Jung’s Musical Promenade Through Paris

Such a lovely man. It was a fun interview; we got carried away talking about Paris, being multilingual (not us but the crazy multilingual people we know), and being fans of the composer Unsuk Chin.

Singer-songwriter Jung Jae-hyung has released a new album, ``Promenade,’’ under the Sony Classical label, and some may be surprised to realize that this is actually the soundtrack for the currently showing ``What Brings You to My House.’’

The former pop star has written scores for several movies including ``Addicted’’ (2002) and ``Love Now’’ (2007), but Promenade involved a different creative process. The tracks may have been inspired by the quirky love story starring Kang Hye-jung, but the movie’s postponed release gave Jung a good year to work on the music as if it were a solo project.

``It functions as a film soundtrack but I wanted it to have a life on its own,’’ the 37-year-old told The Korea Times in a recent interview in Seoul.

Creating music for Promenade was ``like a picnic,’’ he said, and ``happened piece by piece,’’ and this is reflected in the meandering ambiance of the tracks. Piano, cello, flute, oboe, horn and viola tunes conjure up images of warm sunbeams on a lazy afternoon and the sight of light spring rain outside the window of a quiet café.

Singer-songwriter Jung Jae-hyung. (Courtesy of SonyBMG)

The classical instruments, however, take on a more contemporary and edgy -- and at times slurred and discordant -- texture through Jung’s electronic sound designs. There’s also a touch of pop featuring vocals by Lucid Paul and actress-singer Uhm Jung-hwa. Uhm, Jung’s good friend of over 15 years and who has starred in three of the movies he composed scores for, stopped by the venue to say hello.

His music is ultimately modern in language but is simple, poetic and unimposing. Despite the electronic mixing, the result is something whimsical and natural, perhaps similar to the Ahn Trio’s ``Lullaby for My Favorite Insomniac.’’

``Electronic music often feels cold and mechanic, but I tried to draw out warmth,’’ he said. The artist intentionally added glitches to the melody by squishing together some of the rhythm even though it may not be immediately detectable by the naked ear -- perhaps like adding small rips to create fake vintage jeans? ``Yes,’’ he said.

It’s only natural that the album is impressionistic in color; like Impressionist painters who took the easel outside of the studio, the Paris-based artist went on an actual promenade through the city. He would settle down in an outdoor cafe and be inspired by the noise of passing breezes and pedestrians and the clinking of coffee cups.

Like the honored composer Chin Unsuk, of whom he is a big fan, Jung is a classically-trained pianist who speaks in electronic music. ``The beauty of electronic music is that it enables you to directly translate your intentions, to enliven the original ingredients and keep your color,’’ he said. ``Arranging sounds created with classical instruments is rather limited. Electronic sound design is actually easier for me.’’

Is it like working with a sharp pencil for drawing? ``Yes,’’ he smiled. ``Electronic sound mixing enables you to, if it were a drawing, draw a perfectly straight line using a fine-point pencil.’’ Electronic music, he said, is just a convenient tool that allows the artist more versatility in this multimedia age.

``What used to be one-way sourcing is now all open,’’ he said about today’s merging of genres. Jung, a prolific singer-songwriter, also writes prose and draws images such as the watercolor sketches featured in his album.

``It’s not that I’m multitalented or anything. They’re just different forms of self-expression, and these days I don’t think artists need to classify themselves. Ryuichi Sakamoto started out as an electronic musician but now writes music for movies,’’ he said. ``But at the same time, I’m scared. You can go so many ways, with video art and performance, etc,’’ he said.

When asked about his future plans, he already had the next two years mapped out, with a new film score and solo piano album, as well as publishing a book and getting involved with a musical.
``My dream is to simply live toward my dream, and to cherish it. I started out with the simple premise of wanting to do my own music and that’s the most important thing. I wish to become a good-hearted egoist,’’ he smiled.

Star Soloists Coming to Town

The local classical music scene will catch spring fever next month. In this high tide of concerts, however, there are several not to be missed featuring honored soloists such as pianists Martha Argerich and Emanuel Ax, and their protégé, Lim Dong-hyek, and cellist Jian Wang.

Emanuel Ax (Courtesy of Sejong Center)

While many fans were disappointed by the cancellation of tours by foreign troupes such as the Orchestre Philharmonique de Radio France and the Cincinnati, the Staatskapelle Dresden’s Strauss-themed Seoul concerts remain intact.

On May 9 and 10 at the Sejong Center for the Performing Arts, in downtown Seoul, Grammy Award-winning pianist Emanuel Ax will join the 461-year-old orchestra for Beethoven’s Piano Concerto No. 3 in C Minor, Op.37, and Strauss’ ``Burleske’’ in D Minor for Piano and Orchestra.

Founded in 1548, the German troupe is the oldest in the world and has premiered works by great masters such as Vivaldi, Schumann, Wagner and Liszt, among others. Feted conductor Fabio Luisi will lead the group. Tickets cost from 50,000 to 250,000 won. Call (02) 399-1114~6.

Jian Wang
(Courtesy of Deutsche Grammophon)

Cellist Jian Wang is a leading artist, arising from post-Cultural Revolution China a generation before young stars like Yundi Li and Lang Lang.

Wang rose to worldwide fame at the age of 10 when he appeared in violinist Isaac Stern’s documentary ``From Mao to Mozart: Isaac Stern in China,’’ and has since appeared on the world stage alongside artists of renown such as Seiji Ozawa.

The cellist will appear May 14 at Seoul Arts Center for the second of the Seoul Philharmonic Orchestra’s ``Virtuoso’’ series. The Deutsche Grammophon-recording artist will play Dvorak’s Cello Concerto in B Minor, Op. 104. Conductor Scott Yoo, the music director of the Festival Mozaic in San Luis Obispo, Calif., will lead Korea’s leading ensemble for Tchaikovsky’s Symphony No. 1 in G Minor, Op. 13, ``Winter Daydreams.’’ Tickets cost from 10,000 to 50,000 won. Call (02) 580-1300.

Martha Argerich
(Courtesy of Deutsche Grammophon)

Martha Argerich, considered a living legend of classical music, will host part of her Beppu, Japan, music festival here May 24 at Seoul Arts Center.

Joining the music director are pianist Lim Dong-hyek, a protégé of Argerich, now studying under Emanuel Ax in New York, and conductor Sung Shi-yeon, the assistant conductor of the Boston Symphony Orchestra. Both were Korea Times 2008 Next Generation Artists. Another up-and-coming artist to take the stage is trumpeter Sergei Nakariakov.

Ensemble TIMF, of the Tongyeong International Music Festival, will accompany the artists. Lim will play Ravel’s Piano Concerto in G Major, while Argerich and Nakariakov will perform Schumann’s ``Fantasiestucke,’’ Op. 73, and Shostakovich’s Piano Concerto No. 1 for Piano, Trumpet and Strings in C Minor, Op. 35, together. Tickets cost from 50,000 to 200,000 won. Call 1577-5266.

Serial Hollywood Movies Tide In

Heavy May Lineup

Next month, local moviegoers can look forward to the releases of ``X-Men Origins: Wolverine" and other serial big budget American franchises, including the ``Star Trek’’ prequel, the latest Dan Brown movie ``Angels & Demons’’ and the fourth ``Terminator’’ movie.

On May 7, fans can see ``Star Trek: The Beginning,’’ the prequel to the popular sci-fi TV show. Director J. J. Abrams brings a visually striking, action-packed film chronicling the early days of James T. Kirk (Chris Pine) and his fellow USS Enterprise crew members. The star-studded cast includes Eric Bana, John Cho and Winona Ryder, and Leonard Nimoy as the older Spock.

``The Da Vinci Code’’ author Dan Brown inspired another movie, ``Angels & Demons.’’ Tom Hanks returns as symbologist Robert Langdon, who, after decoding cryptic codes in Da Vinci paintings in Paris, returns in a prequel set in Rome to help solve a series of murders in Vatican City. Ewan McGregor joins the cast for the film, which is slated for release May 14. [I read "The Da Vinci Code" during my first week in Paris when I lived there 2004-2005, and then read "Angels & Demons" right before leaving for Rome in March, 2005. I was there for Easter weekend, right after Pope Jean Paul passed away, so I got to see real life parallels from the book! Although I didn't enjoy the movie version of "The Da Vinci Code," I liked "Angels & Demons" much better so I'm hoping the movie will be better too]

Megastars are expected to bring some mega-action to the mega-expensive ($200 million) ``Terminator Salvation,’’ coming to theaters May 21. It’s the year 2018, when much of humanity is destroyed in a nuclear holocaust. Christian Bale (the reason for watchig the movie) assumes the role of John Connor, who leads a group of survivors waging the last battle against the Terminator machines.

