`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.

`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.

MoMA to Screen Korean Colonial-Era Films

The Museum of Modern Art (MoMA) in New York will screen Jan. 28-Feb. 1 some of the earliest known Korean films, made in the 1930s and '40s under the Japanese occupation (1910-45).

The seven films to be screened were rediscovered in 2003 and 2004 at the Chinese Film Archive and restored in new 35mm prints by the Korean Film Archive.

This is the first time these carefully restored prints will be shown outside of Korea. They present a rare visual record and narrative resource to this little-known period. The exhibition titled “Korean Films Made During the Japanese Occupation.”

Films included in the event are "Sweet Dream" (1936)—the earliest known Korean "talkie" which was recently recognized as a Korean national cultural property— "Spring in the Korean Peninsula" (1941), "Angels on the Street" (1941) and "Straits of Chosun" (1943).

Yuni Cho of The Korea Society, New York, co-organized the event with MoMA. Commenting on the upcoming program, she said, “The dramatic content of the films is shaped by the censorship of their era, and several are uncomfortably pro-Japanese. Yet simultaneously, their rich aesthetics and formal experimentation reach beyond imperial Japanese ideology to express transcendent themes of longing, loss, and duty.”

MoMA has shown several series on the work of Korean filmmakers, including recent exhibitions such as "Im Kwon-Taek: Master Korean Filmmaker" (2004) and Kim Ki-Duk (2008).

(Source: KOFIC http://www.koreanfilm.or.kr/)

Read more about Korean film history and the Korean Film Museum.
Read about "Modern Boy," a contemporary Korean film set during the Japanese colonial era.

'Modern Boy': Reinterpretation of Japanese Colonialism?

``Modern Boy'' (모던보이, S. Korea)
Directed by Jung Ji-woo (정지우). Starring Park Hae-il (박혜일), Kim Hye-soo (김혜수).
Above photo: Actors Lee Han, left, and Park Hae-il.


Following the footsteps of ``Radio Dayz,'' ``Once Upon a Time'' and ``The Good, the Bad, the Weird'' comes ``Modern Boy,'' another purely entertainment-driven movie set during the Japanese colonial era (1910-45). Gyeongseong, the name of Seoul at the time, is home to flamboyant flappers (so-called ``modern boys and girls''), radio stars and charming bandits who aren't necessarily working for Korea's independence.

The symbolic power of cinema is extensive, as it often showcases a given country's aesthetics, technical achievements and entertainment factors, and moreover portrays to varying degrees its cultural, historical and social values. Period pieces in particular become the subject of scrutiny as they speak for the shared history of a people.


A Japanese newspaper made a misleading report about ``Modern Boy'' and the above-mentioned Gyeongseong movies in January this year. Katsuhiro Kuroda, managing editor of Sankei Shimbun's Seoul branch, announced ``the reinterpretation of Japanese colonialism'' in Korea ― how there was an effort to reexamine it as an era of modernization rather than one of exploitation, oppression and resistance, and that the conventional school manual ``dark period'' version has gotten a facelift and was drawing popularity among the younger generation.


``Modern Boy'' is about a rich, hedonistic playboy played by the fabulous Park Hae-il who cannot care less that his country was colonized and falls head over heals in love with a beautiful independence fighter, ingeniously brought to life by Korean sex symbol Kim Hye-soo. Director Jung Ji-woo crafts a dramatic femme fatale story that evokes ``Carmen'' and ``Original Sin,'' but which can also be compared to Ang Lee's ``Lust, Caution.'' It is essentially a love story, and the dynamics of the time period set the heartbreaking mood for the narrative.

The cheerful characters of ``Modern Boy'' deliver a colorful story, but by no means do they beautify history. It simply shows that life continued, and that there was love, friendship and fun even in oppressive times. Gyeongseong is another name for exoticism, and rich period details give way to a visually lush film. The film portrays a new side of Gyeongseong, brightly lit with neon signs, where swing dance and jazz music were in full swing.

One can argue that the moral distinction between ``courageous'' independence fighters versus pro-Japanese ``traitors'' and evil Japanese authorities has entered a gray zone. ``Modern Boy'' does indeed feature a sympathetic Japanese character (Lee Han) that suffers over his genuine friendship with a Korean. But this is because the area of central conflict has shifted.

Back in the day, Korean cinema had its fare share of political films. Director Choi In-kyu, for example, made a 180-degree turn away from movies propagating Japanese militarism in the 1930s into making ultra-patriotic ones after Liberation in 1945. Such ``nationalistic'' filmmaking is not unusual. Hollywood continues to demonstrate the political agenda du jour, as Middle Eastern and even North Korean ``axis of evil'' terrorists began replacing the public enemy role long held by scheming Russian communists, Neo-Nazis and the ruthless Vietcong.

