ said the New York Times about Miura’s appearance with the Boston Opera Company in an October 1915 article. Although this particular daily questioned, ``Is Mme. Miura an artist or merely a curiosity?’’ as it criticized her thin voice, the majority of the Western press seemed ecstatic about the ``authenticity’’ of her performance, according to University of Hawaii professor Mari Yoshihara (``Musicians From a Different Shore,’’ Temple University Press). >>Fabulous book -- a must read on Asians & classical music

At the time, it must have been special to see a delicate Japanese woman in the role of a geisha who sacrifices everything, including her own life, despite the betrayal of her American husband. She embodied all that was fascinating about perceived Asian femininity. This is ironic, however, since Miura in real life was a most untraditional Japanese woman, as Yoshihara suggests.

The soprano was born in Tokyo in 1884 and rose to prominence by singing in the first domestic productions of Western operas. She became known as a ``modern woman’’ who rode bicycles. She stirred scandals by divorcing her first husband and then abandoning her second for her career, not returning to Japan even when he died while she toured Europe and North America.

Interestingly, Miura was well aware, said Yoshihara, of the Western Orientalist perspective on herself and the flaws of the opera: ``The first act is almost thoroughly absurd to the Japanese, and one can see this as an unfiltered expression of the fantasies of the foreigners who have no understanding of Japan,’’ she was quoted as saying.

Nevertheless, the ``Japanese Butterfly’’ used the West’s fascination with her appearance as an advantage, and wore the kimono in public events even though her contemporaries more often wore Western clothing. As she became popular, she gave recitals featuring a combination of classical works by Mozart, Japanese folk songs and arias from ``Madame Butterfly.’’

Furthermore, she embraced the idea that the work was written by and for the Westerner. She is quoted as saying, ``No matter how hard I try to perform in an authentically Japanese fashion, such a performance would not fit neatly with the opera as a whole. One has to harmonize Japanese emotions and manners into the opera.’’

Miura did not, however, approve of the palpable flaws of the productions. She adjusted the costumes, which often looked Chinese, and also suggested featuring ``sake’’ (Japanese rice wine) in the wedding scene as well as traditional Japanese dance movements.

Meanwhile, the Japanese press both hailed and denounced Miura’s activities, praising her role for introducing Japanese culture, but also chastising her failure to fulfill a ``proper’’ woman’s role. The successful star usually ignored the latter, but as the Pacific War escalated, and sentiment against things Western turned sour, she acted quickly to denounce Western music. But after the war, she resumed singing Western songs and -- like Madame Butterfly -- was baptized, shortly before her death in 1946.

Read more about Trieste Verdi's "Madame Butterfly"

The Black Cat and Other Short Stories

By Edgar Allan Poe & illustrations by Luis Scafati
Translated from English to Korean by Kang Mi-kyung.
Munhak: 107 pp., 9,500 won

This is no storybook for children. Accompanied with Luis Scafati’s stylistic yet harrowing black and white drawings, Edgar Allan Poe’s horror stories make violent graphic novels for adults, such as ``Watchmen,’’ look rather tame.

This year marks the bicentennial of the birth of the late American writer (1809-49), and Munhak provides reliable Korean translations of ``The Black Cat,’’ ``The Pit and the Pendulum’’ and ``The Premature Burial.’’

Poe achieved fame posthumously. During his short lifetime he suffered from constant poverty, nervous breakdown, depression and inebriety. The short stories explore the dark side of human nature, from irrational rage to insanity, and dream up the greatest nightmares like being buried alive and flirting with death.

The line-by-line translation transports the reader into the macabre world of Poe.

Binoche’s `Summer Hours’ Seethes With Natural Beauty

C'est La Binoche! She is so glamorous! I had the great pleasure of seeing this immensely talented actress-turned-dancer on her first visit to Korea :) I'll be watching her perform with Akram Khan on Friday!