Moviegoers can also look forward to the sixth ``Harry Potter’’ film, ``Harry Potter and the Half-Blood Prince,’’ on July 15.

>>Read my previous interview with John Cho

>>Read my review of ``Harry Potter 5''

'X-Men' Explores Wolverine's Humanity

``X-Men Origins: Wolverine’’ marks its theatrical release in South Korea Thursday, and will be followed in May by other highly anticipated Hollywood blockbusters.

``Wolverine,’’ the prequel to the popular mutant franchise, traces the origins of Logan-cum-Wolverine’s mysterious past. In recent years, prequels to superhero stories have focused on their humanity, showing their mortal flaws and existential concerns. While ``Wolverine’’ is not as sinister or thought-provoking as ``The Dark Knight’’ of the latest ``Batman’’ franchise, it features a more complex narrative than what moviegoers may be used to, with the protagonist constantly torn over what Hugh Jackman calls ``anger management issues.’’

The glossy, high-tech look of the first three ``X-Men’’ movies is also toned down. Director Gavin Hood opts for something that feels more rustic, raw and primitive. The screen is filled with the breathtaking natural scenery of New Zealand and Australia, and action sequences involve something more ``classic,’’ such as a vintage Harley Davidson, heightened by the fact that even actors Hugh Jackman and Liev Schreiber chose to do some of the stunts themselves.

Jackman returns to the role of the hot-tempered Wolverine, equipped with indestructible claws and superhuman stamina. The movie takes us back to the mid 19th-century America, when he was just plain James Logan. His fate takes a sharp turn however when his mutant powers awaken and a family tragedy ensues; his brother, Victor Creed-cum-Sabretooth (Schreiber), also turns out to be ``special,’’ and the two run away together.

The two immortal young men fight through the major wars of the past two centuries until they are recruited by William Stryker to serve in a special unit of mutants. When their job involves taking innocent lives, however, Logan calls it quits, while Creed succumbs to his darker side.

Logan is leading a peaceful life in the Canadian Rockies until Stryker asks him to be part of his new Weapon X project. He refuses, but when Creed murders his loving girlfriend, Logan agrees to being injected with a formula called ``adamantium,’’ making him nearly indestructible, to seek his revenge. But when he discovers that his new body, Weapon X, would be merely a puppet controlled by Stryker, he runs away, and Stryker orders Agent Zero (Daniel Henney) to destroy him.

The local press preview last Wednesday for ``Wolverine’’ buzzed with reporters and critics trying to catch the American debut of Korean heartthrob Henney. He gives a memorable supporting role, complete with some neat action sequences, for a character that could easily have been played by a non-Asian actor.

In theaters Thursday. 107 minutes. 12 and over. Distributed by 20th Century Fox Korea.

Andre Previn: `An 80th Birthday Celebration'

Andre Previn
'An 80th Birthday Celebration’
RCA Red Seal

Andre Previn fetes his 80th birthday, which fell on April 6, with a retrospective of his work spanning over half a century.

His career took off when he played the piano for a party hosted by Frank Sinatra when he was just a teen, and went on to become a widely loved composer, conductor and pianist.

This comprehensive album paints a vivid portrait of the prolific artist, featuring everything from jazz to the classical orchestra repertoire. Tracks include ``Bye Bye Blackbird,’’ ``Concerto for Guitar and Orchestra’’ with the London Symphony Orchestra and ``Vocalise’’ with cellist Yo Yo Ma.

Bong Joon-ho Promises Something "Hotter" With "Mother"

From left, actors Won Bin and Kim Hae-ja and director Bong Joon-ho appear Monday at a promotional event in Seoul for their movie ``Mother,’’ which will premiere at the Cannes International Film Festival next month before its local release May 28. /Courtesy of CJ Entertainment

Filmmaker Bong Joon-ho promises something ``hotter’’ for his upcoming film ``Mother,’’ which will premiere at the Cannes Film Festival next month before its local theater release May 28.

``If movies could be measured by temperature, then I imagine that `Mother’ is much hotter than my previous works,’’ the director of the blockbuster ``The Host’’ and modern classic ``Memories of Murder’’ told reporters at a Seoul theater, Monday.

When asked if he felt disheartened about not being in Cannes’ competition pool alongside countryman Park Chan-wook, he said it was too early for him to compete against big names like the ``Thirst’’ director and Quentin Tarantino. ``But I am greatly confident about the movie’s solidity and artistry. Once it’s revealed to the world at the festival, where I’ve had experience with `The Host,’ I am looking forward to people’s reactions,’’ said the 39-year-old about the film’s invitation to the prestigious event’s non-competitive ``Un Certain Regard’’ section.

But Bong was more diffident than confident about the movie, saying he needs more time to figure out whether or not ``Mother’’ is a ``convincing film.’’

``I was shocked to hear figure skater Kim Yu-na say, after winning the world championship, that she gave a `more convincing’ routine for the first time,’’ he said. ``Whenever I’m forced to watch my own movies, I’m constantly regretting, `Why ever did I shoot that scene like that.’ I’ll have to finish post-production and look back at my work.’’

``Mother’’ stars Won Bin as a dimwitted young man who is erroneously framed for a neighbor’s death while South Korea’s veteran actress Kim Hae-ja plays his distraught mother who struggles to prove his innocence by tracking down the real murderer on her own.

``There isn’t a more instinctive word than `mother.’ We say `eomma’ (mother) when we’re surprised,’’ he said, explaining that he chose the phonetic transliteration of the English word for the title because there was already a recent movie called ``Eomma’’ (Long and Winding Road, 2004) starring Ko Doo-shim. >>More

Park Chan-wook's "Thirst" Is Riveting

Song Kang-ho, the uncle next door, sheds 10 kilos and turns uber sexy (no fangs!) and bares all (literally? figuratively? I'll leave it to your imagination). I salute, thee, maestro Park Chan-wook!

Park Chan-wook's ``Thirst'' traces the downfall of a Catholic priest who gets a transfusion of mysterious blood and turns into a vampire. Song Kang-ho, an award-winning actor who starred in ``Secret Sunshine,'' said at the movie's press preview Friday that he hopes the film wins the Palme d'Or at the upcoming Cannes Film Festival. /Courtesy of CJ Entertainment

Park Chan-wook’s latest work ``Thirst,’’ like other great movies, makes you forget you’re watching one, and you won’t be able to stop it from shaking up every cell in your body unless you dart for the exit. Park-brand films are undoubtedly an acquired taste, and this vampire-priest story, slated to compete in Cannes next month, is certainly not for those with weak stomachs. Nor is it, despite being replete with tasteful humor only Song Kang-ho (``Secret Sunshine’’) can pull off and being the first South Korean film to be co-produced by a major Hollywood studio, for those seeking light-hearted entertainment.

This reporter admits having had to close her eyes and plug her ears for some of the extreme scenes, but still had the ultimate audiovisual experience discovering ironic amusement and empathizing with the protagonist’s frenetic actions, disillusionment and despair, listless surrender and dissipation, and, finally, spiritual transformation.

In this story inspired by Emile Zola’s ``Therese Raquin,’’ Park creates a sinister parallel universe where 19th-century French realism and the Western vampire myth melt naturally into modern South Korea. Visually, things are familiar yet exotic, with local Catholic churches evoking a European flair; gaudy, outdated boutiques that are set in a Japanese colonial-era style home; and striking claustrophobic spaces a la Stanley Kubrick.

Regardless of one’s faith, the movie inspires you to look back to the Bible as well as literary classics on religious themes such as Graham Greene’s ``The Power and the Glory.’’

The movie most obviously alludes to the first three chapters of Genesis. Sang-hoon (Song) is a devout Catholic priest residing peacefully in the house of God, like Adam in the Garden of Eden. His only flaw is that he is overly zealous _ in the novel, which Park co-wrote with scriptwriter Jeong Seo-gyeong and novelist Choi In, we learn that Sang-hoon always had a dangerous propensity to sacrifice whatever means for salvation. Despite the behest of his father figure, Father Noh (Park In-hwan, ``The Quiet Family’’), Sang-hoon volunteers for a risky medical experiment in Africa that the Vatican has yet to approve. There, he contracts a virus _ most appropriately called Eve _ and dies, but a transfusion with mysterious blood returns him back to ``life’’ as a vampire.