For Korean cinema's quintessential bad Japanese imperialist, it's a different story. The new Gyeongseong films mark a role shift rather than a reinterpretation of history. The Japanese oppressor is still evil but has melted into the background rather than being a strictly dishonorable character. The bitterness over losing sovereignty remains intact. Some of the most affecting moments in ``Modern Boy'' are when the protagonist, wealthy but deprived of his country, recalls his childhood dream of becoming Japanese rather than a doctor or such, and how a talented artist cannot sing in her own language.

So whether it's Hollywood or Chungmuro, a common denominator is that no matter who plays the bad guy, movies shift their focus away from the political problem at hand. It's called entertainment.

In theaters Oct. 2. 121 minutes. 12 and over. Distributed by CJ Entertainment.

(http://www.koreatimes.co.kr/)

Read about what the "Modern Boy" director and actors said about the film.

`Comfort Women' as Unfading Flowers

Raped, shamed and silenced, hundreds of thousands of women from Korea and other countries were forced to serve in Japanese military brothels during World War II. Who can be justly blamed for the woes of these so-called ``comfort women''?

While the usual answer is Japanese colonial authorities, a novel argues that in fact it is the cowardly men of the male chauvinistic Joseon Kingdom (1392-1910) who were unable to protect their own women from imperial Japan (1910-45), and the Korean government, which neglected the victims for over 60 years, that should be chastised before others.

Wu Bong-gyu, whose novel ``Nunggot (Snow on the Branches)'' was selected by The Korea Times' sister paper Hankook Ilbo as the representing piece for Korea's 50th Liberation Day, has brought ``Chinese Pink: The Spirit of a Downtrodden Joseon Woman'' for the country's 63rd year of independence.

The book pays homage to the victims and their unimaginable suffering and courageous survival. They are likened to ``paeraengiggot''(Chinese Pink or Dianthus chinensis), a light purple flower shaped like the upside down paeraengi hats worn by lowly Joseon commoners. While trampled and exploited, the women persevered and keep their heads up like wild flowers that don't wilt.

But ``Chinese Pink'' goes beyond the scope of conventional works dealing with this particular subject, and scrupulously criticizes Korea's own disregard for the victims since 1945. The novel begins by pointing out that using the euphemism ``comfort women'' endorses colonial Japan's efforts to conceal the horrid nature of the institution.

The victims themselves understandably prefer the expression over the more precise ― and explicit ― term ``sex slave''. Yet the women's shame and that of the Korean bystanders who employ it to ease their own guilt, the author seems to argue, are two different things. Korean readers will find themselves feeling far less comfortable than perhaps Japanese ones.

The novel reads more like an allegorical fable or song than a graphic historical drama, and rings with ``Arirang,'' the quintessential Korean folk melody evoking ``han,'' or pervasive sadness ― bidding farewell to a loved one, and making the arduous journey across mountains and the road of life.

Images of cascading mountaintops and the smallness of man in the bosom of Mother Nature suffuses, yet the novel by no means beautifies the tumultuous period. In the center of it all stands a female protagonist, Ok-a, who, more saint than human, understands the secrets of the universe and maps out her own destiny.

Adopted by Hoe-san, a Buddhist monk, Ok-a grows up enjoying an independence, education and respect most Joseon women were deprived of. Ok-a's muse is none other than Nan Sul-hun (1563-89), an esteemed Joseon poet known for dying at the young age of 27 after an unhappy marriage to an intellectually inferior man. She, like Ok-a, perished, her towering talent unable to blossom because of her gender.

When Japanese officials begin ``recruiting'' youths for labor in factories, mines, etc., Ok-a, unable to stand her romantic feelings for Hoe-san, voluntarily leaves to work in a factory in Japan. There, she refuses to be saved by I-gu, a man desperately in love with her, and ends up getting sent to a military brothel as punishment for teaching other Korean women ``hangeul'' (Korean alphabet).

At the brothel, Ok-a's beauty strikes the fancy of high-ranking generals. While she could have avoided serving up to 100 men a day by accepting their advances, Ok-a refuses. What drives her is not the conventional force of Korean nationalism, but her own rules of transcending boundaries set by nations and people. She derides the Joseon men, who, preoccupied with continuing their own skewed Confucian legacy, had allowed their country to collapse and their women to be exploited. She even goes as far to admire the fierce loyalty of Japanese soldiers for their homeland.

