2009-04-30

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.


'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.

2009-04-27

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

2009-04-26

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