When he comes home, news of Sang-hoon’s resurrection attracts a cult following of the desperate and the decrepit who are seeking miracles. But Sang-hoon eventually succumbs to his thirst for blood and other hitherto tamed human (or animalistic?) instincts, and begins a sexual relationship with his friend’s wife Tae-ju (starlet-turned-femme fatale Kim Ok-vin, ``Dasepo Naughty Girls’’). He casts off his vestigial collar and allows himself to be persuaded by Tae-ju to kill her impotent husband (most convincingly played by Shin Ha-kyun, a star of ``Sympathy for Mr. Vengeance’’).

But like the whiskey priest of the Greene novel, who discovers the true meaning of being a ``father’’ through breaking the rules _ i.e. fathering an actual child _ the wickedly talented Song as Sang-hoon suggests that light shines brightest in the depths of darkness, and that deliverance is not a lost cause for even the damned. The director explores the murky line between faith and obsession, love and lust, martyrdom and suicide, and blessings and curses.

The cast and crew, including the most talented supporting actors such as Kim Hae-sook (``Viva! Love’’) as the hysterical mother-in-law, craft the story with great gusto and virtuosity. In spite of the dark subject matter, you will be laughing throughout the movie, and might agree with Tae-ju and gasp ``how cute’’ upon seeing Sang-hoon sip blood like Cool-Aid in a bottle and check in a hand mirror afterward to see if his lips are free of the scarlet stuff. (Ma questionne a Monsieur Park about the ironic humor and he said) ``Isn't that life? It can't be just serious all the time,'' said Park after the press preview in Seoul, Friday.

Of course ``Thirst’’ is incomplete without Park’s trademark juxtaposition of serene classical music and harrowing moments of violence. The director reunites with composer Jo Yeong-wook, and opts for J.S. Bach’s ``Cantata No. 82’’ this time. Park, having grown up in a Catholic environment, said that ``Thirst’’ is close to his heart, with the protagonist modeled after his own ``pathetic’’ personality, and the evocative background melody transforms into a monologue as Sang-hoon plays it himself on the recorder.

In his last film three years ago, ``I’m a Cyborg but That’s OK,’’ Park tampered with the digital Thomas Viper for a bubbly, surreal romance, and many say ``Thirst’’ marks his return, via analogue film, to the darker themes of his landmark ``Vengeance Trilogy.’’ ``Thirst’’ does speak a common gory tongue similar to the latter works, and Park said he wanted to create a certain ambiance and texture only analogue could capture. But this tale of redemption is ultimately a human love story, like ``Cyborg,’’ and suggests that all of his movies are as such.

A small regret is that the movie does not go as far as the novel to feature more character development, such as Sang-hoon’s orphaned childhood and frantic search for a father figure, and the computer graphic effects, such as Sang-hoon and Tae-ju’s crazed Superman and Lois Lane moments, are rather awkward.

In theaters April 30. 133 minutes. 18 and over. Distributed by CJ Entertainment.

>>Read about the novel

>>Read about what director Park, Song and Kim had to say about the movie

Park Chan-wook's "Thirst" the Novel

"Thirst" 박쥐
Park Chan-wook and others
That Book: 270 pp., 12,000 won


Award-winning director Park Chan-wook is making headlines with his upcoming film ``Thirst,’’ and presents the book version, co-written with scriptwriter Jeong Seo-gyeong and novelist Choi In.

``This piece was inspired by Emile Zola’s `Therese Raquin’ and is a product of two countries, three centuries and four authors,’’ Park introduces his book.

The book reads quickly and easily even though it is replete with lush, descriptive details in depicting the downfall of a man. Zola’s 19th-century realism and the Western vampire legend melt naturally and eerily into modern Korea.

Sang-hoon, a devout Catholic priest, risks his life to take part in a dangerous medical experiment. During the process he contracts mysterious blood and turns into a ravenous vampire. He starts breaking the 10 Commandments as he succumbs to his newly developed instincts, and what’s more, he becomes entangled in an affair with his friend’s wife, Tae-ju. Meanwhile, Tae-ju, sick of her hysterical mother-in-law and spineless husband, lures Sang-hoon into killing her husband.

The movie is slated for release April 30.

`Girlfriend’ Prevails With Small, Tactful Jokes

Actress Kim Ha-neul stars as a National Intelligence Service (NIS) agent caught in a complicated romance with Kang Ji-hwan in Shin Tae-ra’s buoyant spy romance ``My Girlfriend Isn’t an Agent.’’ /Courtesy of Lotte Entertainment


Don’t be discouraged by the rather familiar plotline or the tacky English title. This reporter had been expecting the worst for what appeared to be a spin-off of ``Mr. and Mrs. Smith,’’ but Shin Tae-ra’s buoyant spy romance ``My Girlfriend Isn’t an Agent’’ is a promising asset to the South Korean romantic comedy genre.

It’s predictable and clichéd, but features some surprisingly good B-rate laughter, winning the audience with a series of small but tactile tickles rather than a big K.O. After dabbling with blood in the slasher film ``The Black House,’’ the director returns with something more digestible, while actors Kim Ha-neul and Kang Ji-hwan make their mark on the silver screen.

Following a few mediocre franchises, Kim reclaims her reputation as the romantic comedy queen in the tradition of her ``Too Beautiful to Lie,’’ while Kang’s charms, eclipsed by So Ji-sub’s charisma in his feature film debut ``Rough Cut,’’ shines through. While many homegrown romantic comedies make the mistake of switching genres _ Kim’s 2006 ``Almost Romance’’ drastically transformed from comedy into a tragedy _ ``Girlfriend’’ has a consistent tempo and flow in straddling slapstick, schmaltziness and speed.

Su-ji (Kim) is a National Intelligence Service (NIS) spy who poses as a travel agent. While she is adept with James Bond-style gadgets and pulling off Jackie Chan stunts in a wedding dress, she’s terrible when it comes to lying to her boyfriend Jae-jun (Kang). Tired of her cock-and-bull stories _ how she claims to be on one side of the country one minute and then on the opposite end the next _ he leaves her.

The movie portrays NIS agents as having very mortal flaws and problems. Our protagonist may strut around in a power suit on the job, but she’s also seen lounging around in thick glasses and sweats, crying over her broken heart. Her cozy house, like that of a typical young Korean woman, is decorated with cushions and stuffed animals stamped with pictures of her and her now ex-boyfriend.

The story resumes three years later when Jae-jun reappears as a high-profile accountant in a corporate bathroom where Su-jin is working undercover as a janitor. Old wounds reopen and emotions flare as they blame each other for the break-up. The two are, of course, still in love, but the fact that Jae-jun is actually a rookie agent of a different NIS branch complicates things.

In the ``Brangenlina’’ franchise, a husband and wife’s marriage problems escalate when their respective agencies, which happen to be rival companies, become involved with the same case. ``Girlfriend’’ is similar, and does some nice PR for the NIS by showing how different departments stick to the honor code in guarding their secrets from one another within the organization and even within the same department _ Su-jin and Jae-jun’s respective teams think the other is involved in a Russian spy case.

The beauty of the film lies in the details. In addition to the wickedly funny main cast, some of the most talented actors in the industry _ including Ryoo Seung-yong (``Hwang Jini’’) and Kang Shin-il (``Black House’’) _ play memorable supporting roles.

Now showing in theaters. 112 minutes. 12 and over. Distributed by Lotte Entertainment.

Chin Unsuk Goes to Hell and Back for Music

Elle est hyper-cool et m'inspire enormement. She's really got "neugryeok" -- her hubbie is the handsome Finnish pianist Maris Gothoni (she's the Demi Moore of the classical musc world -- he's 18 years younger :) and their son, eight-year-old 리윤, is so adorable.

Germany-based composer Chin Unsuk talks to The Korea Times about how she strives to bring her creations to fans. The 47-year-old composer-in-residence at Seoul Philharmonic Orchestra believes that music should be ``communicative’’ not autistic. /Courtesy of Kim Moon-jung

The relativity of human existence, how it is sandwiched between heaven and hell, is central to many people’s thoughts. South Korean composer Chin Unsuk may produce unearthly sounds, but she’s only human, and the creative process inevitably involves descending into the depths of hell.