Moreover, the book paints Korean modern history in a few lines about a remote Korean village: ``1940: A man clubbed to death a female tiger caught in a trap. 1945: Four women were sent to Manchuria by Japanese troops. 1950: Three North Korean soldiers were shot to death while eating. The village housed just three homes.'' Korea surrendered powerlessly to Japanese imperialism like a trapped tiger and had to helplessly watch its people be torn away from home.
``Chinese Pink'' continues on to the rise of ``Great Leader'' Kim Jong-il, another name for Joseon's male chauvinism, and Syngman Rhee, not as South Korea's first president, but as a nameless Hawaiian immigrant capitalizing upon desperation.

Demonstrators, including former "comfort
women'' or World War II sex slaves, take part in the 827th regular rally
demanding justice in front of the Japanese embassy in Seoul, Aug. 20. / Korea
Times File

Following Japan's defeat in 1945, the surviving sex slaves were abandoned and many, uninformed of forthcoming attacks by UN forces, died. Those who survived were often unable to find their way home or committed suicide. Those who did make it through the years have only recently dared to speak of the past.

Civil organizations on behalf of the women demand that the Japanese government acknowledge the sexual slavery and examine the truth; apologize in the form of a national assembly resolution; include facts in school history manuals; construct an archive center and a monument to console the spirit of the dead; and punish those responsible for the slavery.

Unbending the women may be, but flowers are bound to perish with time. Until just action is taken, habitual sadness will linger, clawing at an already downtrodden soul.

`Modern Boy' Opens in October

Director Jung Ji-woo, center, and actors Park Hae-il, left, and Kim Hye-soo appear at a promotional event for the film "Modern Boy" in Seoul, Wednesday. /Yonhap

``Modern Boy'' (모던보이, S. Korea)

Directed by Jung Ji-woo (정지우). Starring Park Hae-il (박혜일), Kim Hye-soo (김혜수).

The critically acclaimed director of ``Happy End'' (starring ``Old Boy'' hero Choi Min-sik and ``Secret Sunshine'' heroine Jeon Do-yeon) brings a dramatic love story set in 1930s Gyeongseong or old Seoul, when Korea was under Japanese colonization (1910-45). With years of pre-production for the period detail, the film also utilizes the most blue screen shoots for computer graphics imagery(CGI) used in a Korean movie.

``In trying to recreate the period, I realized how little remains of the past because Korea was so focused on economic development,'' director Jung Ji-woo told reporters. The film resurrects via CGI the recently burnt down Sungnyemun and other landmarks.

``Unlike the black and white documentaries we're familiar with, 1930s Gyeonseong was a thoroughly modern city, very colorful with neon lights,'' he said, explaining that while it was a time of tragedy, it was also very dynamic with culture thriving and modernization in full gear. Like recent success ``The Good, the Bad, the Weird,'' which is set in the 1940s, this particular period, which had in the past been the subject of depressing documentaries, becomes a backdrop for crafting rich, exciting drama.

``The point here is not making a story about the colonial era but taking a character who could well exist in 2008 and displacing him in the past,'' he said. Park plays the role of a ``modern boy,'' a suave, rich young man who is unaffected by the fact his country was colonized. With his Japanese best friend, he struts around with his fashionable perm and customized linen suits, womanizing while flirting with a civil servant position. One day, however, he becomes mesmerized by a sexy singer/dancer (Kim), and becomes implicated in this mysterious woman's schemes to bomb a building. >>More

Books Map Out Korean Film History

Two books offer comprehensive retrospectives of Korean cinema: the Korean Film Archive brings ``Korean Film History'' while the Korean Film Council (KOFIC) offers ``Korean Cinema From Origins to Renaissance.'' Both offer 100 years of film history in 10 chapters, decade by decade.

Film specialist Jung Jong-hwa provides a short but all-inclusive anthology in ``Korean Film History'' (271 pp., 8,000 won). It's a nice pocketbook for Koreans and is filled with movie stills and posters as well as antique photos and newspapers clips. You can flip through it and skim the yellow boxes that summarize trends such as ``Korea's first film director'' and ``Actresses of the 1960s.''

``Korean Cinema From Origins to Renaissance,'' edited by Kim Mee-hyun, is available in both Korean and English. The latter is the ultimate ``bible'' of Korean cinema for non-Korean speakers, as it includes all the standardized names of films, filmmakers, actors and significant terms in both English and Korean. The drawbacks, however, are its hefty price ($65), weight and length (477 pp.). It's great for those who are seriously committed to knowing all the facts and figures. But good news is that the KOFIC Web site (http://www.koreanfilm.or.kr/) provides free, downloadable excerpts from the book (each of the 10 chapters summarized in essay format).

The Beginning

It is generally agreed that motion pictures were first introduced here as early as 1897, when shorts were played for Japanese residents. The chronicles of Elias Burton Holmes, an American traveler, reveal that movies were being shown around 1901. Called ``moving photos,'' films were an imported luxury, and in 1919 as many as 218 were brought in. Early homegrown works largely comprised of kino-dramas, or theatrical productions that featured screenings of outdoor scenery as backdrops.