"Summer Hours (L'Heure d'ete)" /Guan

``Summer Hours’’ has ``La Binoche’’ written all over it: the celebrated French actress of many talents brings a small family movie that enables the viewer to instantly connect with the effervescent characters and feel part of the family as it deals with the passage of time.

In the film, director Olivier Assayas (``Paris, Je t’aime’’) captures all things natural, beautiful and nostalgic _ a room warmed by the late afternoon sunbeam just before dusk, a vase of fresh summer flowers bound to wither and fade, berry-picking with one’s grandmother but outliving her all too soon. Of course, those tender moments are fleeting, and life goes on, making way for new memories. Like Im Kwon-taek’s ``Chukje,’’ ``Summer Hours’’ deals with death in the family as a celebration of life.

Juliette Binoche speaks to the press Wednesday during her first visit to South Korea. /Yonhap

``This is a small budget film that we shot very quickly, and I had the pleasure of working with the magnificent actress Edith Scob. I’ve already worked with Olivier Assayas on `Rendez-Vous’ and we shot the movie in a joyous, family-like atmosphere,’’ Binoche told reporters Wednesday following the film’s press preview in a Seoul theater during her first visit to Korea.

Elegant actress Edith Scob plays Helene, who has dedicated her entire life to the posterity of the artworks by her beloved uncle Paul Berthier. Shortly after her 75th birthday, she passes away suddenly, leaving behind the house a collection of art, antique furniture and fine objects. Her eldest child, Frederic (``L’Ennui’’ star Charles Berling), insists on preserving his mother’s legacy. However, this is not in the best interest for his siblings Adrienne (Binoche), a designer based in New York, or Jeremie (Jeremie Renier, ``Atonement’’), who is in need of money for moving to China.

The film is a visual delight: In addition to the lush provincial gardens, viewers can indulge in the colorful panels by Jean-Baptiste Camille Corot, a broken figurine by Edgar Degas (a childhood accident), beautiful antiques by Louis Majorelle, unique vases by Felix Bracquemond and luxurious silverware by George Jensen.

As some of the household treasures become still life exhibits at a museum, one may be reminded that such seemingly lifeless items may have once held secret diaries, fresh flowers and fond memories (Binoche herself had an uncle on her father’s side of the family that donated items to the Louvre). Another treat for art buffs is the sneak peak into the fabulous storage space and restoration lab of the Musee d’Orsay. In celebration of its 20th anniversary in 2007, the Paris museum provided generous support for the movie.

In theaters March 26. 100 minutes. All ages admitted. In French with Korean subtitles. Distributed by Guan.

>>Read more about the Juliette Binoche Retrospective in Seoul and more quotes from the fabulous actress.

`Comfort Woman’ Film Touches Japan

Ahn Hae-ryong’s ``My Heart Is Not Broken Yet’’ documents Song Sin-do, center, the only World War II sex slave to ``come out’’ in Japan, and her Japanese supporters’ decade-long efforts to sue the Japanese government. /Courtesy of Indiestory

If Erin Brockovich’s cleavage helped her defense, then Grandma Song Sin-do’s unbreakable heart keeps her fighting her case. Currently playing in theaters is Ahn Hae-ryong’s ``My Heart Is Not Broken Yet,’’ which documents this ``unconventional’’ World War II victim who has become something of a star in Japan while filing a lawsuit against the Japanese government.

Only recently have surviving ``comfort women,’’ who were forced into sexual slavery in Japanese military brothels during war, dared to speak of their past. In 1991, Kim Hak-soon was the first to give a public testimony in Korea and two years later, Song became the first in Japan.

The local media often portrays a group of fragile, teary-eyed grandmothers and supporters demonstrating vehemently in front of the Japanese embassy in Seoul _ but in Song’s instance, it was a group of Japanese civilians who persuaded her to file a case against the Japanese government and demand a formal apology. And unlike other war victim, this ``hard as nails’’ 77-year-old exhibits ``rage and humor unbefitting a sufferer,’’ according to an Asahi Shimbun reporter in the film.