``I visit hell several times when I write a composition,’’ the 47-year-old told The Korea Times, Thursday, with one of her hearty, boisterous laughs. ``My gray hair multiplies in relation to how long it takes to write a piece,’’ she said, despite her signature long hair hanging jet black and silky.

The musician said she is first and foremost a mother who spends a great deal of time on domestic affairs. She pours the rest of her time into her art to create one to one-and-a-half pieces per year. The Seoul Philharmonic Orchestra’s composer-in-residence thus deals with high demands through co-commissions.

The orchestral piece ``Rocana,’’ which makes its Korean debut Friday as part of the ``Ars Nova’’ program at the LG Arts Center, southern Seoul, was jointly commissioned by the Seoul Philharmonic, Montreal Symphony Orchestra, Bavarian State Opera and Beijing Music Festival Arts Foundation. Meaning ``room of light'' in Sanskrit, ``Rocana'' depicts Chin's observation of the behavior of beams of light, ``their distortion, reflections, and undulations.’’

``This is my unique composition for the orchestra,’’ said Chin. Writing ``Rocana’’ was difficult to start writing since, unlike concertos, it lacks a protagonist (soloist) and she had to conceive the interaction of multiple instruments. What inspired her? ``It’s difficult to say. The human brain has a complex formation and multiple networks. Something external triggers me, becomes a seed of thought and grows into multiple branches, like a tree,’’ she said.

Chin is praised for her ``formidable ear for sonority and for mining the expressive potential of the slightest nuances of pitch and pulse’’ (The Guardian). Born in Seoul in 1961, Chin learned piano and music theory on her own at an early age and pursued composition under Kang Sukhi at Seoul National University. A scholarship took her to Hamburg in the late 1980s, where she studied with the esteemed Gyorgy Ligeti. She won the 2004 Grawemeyer Award _ the equivalent of the Nobel Prize in the music world _ among other honors, for her Violin Concerto.

For Koreans, Chin is the exotic expatriate, and without a close look into her work, one may easily assume that her music would be markedly ``German.’’ Modern classical music here is heavily associated with the avant-garde of the 1950s and ‘60s, which is defined by the late Korean-German composer Isang Yun, among others. But moving to avant-garde ``headquarters,’’ said Chin, enabled her to look past established aesthetics. ``Ironically, living in Germany for 24 years now has disillusioned my obsession and fantasy of the avant-garde,’’ she said.

While some contemporary classical music composers insist on the traditional symphony or sonata format, Chin said she feels forms have long gone out of fashion. Others insist on an idiosyncratic, recognizable language, but this composer resists categorization. ``It’d be easier if I had a definable style, but I’m not interested in establishing my name. That’s why I’m pretty much an outsider in Germany,’’ she said, laughing.

Chin reminds you of a gust of wind _ difficult to grasp and transcending boundaries yet exuding a presence that is inevitably felt.

Chin said she plays a Bach fugue whenever she has composer's block. /Courtesy of Kim Moon-jung

Her work reflects her affinity for non-European traditions as well as her background in electronic music. She may be a classical pianist who worships Chopin and plays a Bach fugue whenever she has composer’s block, but she loves pop songs from the 1970s and ‘80s and prefers working with instruments such as the Balinese gamelan. Her music is modern in language but poetic and ``multilingual'' in communicatve power.

``Music should be communicative rather than autistic,’’ said the artist, who seeks to converse with as many channels as possible. ``The word `audience’ is difficult to define. If you play a Bach suite to a gamelan player, he or she may think it sounds bizarre and foreign.’’

But she also writes something more accessible to the general public, such as ``Alice in Wonderland.’’ The opera in eight acts, with libretto by American playwright David Henry Hwang, was staged in 2007 at Munich’s Bavarian State Opera and was ranked in the ``Best of 2007'' list of the Los Angeles Times and was named ``World Premiere of the Year'' by European critics for Opernwelt magazine.

Despite such accomplishments, Chin constantly teased herself throughout the interview, saying that she is a loner and her works are almost never played in her European home. Germany, the birthplace of Beethoven and Bach, is strongly rooted in tradition and is not always open to new things, she said. This is similar to the situation in Korea.

``In Korea, there’s `music’ and then there’s `contemporary music,’’’ she said, meaning that Western classical music has become the blind norm for what music is supposed to be, while other genres are considered inferior. More important than introducing the works of contemporary composers such as those of her former teacher, Kang, however, is inspiring new attitude about art, said Chin.

``Here, culture is synonymous with entertainment, and someone more `cultured’ may associate it with Beethoven, but the concept or value of art and creativity is rather unrecognized,’’ she said, adding many subtitled variety programs in Korea give no room for individual thought, which disgusts and worries her. Creativity rarely flourishes in a place where people are prone to mindless, monotonous consumption, she suggested.

Chin regularly gives master classes as part of Seoul Philharmonic’s ``Ars Nova’’ program, and said that there are talented young students participating. But the social climate worries her. ``I’ve seen many of my talented elders (composers) perish from neglect,’’ she said.

``The degree of national obsession with standard classical music is bizarre, as is how classical music serves as a symbol of elitism and vanity,’’ she said. Her own works, such as ``Alice in Wonderland,’’ have yet to premiere because organizers want a world premiere instead of utilizing what exists.

``Ironically, if Koreans had been oblivious to Western classical music and continued with `gugak’ (traditional Korean music), they may have been more receptive to contemporary classical music,’’ said Chin, explaining that 21st-century Korea may be obsessed with Beethoven but is vastly different from 19th-century Europe.

Chin is busy these days studying gugak. She had been a longtime fan of the mouth organ ``saenghwang’’ and wrote her first concerto for it. Her love for the instrument came like a dream: One stormy night, she was at a camp when she heard someone playing the instrument outside by a cliff. ``It was like the sound of the universe,’’ she said.

``Gugak is boring but sophisticated in its abstract structure and beauty. But I hate the overuse of vibrato, so I pursue a very flat sound,’’ she said. Studying the Korean art also made her feel extremely baffled and concerned. ``It’s a mess, there’s no professionalism in the current gugak world. There’s much work to be done to preserve the folk art,’’ she said. She was able to write the Saenghwang Concerto only recently because she never met anyone who played it here, pointing back to her concern with the modern Korean manner toward art. ``It’s about attitude toward art, and ultimately, attitude toward life,’’ she said. What lies ahead in her own life? Just the same old battle with composing, she said.

Chin’s ``Rocana’’ may be her unique orchestral work but it is certainly not her first. Her first orchestra piece, ``Santika Ekatala’’ (1993), won her the first prize in a Japanese competition, but she was unhappy with it and deleted it from her composition listing and barred its performance. But this is an exception. Chin is no Bruckner, and she usually doesn’t turn back to make corrections or publish second editions. Yet this doesn’t mean she’s ever satisfied with her music _ ``As an artist, it helps to be a narcissist but I despair whenever I finish a piece. My hope of writing something better the next time keeps me going,’’ she said.

Composer Chin Unsuk, center, poses with members of the Seoul Philharmonic Orchestra. The orchestra will feature her unique orchestral piece ``Rocana’’ as part of its ``Ars Nova’’ series at LG Arts Center in southern Seoul, Friday. /Courtesy of Cho Nam-ryoung

Chin mentioned how she once marvelled at Chopin’s gravestone in Paris. ``It simply said Frederic Chopin, without any fancy engravings like `compositeur’ (composer),’’ she said. It’s not hard to imagine a world where the name Chin Unsuk could forgo such superfluous titles as ``South Korean composer’’ or ``award-winning musician.’’

Chin’s concerto, featuring the saenghwang, will make its world debut in Japan in August and then in October in the United States with the Los Angeles Philharmonic. Another work, a new cello concerto written specially for Alban Gerhardt, will premiere August 13 at BBC Proms, one of the most exciting classical music events of the season.

In addition to Chin’s ``Rocana,’’ Friday’s ``Ars Nova’’ concert features other orchestral pieces including that of her former teacher Ligeti, ``San Francisco Polyphony.’’ At 7:20 p.m., 40 minutes prior to the concert, Chin will give a lecture about the program. Tickets for the concert cost from 5,000 won to 30,000 won. Call (02) 2005-0114.

World Stars to Grace Stage in May

South Korean fans will be able to welcome international music icons Jose Carreras, Ennio Morricone, Sumi Jo and Dmitri Hvorostovsky next month.