Japanese Colonialsm

As Korea was under Japanese colonial rule (1910-1945), art had political undertones. In 1924, Park Seung-pil, owner of Dansungsa Theater (which, now a part of Cinus multiplex theater chain, still stands today in Jongno 3-ga), made a breakthrough with ``The Story of Jang-hwa and Hong-ryeon,'' the first ``purely Korean feature film.'' It was a response to the hit Japanese-Korean work, ``The Story of Chun-hyang,'' and the two competed for audiences at theaters.

There was more organized resistance against imperialism, such as the Korea Artista Proleta Federatio (KAPF). Founded in 1925, the group produced its own films. While KAPF was weakly funded and failed to make a great impact, it marks a significant effort in Korean history and Korean cinema.

Above is a rare photo from the set of ``Arirang'' (1926), the most representative piece from Korea's silent film era. Directed by superstar Na Woon-kyu, it was an ambitious project starring some 800 extras. It was Korea's first ``blockbuster'' but unfortunately, the original film is long lost. /Courtesy of Korean Film Archive

Soon, sound films were introduced but Korean cinema faced regulations by the Japanese government. There were also co-productions of propaganda movies. After 1945, there were a host of ``liberation films'' celebrating Korea's independence. Then with the outbreak of the Korean War (1950-53), filmmakers concentrated on documentaries.

War and More

Post-war Korea was poverty stricken, but it was also a time of revival and boom. Melodramas and comedies were all the rage and film studios sprang up. Chungmuro in central Seoul became home to filmmakers, becoming the Hollywood of Korea. The 1960s are usually called the Golden Age of Korean cinema, with representative directors like Shin Sang-ok and his wife and actress Choi Eun-hee making one hit after another.

The '70s and '80s, however, were woeful times, with the strict regulations under the Yunshin regime and censorship of military rule, respectively. Yet these were also times of many firsts, with awards at international film festivals and the direct distribution of Hollywood films.In the early 1990s, local romantic comedies swept box offices while the Screen Quota System ― obligating theaters to show Korean movies for a minimum period ― was enforced to protect domestic films.

Birth of the Blockbuster

In 1998, Korea's ``first blockbuster'' ``Shiri'' (aka. ``Swiri'') ― a North Korean spy story combining action, melodrama and suspense ― sent a shockwave through the industry. With the establishment of multiplex theaters, the number of screenings across the country tripled. Box office smashes drawing over 13 million people (Korea has a population of about 49 million) like ``The Host'' took flight, also faring well abroad.

Hallyu

In addition to the already institutionalized Korean TV soaps, ``hallyu'' (Korean Wave) stars paved the way to box office hits in Japan, China and other Asian countries. For subtitle-phobic American audiences, Hollywood bought the remake rights for some 25 homegrown hits. One example is ``The Lake House'' starring Keanu Reeves and Sandra Bullock based on ``Il Mare'' with Jun Ji-hyun. Jun (aka. Gianna Jun), who appears in Hollywood's upcoming ``Blood: The Last Vampire.''

More stars are making their way beyond Asia into the American entertainment capital, notably actors Kim Yun-jin (ABC's ``Lost''), Jang Dong-kun (``Laundry Warrior'' produced by Barrie M. Osborne), Lee Byung-hun (``I Come With the Rain'' opposite Josh Hartnett) and pop star Rain (``Speed Racer'' by the Wachowski brothers) among others.

Today

The Korean film industry, while gaining international reputation however, stands on shaky grounds. It saw an unnatural vertical growth as chaebol or large conglomerates heavily invested, withdrew then came back. Big monster production companies control the distribution of major movies, while those made by small- or medium-size firms find it hard to squeeze in.

But there is a leeway, as Mary K. Evjen Olsen, executive director of corporate marketing at Dreamville Entertain said in a Korea Times column. Hyun Jin Cinema, a medium-sized production company, made a smart move to team up with Japanese and American partners for the upcoming gangster movie ``Streets of Dreams,'' starring Robert De Niro, Andy Garcia and Korea's Choi Min-soo. (>> April 2008 update - Choi's Hollywood debut got cancelled due to an assault allegation)

As Korean movies and cineastes make their way near and far, there is room for improvement. Archiving and restoration of classic films are big ongoing projects for the Korean Film Archive. But there is also a serious lack of support for a decent cinematheque. While KOFIC provides a set standard, the omnipresence of irregular Romanization of Korean titles and names is still a problem. It is hoped that Korean cinema gets past these growing pains.

(http://www.koreatimes.co.kr/)

Read about the Korean Film Museum, which maps out 100 years of Korean film history.