Inspired by Song, some 670 Japanese individuals funded the documentary. Song’s sharp tongue makes ``My Heart’’ humorous as much as it is moving, and moreover, inspirational to see how an individual can transcend personal struggles. Rather than lamenting over seven years of sexual slavery she condemns the inclusive horrors of war itself, arguing that Japanese soldiers and sex slaves were all victims. The film moves away from the anti-Japan sentiment that is usually associated with the issue here, and she even welcomes veteran soldiers as valuable witnesses for her case.

Moreover, the film documents her personal transformation. In spite of her charisma and wit, the past had made her deeply untrusting of people and the difficulties of living as a foreigner in Japan had deprived her of the sense of belonging. Through her journey, she learns to open her heart to strangers and reconnect with her homeland.

The movie is currently showing in various venues in Japan since it was first released in August 2007. Song has been touring the nation to tell her story, particularly to high school students. ``It is necessary that many Japanese people be informed of (comfort women) and the movie must be seen in order to spread the knowledge,’’ a teenage girl was quoted as saying after watching the movie, according to the film’s domestic distributor.

Born in 1922 in South Chungcheong Province, Song was coerced into sexual slavery at military brothels in China at the tender age of 16. Over seven nightmarish years, she was impregnated numerous times, and had to give away two of her surviving babies to local families. All that remain with her are a tattoo of her slave name ``Ganeko,’’ a damaged left ear and several deep scars from beatings. >>More

Actress Moon So-ri provides the narration. Also featured is music by Korean-Japanese musician Pak Poe, who is known as the Bob Dylan of Japan. A portion of the profit from ticket sales will be used to fund the establishment of the War and Women’s Human Rights Museum in Korea (http://www.whrmuseum.com/).

Read about ``Chinese Pink," another unconventional account on WWII sex slavery.

Video Art Opera Smart Despite Flaws

Trieste Verdi’s first South Korean tour came to an end Sunday, after four consecutive performances before a full, enthusiastic house. Director Giulio Ciabatti’s rendition of Puccini’s ``Madame Butterfly’’ impressed local fans with its talented singers, tasteful video art-inspired stage set and a modern approach to the Orientalist love story.

Each evening, some 3,000 people crowded the Grand Theater of Sejong Center for the Performing Arts, in downtown Seoul, and the usually tame Korean audience did not refrain from shouting ``bravo’’ for the original cast of the Italian theater.

Sopranos Raffaella Angeletti and Mina Yamazaki alternately played heroine Cio-Cio San, depicting the character transformations with great finesse, from a blushing _ though not completely innocent _ 15-year-old that knows how to steal a man’s heart to the anguish of a woman scorned. In spite of the alluring leading ladies, mezzo-soprano Cinzia De Mola shined through with her compelling performance as the faithful servant Suzuki.

Tenor Roberto De Biasio, with his dashing youth and clear, ringing voice, was charming _ and despicable _ as Pinkerton, while Mario Malagnini gave a more weighty, charismatic interpretation. The Trieste Verdi Theater Chorus and the Gyeonggi Philharmonic, led by Lorenzo Fratini, provided top-notch acoustics.

The very distinct, Zen minimalist stage was marked by a splash of bright colors, ornate costumes and creative video art backdrops _ giving the production an elegant glow. In particular, the video art, inspired by the works of the late Korean artist Paik Nam-june, was subtle in defining the ambiance without dominating it, and provided a more organic narrative flow among the three acts of the second half of the production.

While it was slightly disappointing to see that the latter half featured the same images that appeared in the former, the ``recycling’’ created a more cohesive look. Video art is a great alternative to prevent the blizzard-like snow effects that reportedly marred the Vienna State Opera’s recent performance of ``Eugen Onegin’’ _ beautiful virtual cherry blossom petals provide a magical aura rather harmlessly.