Jose Carreras will hold a recital tour across Korea May 8-12. One of the three great tenors of the century, alongside Luciano Pavarotti and Placido Domingo, the Spanish singer will grace Kyunghee University’s anniversary celebration in Seoul May 8 and perform at Cheonma Art Center in Daegu May 10, and, May 12, at Goyang Aram Nuri Arts Center for its second anniversary concert in Seoul’s satellite city of Goyang, in Gyeonggi Province.

The crystalline bell sound of his younger days has now taken on a deeper color, and the 62-year-old wowed local fans during his 2005 recital at Seoul Arts Center. Meanwhile, crossover tenor Im Tae-kyung is known for overcoming leukemia, and Carreras, too, has inspired many by conquering the disease and supporting others through his international leukemia foundation.

He will sing popular operatic arias and folk songs, and his partner conductor and nephew, David Gimenez, will conduct the Eurasian Philharmonic Orchestra for the Seoul and Daegu concerts while for the Goyang performance he will lead the Korean Symphony Orchestra, which recently provided the accompaniment for Domingo’s recital.

Tickets cost from 80,000 won to 220,000 won for Daegu (call 053-422-4224) and Kyunghee University (call 1588-7890) and from 40,000 won to 220,000 won for Goyang Aram Nuri Art Center (call 1577-7766).

In 2007, Ennio Morricone made an unforgettable concert debut here by conducting the timeless compositions that appeared in ``Cinema Paradiso,’’ ``The Mission’’ and ``The Legend of 1900.’’ The 80-year-old veteran of over 400 film soundtracks will revisit Korea to give two concerts May 26-27 at Olympic Park.

The Italian composer has been touring the world with the Gyor Philharmonic Orchestra, and will be joined by the Yoon Hak-won Chorale for the Seoul concerts. Esteemed director Park Chan-wook was quoted as once saying, ``While there may be people who have not seen his films, there is no one, in civilized modern society, who hasn’t heard his music. He is the J.S. Bach of today.’’

Details about the program have yet to be announced. Tickets cost from 50,000 won to 160,000 won. Booking in English is available at (02) 3444-9969.

Korea’s feted soprano Sumi Jo and Russia’s foremost baritone Dmitri Hvorostovsky will perform for Seoulites May 28 and 30 at the Sejong Center for the Performing Arts, in downtown Seoul.

The concert, most appropriately titled ``Majestic,’’ brings together two of the most talented singers of the world, Jo, whom Herbert von Karajan complimented as having ``the voice from Heaven,’’ and Hvorostovsky, whose silvery voice graced all five of the world’s top opera houses.

Jo will sing the technically exigent aria ``Couplets de Mysoli’’ from the opera ``La Perle du Bresil,’’ among works, while Hvorostovsky will offer not only standard Italian operatic arias but a variation of French and Russian repertoires.

Ion Marin will conduct the Mostly Philharmonic. Tickets cost from 70,000 won to 200,000 won. Call (02) 3461-0976.

UK Journalist Illuminates 'Forgotten War'

Fifty-eight years ago on this very day, April 22, 1951, the Korean War (1950-53) had been blazing for almost a year, and U.N. forces were sure the war was won. The Imjin River front stood still in silence, as Britain's 29th Infantry Brigade stationed along this critical line was about to wrap things up. But catastrophe broke loose with the largest communist offensive of the war.

Outnumbered 7-1, the soldiers stood in desperation for three days. One particular battalion, the Glosters, was stranded in enemy territory and had to fight back-to-back until their ammunition was exhausted. ``That's why it's called `To The Last Round,''' said Andrew Salmon, a Seoul-based British journalist, about his new book on Tuesday. ``The Last Round: The Epic British Stand on the Imjin River, Korea 1951'' (Aurum London) is the first comprehensive account of the conflict with China and North Korea and is being translated to film by internationally renowned director Daniel Gordon.

``British forces have fought all over the world since the 1950s, but Imjin River remains the bloodiest battle since World War II. Of the brigade's 4,000 men, 1,091 were dead, wounded or captured… However, today in the United Kingdom this tragedy is almost forgotten,'' said the author. Back home, he said, military history is a popular genre but there are barely any books on the Korean War.

British journalist-author Andrew Salmon, right, appears at a press event in Seoul, Tuesday with Lee Kyung-sik, The Korea Post chairman, 77, who interpreted for British soldiers during the Korean War (1950-53). Salmon’s new book “To the Last Round” is the first to trace the United Kingdom’s bloodiest battle since World War II that took place in Korea in April 1951. -Korea Times Photo by Lee Hyo-won

The Korean War itself is dubbed ``the Forgotten War,'' sandwiched between Hitler's World War II and the politically-charged Vietnam War. ``This is an important book because the Korean War is being forgotten, and such a tragic war should never ever recur,'' said special guest Lee Kyung-sik, 77, who interpreted for British soldiers during the battle. He is one of the four Koreans that Salmon quotes extensively in the book. Lee had memorized 100 English words a day for survival, since the smallest misinterpretation could risk lives on the front. A former reporter for The Korea Herald, he is now the publisher-chairman of The Korea Post.

``For many people the war is still alive,'' said Salmon. He met one British veteran who was haunted by the vision of a Chinese soldier he had killed, and was ``exorcised'' only when he revisited Korea recently. One soldier, Sam Mercer, 22 at the time, volunteered for ``travel and adventure,'' and lost an eye and a leg and spent two and a half years in captivity. But the veteran said, ``I don't regret a moment,'' and Salmon knew he had ``a fantastic story.''

In this black and white photo from 1951 titled ``Send it to Marion,'' a British soldier, looking at the photo in the center, asked the photographer to take it 30 minutes prior to his death. Feeling the end at a close distance, he asked that the photo be sent to his wife Marion. -Courtesy of Andrew Salmon

Salmon spent two years onresearch, interviewing some 50 veterans in America, Canada, Ireland, Belgium, England and Korea, and browsing through the national archives in London, Washington and Korea. Gordon began filming in London last month and is now in Gloucester to capture the local cathedral's Gloster regimental chapel. One interesting relic is the stone ``Korean Cross,'' which the Gloster commanding officer carved during his 18 months of solitary confinement in a Chinese prison camp.

``After a trilogy of films in North Korea, this marks my debut in the South,'' Gordon, the first non-Korean filmmaker to shoot in the Stalinist state, was quoted as saying in a press release. ``Ever since Andrew told me about his project, I have been intrigued. When I read the men's personal stories I was blown away by their courage and what they had endured during this battle.''

The movie's main aim is to bring the surviving veterans of Imjin River to Korea. The addition of computer graphics and dramatic reenactment by actors will add to the budget.

The filmmakers are seeking private investment because South Korean governmental bodies refused to fund the movie, reasoning that ``the Korean War is not in line with the `brand image' (they) want to promote," Salmon said. ``I think if you want to understand how prosperous and free Korea is, you need to contrast it with the brutality and poverty of the war,'' he added.

``Korea is now a rich country, one of the richest countries in the world. To fully understand that, you have to contrast it with the way it was 50 years ago. That is a tremendous achievement by the Korean people. On a different angle, war is the greatest human drama. Much of the great poetry, literature and film are on the drama of war. I'm surprised Korea doesn't package its tourism toward the Korean War,'' he said.

The filmmakers hope the film will be ready to be screened by the 60th anniversary of the outbreak of the Korean War next year. ``I truly hope the Korean government and society will unite to commemorate next year's 60th anniversary of the outbreak of the Korean War. For next year will be the last significant event that living witnesses will be able to participate in,'' said Salmon.

``(`The Last Stand') is just one story of the Korean War. There are thousands of more stories that will die forever unless Korea also tells them,'' he continued. ``South Korea owes it to herself to remember this human tragedy with the appropriate scale and appropriate honor.''

Salmon covers the Koreas for Forbes, The South China Morning Post, The Times and The Washington Times and is the author of ``American Business and the Korean Miracle: U.S. Enterprises in Korea, 1866-the Present.'' He lives in Seoul with his wife Ji-young and daughter Hannah. For more information about ``To the Last Round,'' visit tothelastround.wordpres.com.

>> Read about another book on the Korean War, "Diary of a Boy Solider," which the author, now a retired doctor, wrote as a 17-year-old soldier in the war.

Seoul Spring Festival Looks to Go Global

The Seoul Spring Festival invites internationally renowned artists, including, from left, cellist Yang Sung-won, violinist Choi Eunsik, pianist Kim Young-ho, violinist and the festival’s artistic director Kang Dong-suk and cellist Cho Young-chang. / Courtesy of Seoul Spring Festival

Seoul will turn into a playground for music lovers next month with the opening of the 4th Seoul Spring Festival of Chamber Music (SSF) from May 5 to 18. Though in its early stages of development, the event is looking to expand horizons for a more global audience.

``Just like Busan boasts Asia’s largest film festival (PIFF), Seoul Spring Festival could become a major attraction for the city,’’ Kang Dong-suk, honored violinist and the festival’s artistic director, told reporters at a recent press conference in Seoul.

``Korea has major music events such as the Tongyeong International Music Festival, but it is mostly about contemporary classical music. SSF is unique in that it centers on chamber music and fringe (street) performances,’’ he said.

This year, child prodigies to mature virtuosos from near and far will join Seoulites for a program of Beethoven and more. Under the theme ``Beethoven Plus,’’ the festival will feature all-Beethoven quartets and more. Organizers said SSF hopes to inspire festivalgoers through music, like the late German composer overcame personal tragedies through the art.

In addition to Kang, local stars including cellists Yang Sung-won and Song Young-hoon (Young Song); pianists Kim Dae-jin, Kim Sun-wook, Kim Young-ho and Shin Soo-jung; and even ``salmulnori’’ (Korean folk percussion) artist Kim Duk-soo will perform for fans. In particular, maestro Shlomo Mintz will visit as a special guest, as well as the young American Jupiter String Quartet; the handsome, all-male Ebene Quartet; France’s dynamic Sine Nomine Quartet Lausanne; and the Igudesman & Joo duo that has been hyping up the Internet with their idiosyncratic performance style.

SSF will also showcase rising talent, including child prodigies 14-year-old violinist Anna Lee and cellist Cho Min-seok, and the KNUA (Korea National University of Arts) String Quartet. The opening concert on May 7 will stage the premiere of 26-year-old composer Kim Solbong’s ``Sundial Chronicles’’ for piano, violin, cello, clarinet and Korean folk instruments ``gayageum’’ (zither) and ``janggu’’ (drum). Amateur musicians will grace the streets of Seoul within the festival through SSF Fringe, from Friday through May 6.

The festival has been committed to not only bringing internationally feted artists to Seoul, but to make its presence known abroad, said festival director Shin Dong-yeop. Last year, its string quartet played two sell-out performances at the Beijing Summer Olympics, which were dominated by non-Korean audience members. SSF plans to expand the tour to Europe, he said.

Cellist Yang said that, as an audience member, he ``initially opposed’’ the festival because Seoul already has too many performances. ``But what is a festival? It has a theme and a well-organized menu where Seoul citizens are the stars, not the artists. I hope it will be a feast for the ears and eyes,’’ he said.

The free Family Concert will take place May 5 at Deoksu Palace (left). / Courtesy of Seoul Spring Festival

This year, the festival expanded its range of venues to include marginalized parts of Seoul, including Guro. ``The festival is mainly based at Sejong Chamber Hall, but it is too small, and our future plans include finding a permanent hall,’’ said Kang.

Ticket prices vary according to the venue: Deoksu Palace concerts are free of charge, though on a first-come, first-served basis, while those at Sejong Chamber Hall, Seoul Arts Center, Youngsan Art Hall, Guro Arts Valley Theater and Seoul Anglican Church range from 10,000 to 40,000 won. Special discounts are available. Visit http://www.seoulspring.org/ (Korean and English) or call (02) 712-4879.

Seoul Arts Center Orchestra Fest Ends Tuesday

Seoul Arts Center’s 20th Orchestra Festival comes to a close with the Busan Philharmonic Orchestra (above), Tuesday, after three weeks of live, inspired music. Grand symphonic melodies filled the hall almost every night as maestri and soloists joined 16 of the country’s top ensembles. Each concert, almost always fully packed, was broadcast live on KBS FM radio.

The annual event brought internationally feted conductors in concert, including Spanish maestro Jesus Amigo; Baldur Bronnimann, the new principal conductor of the Colombian National Symphony; and Korean-Japanese helmer Kim Hong-je.

Youthful verve and virtuosity reigned, as young, up and coming musicians graced the stage.

On the opening night April 3, the Bucheon Philharmonic, led by maestro Choi Hee-chuhn, greeted concertgoers with a roar. Having worked with the Gyeonggi Province troupe for the opera ``L’Elisir d’Amore,’’ the Germany-based conductor inspired full bursting colors, which complimented the sweet melody of soloist Stefan Jackiw in Mendelssohn’s Violin Concerto in E Minor. Two evenings later, scientist-cellist Koh Bong-ihn gave a silver-toned rendition of the Elgar Concerto while playing with his birth town’s Jeonju Symphony.

Another sell-out program was Friday’s event featuring the Suwon Philharmonic with pianist-conductor Kim Dae-jin and young pianist Lim Dong-min. While Lim told The Korea Times that he wasn’t happy with the performance, saying the harmony with the orchestra was far from perfect in the first movement of Beethoven’s Piano Concerto No. 1, he showed why he is one of the country’s most popular young artists with the crystalline tones in the singsong second movement.

The festival was also a special occasion for instruments such as the bassoon and harp to shine in the solo spot. It also gave an opportunity for new talent to take the big stage, including two young musicians selected through an open audition.

While there is no concert tonight, the Busan Philharmonic Orchestra will conclude the festival Tuesday with Alexander Anissimov at the baton. The honored Russian maestro, currently the principal conductor of the troupe, presents a program of Tchaikovsky, including ``Spanish Dance’’ from ``Swan Lake’’ and Symphony No. 4. Pianist Ian Yung-wook Yoo, who was featured in The Korea Times' 2008 Next Generation Classical Musician series, will appear as soloist for Piano Concerto No. 1. Tickets cost from 10,000 won to 30,000 won. Call (02) 580-1301.

'Insadong' Can Go That Extra Mile

When it comes to replicas, modern Koreans may be familiar with fake Louis Vuitton handbags; the immaculate craftsmanship baffles even experts. But not many people realize that ``Mongyu Dowondo'' (Paradise in a Dream, 1447), displayed at the National Museum of Korea, is a mock-up. The original landmark painting of the Joseon Kingdom (1392-1910) remains in Japan.

For ``Insadong Scandal,'' first-time director Park Hee-gon may have been inspired by that tantalizing fact, which inevitably points to sensitive Korea-Japan relations, but he opts for something purely entertainment-driven rather than stoop to sappy ``nationalism marketing'' to tell the story of lost treasures and misdirected ambitions. Like George Clooney and others in the ``Ocean's'' franchise, popular actor Kim Rae-won (``Sunflower'') and a host of colorful characters bring a stylish and speedy crime story, which in this case is set against the exotic art hub of Seoul, Insa-dong.

It all came from a dream. Angyeon immortalized the reverie of prince Anpyeong in ``Mongyu Dowondo'' and captured his own fantasies in ``Byeokando.'' But the painting of the Changdeok Palace pond disappeared along with the crown prince, who was overthrown and killed by his brother-cum-king, and its existence became known only 60 years ago through a Joseon artist's written account.

``Insadong'' imagines what would happen if the painting resurfaced after 400 years of Holy Grail-like existence. The minimum auction-bidding price is 40 billion won, and naturally, notorious art mogul Bae Tae-jin grabs at the lucrative opportunity. Sex symbol Uhm Jung-hwa (``Love Now'') plays the part of a young Cruella De Vil who unabashedly lobbies politicians and engages in illicit art exchanges to fund her fancies. ``Byeokando'' would enable her to conquer Insa-dong once and for all, but first she must find someone to restore the tattered painting ― the one and only genius restorer Lee Gang-jun (Kim).

A few years back, Lee had proved his devilish talents with the paintbrush in restoring a priceless Joseon treasure, but his career perished as soon as it bloomed when he was framed for its disappearance. Bae beckons Lee back to the art scene with ``Byeokando,'' waving 1 billion won for the year-long project. Lee accepts, though he asks for a fancy sports car as a bonus, and settles comfortably in the state-of-the-art restoration lab situated in Bae's gallery. Meanwhile, Bae puts on a show for the press about donating the priceless work to the state while scheming with a Japanese buyer, but Lee has some elaborate plans of his own.