In addition to the music and visuals, Ciabatti made a commendable effort to provide a more universal story about the pathos of betrayed love. The original opera, in contemporary American parlance, can be described as an impoverished prom queen who, with her innate charms being her singular asset, opts to marry a rich Japanese businessman. She falls head over heals for him and even after he leaves her with an unlikely promise to return, she refuses to give up hope while raising their child and rejecting the advances of a young J.F. Kennedy. When she finally learns of his betrayal, she kills herself.

But of course, the opera is set in early 20th-century Japan, and tells the story of a geisha’s unconditional love for an American naval officer. She gives him everything, including converting to Christianity, at the cost of losing her family and friends.

One can argue that, putting aside Western Orientalist fantasies about Asian feminity, such self-sacrificing love continues to inspire near and far. But recent examples like the Hollywood film ``Original Sin’’ justify self-sacrifice by featuring a femme fatale. Here, Pinkerton is nothing like an alluring Angelina Jolie that can bewitch Cio-Cio San. It is merely her (imagined) Japanese-ness, her subservient attitude that allows such blind, tragic romance. Despite the best of attempts, the inherent flaws in the piece remain.

*Photos courtesy of Sejong Center/Trieste Verdi Theater

Piano Duo, Marathon Invite Fans

Among the myriad of piano concerts that take place in Seoul, there are two that particularly stand out:

Two Plus Two

Renowned pianist Moon Yong-hi, 60, and her husband Lee Dai-uk, 61, will host a piano concert, Thursday, at Myeongdong Cathedral in downtown Seoul. This is the couple’s first duo in seven years since their 2002 concert at Seoul Arts Center.

Moon is known as the first Korean professor at the prestigious Peabody Institute at Johns Hopkins University while her husband Lee splits his time teaching at Hanyang University and conducting the Ulsan Philharmonic Orchestra. The two often took to the stage together as soloist and conductor, so this will be a rare chance to hear their four hands together on the keyboard.

``As husband and wife and fellow musicians we have walked a long path together, and so we seem to know each other’s thoughts with a single glance or a single music note,’’ Lee was quoted as saying in an interview with Yonhap News. ``We hope to offer something more mature than seven years ago. My heart flutters to think I’ll be taking the stage with my life partner,’’ he said.

The two musical and life partners, however, differ drastically in terms of artistic temperament. Moon is considered a more detailed and passionate player, while Lee offers more serene, organic sounds. ``It is a great pleasure to visit each other in Korea and the United States, and to practice together on the piano and fine tune each other’s musical colors,’’ said Lee. ``We are at times at odds with each other for musical interpretations, but we overcome it to make beautiful, harmonious music.’’

The couple will play Schumann’s Six Etudes in Canon Form for Pedal Piano, Op. 56 and Messiaen’s ``Vision de l’Amen’’ for piano duo. It is expected to be a unique concert experience to hear the religious pieces in the cathedral, where the late Cardinal Stephen Kim Sou-hwan recently lay in state.

Tickets cost 30,000 won. Call (02) 706-1481. The couple will travel to the United States to perform at the Peabody Institute in April.

Classical All Night

This year marks the 30th anniversary of Korean Broadcasting System (KBS) Classic FM, the nation’s foremost classical music radio channel. It is also the 300th year since Italian cembalo inventor Bartolomeo Cristofori introduced the pianoforte in 1709. The 24-hour radio channel will celebrate its anniversary April 2 with a special marathon concert of Beethoven’s complete piano concertos.

From 7 a.m., April 2 to 3 a.m. the following morning, KBS will broadcast a special 18-hour show, including a live concert from KBS Hall in Yeouido (93.1 MHz on FM radio). From 7 to about 10:30 p.m., all five of Beethoven’s piano concertos will resound deep into the night.