The movie is fast-paced and visually enticing throughout, but it doesn't completely lure the viewer until the latter half. In the beginning, it's more about style than substance. The very talented Kim had hitherto touched hearts with dramatic roles, but keeps cool in ``Insadong'' as the charming antiheroic hero that is aloof yet way too suave. Of course, such is what one expects in entertainment, the protagonist is not only very young and good-looking but also possesses a sharp tongue and encyclopedic knowledge to match his magic fingers.

Uhm's sex appeal is unquestionable but her screen persona doesn't melt into the frame as Kim Hye-soo did in ``Tazza: The High Rollers.'' She's ravishing in her form-fitting, structured outfits, which naturally include cleavage-baring keyhole evening gowns, but her kabuki makeup often seems out of place as she tries to mingle with politicians. She's stomping over men in her killer stilettos, but the film, quite commendably, refrains from making her a stereotypical femme fatale; while some may be disappointed by the lack of romantic chemistry between Bae and Lee, it is refreshing to see a heroine whose edgy fashion defines her ambitions rather than sexuality.

Things pick up nicely in the latter half with idiosyncratic supporting characters like Ko Chang-seok (``Rough Cut'') spicing up the intrigue and exploring the fine line between restoration and replication, and artistry and finely crafted con artistry.

The director said he didn't explain characters' history because he wanted to capture the relevance of Insa-dong. However, the film could have relied more on editing to introduce the past as ``Ocean's 11'' did, also propelled by characters that feed directly into the narrative ― the movie is, ultimately, about items from a bygone era and truncating the characters' attachment with them distances the viewer from the story.

Life Imitates Art in Gay Mockumentary

Hollywood stuntwoman-turned-director Alison Reid /Lee Hyo-won photo

Imagine a world where children are fatherless in the procreative process. In the mockumentary ``The Baby Formula,’’ a lesbian couple succeeds in conceiving children of its own genetic mix.

The film’s notion of creating fake sperms from a woman’s skin particle, however, isn’t completely outlandish. ``Baby’’ is the classic mix of fiction and reality.

``The science is actually accurate and was successful in tests with mice. The (actresses’) pregnancy was real, too,’’ Alison Reid, the veteran Hollywood stuntwoman-turned-director, told The Korea Times in a recent interview. The Canadian filmmaker has been touring the festival circuit with her feature film debut, and was in town for the 11th International Women’s Film Festival in Seoul (IWFFIS).

``Until recently, it has been impossible for gay couples to conceive of the idea of being able to combine their genetics and have their own biological children. That has always struck me as sad. When I read an article about some science that made it possible to create offspring from two female mice, it resonated with me, and inspired me to make this film,’’ Reid said in a statement.

The director spoke with scientists all over the world involved in the research. ``For the purposes of the story, we have assumed that the science is further along than it is in real life, however the scientific explanations are accurate. This scientific backdrop becomes a pallet for a story that is ultimately about family, and the common ground facing us all despite our diversity,’’ she said.

``Succubus,’’ the short prequel to ``Baby’’ that was screened at last year’s IWFFIS, traced the efforts of the same two characters, Athena and Lileth, to have their own biological child. Interestingly enough, both actresses became pregnant _ though happily married to men in real life, they conceived children in the traditional way. The film assumes that such lesbian mothers can only have daughters, and both actresses gave birth to the baby girls that appear in the movie.

``Life was imitating art,’’ said the director. ``We were able to take advantage of the pregnancy and show the 10-month period and the real babies at the end. When we were rehearsing the scene where Athena’s water breaks, Angela Vint (who plays Athena) actually had her water break,’’ she said.

The science may be stranger than fiction, but the movie’s utter believability shines through. Effervescent characters drawn in viewers into the story, which has no male bashing, ``feminazism.’’ In ``Baby,’’ two geek stem cell specialists claim that their breakthrough scientific experiment is not trying to ``make men obsolete’’ but rather simply render them ``unnecessary.’’ One day, women may become unnecessary in procreation, they add.

``The film is done in a non-threatening way so people wouldn’t be putt off by it,’’ said Reid. The delightful, ticklishly funny mockumentary drew packed screenings in Seoul, and one middle-aged male audience member found the story pleasantly surprising despite the fact that he came from ``a different generation.’’

The warm reception is great, said Reid, but she was actually hoping for a little negativity. ``Right wing protesters would be good PR for the film,’’ she said, smiling. The director hopes to start a TV series starring the same actors.

Will her next feature film be another dramedy? ``No, it won’t be as funny,’’ she said. But it will involve a love triangle set inside, rather appropriately for the stunt speicialist, ``a crazy, extreme stunt world.’’

Reid coordinated stunt sequences in major Hollywood films such as ``Blindness’’ and doubled for Monica Bellucci in ``Shoot ‘Em Up.’’ She said she vigorously pursued the ``excitement and the adrenaline’’ ever since doing her first stunt when she was 17. Getting caught in explosions and car crash sequences ``had its moments,’’ including neck and knee injuries and burns, but provided insight into the world of directing.

For more information about ``Baby,’’ visit thebabyformulamovie.com.

The IWFFIS comes to a close today. The closing ceremony at 7 p.m. at Artreon in Sinchon will feature the award-winning films of the Asian Short Film & Video Competition. Visit http://www.wffis.or.kr/.

Veteran Artists Turn New Chapter in Career

Two of South Korea’s most feted classical musicians, violinist Lee Sung-joo, 55, and cellist Chung Myung-wha, 65, will host special recitals in Seoul that mark a special moment in their careers.

Following the marathon recitals of Beethoven sonatas by pianist Paik Kun-woo and cellist Yang Sung-won in 2007, Lee will realize her own longtime dream of playing the German composer’s complete violin sonatas, Sunday, at Kumho Art Hall.

Lee paid attention to finding the right balance of presenting well-known pieces together with the lesser-known ones, ``to tell a story of Beethoven’s transforming music over time,’’ she said in a statement.

Sunday, beginning 3 p.m., Lee will play Sonatas Nos. 1-5 and No. 10, in between Nos. 3 and 4. At 7:30 p.m., the violinist will deliver Nos. 8, 6, 7 and 9, in that order. She explained the recital would be a long journey exploring the life and music world of Beethoven. ``I am vis-à-vis with the great artist Beethoven. I hope to share this wonderful yet extremely arduous experience with everyone,’’ she said.

Lee was one of the first Korean students to study at the Juilliard School of Music in New York. She launched her career in New York in 1977 as a Young Concert Artists winner and was immediately recognized as a ``first rate violinist'' by the New York Times.

She had to obtain American citizenship in order to participate in the 1978 Tchaikovsky Competition because no Korea-Russia relations existed at the time. She became the second Korean-born artist to win a prize in the conservative event after maestro Chung Myung-whun.

In 1994, she gave up her U.S. citizenship and returned to Korea. She now teaches at the Korea National University of Arts.

Tickets cost from 20,000 won to 50,000 won for each concert. A 10 percent discount is available if you purchase tickets for both concerts. Call (02) 780-5054.

40 Years With Cello

Chung Myung-wha’s international debut in 1969 with the Detroit Symphony Orchestra catapulted her to stardom. Two years later, she made her mark in Europe by winning the Geneva International Music Competition.

Her illusive career dots across the world’s most prestigious halls, alongside top tier ensembles such as the Vienna Philharmonic. She and her talented siblings, maestro pianist-conductor Myung-whun and virtuoso violinist Kyung-wha, were known as the famous Chung Trio.

To celebrate her four decades with the cello, Chung chose a program spanning three centuries: Schubert’s Sonata for Viola and Piano, D. 821 in A Minor ``Arpeggione’’ (the 1700s piece was rearranged for her instrument), Strauss’ Sonata for Cello and Piano (18th century), Op. 6 and

finally, Barber’s Sonata for Cello and Piano, Op. 6 (20th century).

Pianist Kim Dae-jin, another one of Korea’s celebrated teaching performers, will accompany Chung for the sonatas. Like Lee Sung-joo, Chung accepted a professorship at the Korea National University of Arts in 1994. The ``first generation’’ artist has since been committed to fostering young talent.

Tickets cost from 20,000 won to 50,000 won. At 7 p.m., an hour before the concert is due to begin, remaining tickets for B and C tickets will be available for sale to for half price to students. Call (02) 518-7343.

Cellist Koh Contributing to Medical Research at Harvard

``Two roads diverged in a yellow wood,’’ but instead of wondering about the road not taken, scientist-musician Koh Bong-ihn is straddling both paths _ playing the cello on the world stage while contributing to medical research at Harvard’s Stem Cell Institute.