Top Korean pianists will play the concertos: Han Dong-il (Concerto No. 5), Shin Su-jung (No. 4), Lee Kyung-sook (No. 3), Huh Seung-yeun (No. 2) and Julius Jeong-won Kim (No. 1). Suh Hyun-suk will conduct the Gangnam Symphony Orchestra.

KBS is accepting about 1,500 requests for admission to the concert hall through its Web site (http://www.kbs.co.kr/). Call (02) 781-3255.

Met Opera Celebrates 125 Years With Lavish Gala

Wish I was there... But I was lucky enough to hear Mr. Domingo's performance in Seoul earlier this year -- it was the only one he gave in Asia :) Happy Birthday Met!

NEW YORK (AP) - Fabled past met future promise at a Metropolitan Opera gala like no other _ a triple celebration that honored the New York company's 125-year history, previewed its current stars in upcoming roles, and found time to pay tribute to Placido Domingo's 40 years at the house.

If that sounds like a jam-packed agenda, it was. With excerpts from 23 different operas, ranging from brief arias to extended scenes, the festivities clocked in at just over four hours Sunday night, including intermission.

Much of the evening's charm was due to the loving recreation of old sets and costumes from productions of the past, some of it through the magic of video projection. So the famous picture of Enrico Caruso as Dick Johnson standing on a tree stump about to be hanged at the 1910 world premiere of Puccini's ``La Fanciulla del West'' (``The Girl of the Golden West'') came to life before our eyes. Only this time it was Domingo standing there, ready to launch into his aria, ``Ch'ela mi creda.'' Domingo figured again at the end of the first half in a recreation of the final scene from Wagner's ``Parsifal,'' a 1903 depiction of the temple of the Holy Grail, complete with a white dove fluttering over the knights as Wagner intended.

Domingo was in splendid voice all night. In the Puccini, the Wagner and an excerpt from Verdi's ``Otello'' he was covering familiar ground in roles he's mostly given up. But the highlight of his evening was the extended Act 1 duet from Verdi's ``Simon Boccanegra'' for the title character and his long-lost daughter, Amelia. Not only is this a new role for Domingo, it's written for a baritone. But it seems to fit the darkening quality of his voice well, and he and soprano Angela Gheorghiu blended their voices beautifully.

There were many other standout performances. Natalie Dessay (in a dress based on one worn by Bidu Sayao in 1937) previewed her upcoming Violetta in Verdi's ``La Traviata'' and showed again that she's just about the finest singing actress around. Not only did she nail the coloratura of ``Sempre libera,'' she brought the character's ambivalence about falling in love vividly to life.

Baritone Dmitri Hvorostovsky proved that his current assignment in Verdi's ``Il Trovatore'' hasn't coarsened his voice with a ravishing performance of Yeletsky's aria from Tchaikovsky's ``The Queen of Spades.'' In brief scenes from three Franco Zeffirelli-designed Puccini productions, Joseph Calleja won the battle of the tenors with a sweet-voiced ``Che gelida manina'' from ``La Boheme.''

The evening's decibel prize went to soprano Maria Guleghina and mezzo Stephanie Blythe for their sizzling duet from Verdi's ``Aida.'' Both showed considerable artistry in addition to lung power.

One of the most anticipated moments was the closing duet from Wagner's ``Siegfried,'' a trial run for a new ``Ring'' cycle with soprano Deborah Voigt as Bruennhilde and tenor Ben Heppner as Siegfried. He sounded in healthy voice if slightly restrained, with none of the cracking on high notes that afflicted his ``Queen of Spades'' earlier this season. Voigt did some fine singing, but her repeated forays up to high C were problematic.

Met music director James Levine, whose own 40th anniversary is just two years away, conducted the orchestra with unflagging energy.

One sour note was the absence of soloists of color. As the evening wrapped up and photos of Met performers through the ages flashed on the curtain, it was hard not to reflect on the contrast with the 100th anniversary gala in 1983, when stars like Leontyne Price, Grace Bumbry, Kathleen Battle and Simon Estes proudly held the stage.