``Music requires practice, just like experiments require repetitions to yield results. They’re also all about interpretation,’’ the 23-year-old told The Korea Times at Seoul Arts Center in a recent interview. His family and friends, including Koh’s former teacher, the feted cellist Chung Myung-wha, were seen congratulating his impassioned performance of Elgar’s Cello Concerto with the Jeonju Symphony Orchestra.

Born in Jeonju in 1985, Koh made his international debut as an artist at age 12. But unlike most prodigies, he pursued a double degree at Harvard and the New England Conservatory, studying molecular biology while participating in Yo Yo Ma’s Silk Road project among other musical engagements.

He certainly enjoys the tension of balancing art and science, but interestingly enough, it is not so much about pursuing both careers. ``It’s the thought of not pursuing both careers that drives me,’’ he said.

``A lot of times I have been tempted to choose just one, when I see my (science) peers do well and have their moments of glory… I could be a better scientist or a better musician if I don’t split my time. But it’s a personal satisfaction, and I wouldn’t be happy if I give up either one,’’ said Koh.

Promoting Peace Through Music

What inspires him is the transforming power of music and science. ``When I play music, I can feel the audience breathing with me. When I’m going home late at night after working in the lab, I pass through the hospital and feel good that I’ve contributed to something that might help patients one day,’’ he said.

Koh’s silver-toned sounds shine through in standard classical repertoires like the Elgar concerto, but he also demonstrates flair for modern pieces. Last year, the cellist awed concertgoers with Isang Yun’s Concerto for Violoncello and Orchestra. He enriches his music with his individual artistic intonation, and his melodic, idiomatic phrasings are at times unexpected, but are fresh and organic.

Some say that the critical aspect of artworks, whether it be a Miles Davis improvisation or a Picasso painting, is not so much the featured objects themselves but rather the space between objects. In Koh’s rendition of the Yun concerto, it was the silence between the notes that kept listeners on the edge of their seats.

He had learned about the late Korean-German composers’ music while spending his teens in Germany. As a Korean, he said he felt responsible to endorse Yun’s music and ideals _ ``to use music as a weapon to promote peace.’’

Last October, he became the first South Korean to play the cello concerto with a North Korean ensemble in Pyongyang. ``It was extraordinary,’’ he said about the five-day trip. He had certain expectations about the level of artistry of North Koreans, but was impressed by their prolific musicality and deep understanding of Yun’s work. The young cellist became very attached to the orchestra’s principal violinist and cellist and also had the opportunity to meet Yun’s widow, I Soo-ja.

What lies next? Koh is wrapping up his last semester at the New England Conservatory and is applying for Ph.D programs in stem cell biology. This multitalented musician may seem like the quintessential overachiever in a state of limbo. But he is challenging the notion.

``In about 20 or so years from now, I’d like to imagine myself working in a lab, where the radio is playing a recent performance of mine,’’ he said, eyes brimming behind his glasses.

Director Yang Shares Life Story in `Breathless’

One of the best movies of the year. And so far one of the most enjoyable personal encounters -- gotta love a guy who giggles like a girl while he speaks Nietzsche.

``Breathless'' director-producer-lead actor Yang Ik-june /Photo by Lee Hyo-won

``I also think it is a superb film,’’ director-actor Yang Ik-june told The Korea Times in an interview, Thursday, in Seoul, when this reporter complimented his multiple award-winning film ``Breathless.’’ ``Other directors are going to think I’m nauseating,’’ said the 33-year-old headline maker, exploding into another one of his distinct, high-pitched giggles.

While sporting the same short haircut and mustache, as well the Nike sneakers, from the film, Yang was nothing like the brooding, foul-mouthed thug he played. His feature directorial debut, ``Breathless,’’ has swept top awards at numerous film festivals, from Rotterdam to Las Palmas. Naturally, Yang had been giving non-stop interviews but he still beamed with energy at 8:30 p.m.

At the international events, he said he had fun being called ``_-nom (bastard)’’ _ a word that appears in almost every line of the movie _ by foreign cineastes and festivalgoers. In Deauville, France, ``Breathless’’ was never confused with the Jean-Luc Godard film of the same English title, and he even got to meet Pierre Rissient, who was the assistant director of the Nouvelle Vague masterpiece. He loved the movie and treated Yang to several meals.

Nevertheless, he seemed unperturbed by the sudden fame. ``The trophies look all the same,’’ he joked. He’s thankful and honored, but had experienced too many overwhelming emotions during the three years of making ``Breathless’’ to be besieged. Yang produced, directed and played the lead in the movie, and had to move three times to fund it. He casually mentioned that the numerous awards didn’t always include cash prizes. ``I mean, I need money to live,’’ chuckled Yang, who has been living in sunless subterranean flats with an annual income of less than 10 million won ($10,000) for almost a decade.

``You need to forget about (the fame and honor) in order to return to a normal life,’’ he said. ``A movie happens to get made when you’re just living life. It’s like you have to sleep with someone first in order to have a baby, without using contraceptives,’’ he grinned. ``If you keep thinking, `I want to make a movie, I want to act,’ then you just become enslaved by your intense desires. You have to live life.’’

What does he normally do? ``I just do normal things… I listen to music, go out and about town, meet friends, think about raunchy things, reflect on small moments of the day,’’ he said. ``It’s the small things in daily life that inspire me.’’

This attitude of being in touch with reality extends to the moviemaking process. As a director, he doesn’t ask anything of his actors. He allows them to color their characters with their own personalities, so their character becomes the actor rather than the other way around. Acting _ a word he said he hates but has no choice to use _ ``is something you can’t learn. I wanted my actors to pour their own life into the roles,’’ he said.

Portrait of a Family

``Breathless’’ is about a victim of domestic violence that grows up to become an aggressive brute, but rediscovers hope when he meets a girl. The movie features dark themes, but it is no Kim Ki-duk film and depicts a very human and warm portrait of the lowly life. It is a partly autobiographical story inspired by his family and friends in Namgok-dong, a poor town in Chungcheong Province.

Cinema, he said, was a form of self-expression. ``People think and feel things in a universal way, but at the same time, each person is so unique and special,’’ said Yang. ```Breathless’ is a story about Korea, a story about a family. People were able to relate because families are similar, although the degree of family problems vary of course.’’

He said the movie was like a ``diary’’ where he wrote everything he wanted to say all at once. ``It was an exorcism for me,’’ he said. Doesn’t he feel uncomfortable about revealing himself? ``No. It’s like being naked at a nude beach or sharing your worries with friends who can relate to you,’’ he said.

Yang’s friends and family are very proud, he said. On Friday evening, the director and the main cast members mingled with friends and fans as one-time waiters at a bar in Sinchon. A group of his closest friends spoke affectionately of Yang’s well-deserved success. While they were leading stable careers, Yang was always the broke artist. This was despite the fact that he came from one of the more prosperous families in town. ``His father runs a furniture store but he refused to succeed him. He wanted to be independent,’’ one friend, who asked not to be identified, told The Korea Times.

Actress Kim Kkobbi waits at a party celebrating the movie's release /Photo by Hyo-won Lee

The director has the amazing ability to make you feel at ease, as if you’re talking with your best friend over a drink even though we were drinking tea at a café. He would be serious one moment and goofy the next, but consistently surprised you with his unabashed honesty.

``I want to say `_ you’ to the world through my films,’’ he said. He also wants to show the male private parts onscreen someday. ``Koreans think it’s artistic when they see it in a foreign film, but here they censor it. We feel unstable in this world because we want things to be safe all the time, but we need to be courageous,’’ said the director, who respects cineastes like John Cameron Mitchell (``Shortbus’’). ``Sex is part of life,’’ he said.

The rising director said he wants to continue exploring life through movies. One project he has in mind is about children of the underworld, and he also wants to make love stories. Does he feel pressured about having set high standards for his future films? ``No, I’m just the human Yang Ik-june,’’ he said.

Yang was born in 1975 in Chungcheong Province. He studied acting at Kongju Communications Arts College and played minor roles in mainstream movies including ``Viva! Love.’’ He received awards and critical acclaim for the short films he starred in and directed such as ``Lovers.’’ ``Breathless’’ is his first feature film.

``Breathless’’ opens in theaters April 16. 130 minutes. 19 and over. Distributed by Jin Jin Pictures.