A Day with My Son

director

Jang Jin(장진)

cast

Cha Seung-won

Ryoo Deok-hwan

Kim Ji-yeong

Lee Sang-hoon(I)

Lee Moon-soo

Lee Han-wi

Lee Cheol-min

Jin Won

Woori

Jang Young-nam

[DVD review]Jang Jin’s world stumbles in My Son

In a bid to describe the world of film director Jang Jin film critics have coined a new phrase ― “Jang Jin-ish.” This seems an appropriate choice, given that Jang’s signature style includes comic twists, sharp puns and stagy presentation. Jang’s films do not sell millions of tickets but he has nurtured a faithful fan base that appreciates his “Jang Jin-ish” style. In recent years, the director has pursued a variety of genres from romances such as “Someone Special” (2004) and “Righteous Ties” (2006). His latest work, “My Son” is a venture into human drama. The premise of My Son is rather too simple for a Jang Jin film: A man serving life in prison gets the chance to meet his son after 15 years ― for one day. Many Jang fans wondered how he would make this into a 103-minute film and now English-speaking viewers can find out as a subtitled-DVD was recently released. First, Jang introduces the protagonist, Kang-sik, a 39-year-old who was sentenced to life for robbery and murder. Jang describes Kang-sik as docile and religious, having repented his unwise past. Jang gives us a chronological presentation of Kang’s highly anticipated one-day outing but he does not make the story too serious or dark, mixing jokes and comical elements in between. For example, Jang injects comedy into a scene where Kang-sik practices how to greet his son by saying “Hi, yo yo.” The days of training, however, are in vain, as awkwardness prevails when he actually faces his son. Joon-suk asks blunt questions like “Do you remember the face of your victims?” and Kang-sik is heartbroken. However, as time goes by father and son begin to break the 15-year-old ice by building bonds in a public bath house and running around town like crazy. The morning after the father and son bid a painful good-bye, but there is a big twist at the end. The film has good Jang Jin elements, such as a scene where Kang-sik suddenly faces the camera and says, “You heard that too, right? He called me a ‘father.’” Another memorable scene is at the public bathhouse where Jang presents some fantasy factors. As the father and son rebuild their ties, Jang changes the bathhouse into a seabed as a way to express Kang-sik’s joy. This film, however, is not likely to be seen as Jang’s best. It relies too heavily on narration by the main characters and many of the soliloquies are either bland or didactic or both. In one scene Kang-sik says, “This is sad. This hurts. I hate it that my eyes seem to scare my son,” but his speech is too obvious. Jang did not need to tell viewers what to feel. Narration has been one of Jang’s favorite tools in his past films, but he used them only when necessary and they were funny and sharp. The narrations in My Son seem to block the film’s flow. Several notable Jang Jin elements are lost in the narrations at the end. The actors supply a good performance, especially Ryu Deok-hwan, who plays the son. This young actor is impressive and he fits smoothly into his character. Meanwhile, Cha Seung-won, the lead actor, made a notable move with this film as his strength hiterhto has been comedies. Watching him play a docile character, viewers feel he is trying hard, but this is not his best performance. The English subtitles are passable, given Jang’s generous use of Korean puns makes a full translation difficult. For those eager to explore the “Jang Jin-ish” world My Son may not be the best first choice. “My Son” Director: Jang Jin Starring: Cha Seung-won, Ryu Deok-hwan Genre: Drama Subtitles: English Running Time: 103 minutes

A Fresh Start for Korean Cinema: Overview of the First Half of 2007

Korean films have delved into new topics and covered a wide range of genres the first half of the year. Coming off of a disappointing year at the box office, the Korean film industry has answered with a number of truly noteworthy works of art. Although many of the films released this year were funded before the industry crisis of 2006, they have not generated the type of profits that once raised eyebrows around the world during the Korean film boom a few years ago. The Industry has suffered greatly in the past year for many reasons. The Korean film boom spawned many hastily planned productions that ended up failing in theaters. Recently, after the loosening of the screen quota and the influence of the labor union on production costs, Korean film companies are investing with far more reluctance. None the less, this year Korea has unleashed the last batch of films that were direct products of the boom. Whether funded during the boom or during the crisis, there have been many noteworthy films released this year so far. There have been award winners and heart warmers. From animation to documentary, Korea has unveiled another crop of masterpieces. The most notable film of the year so far is clearly Lee Chang-dong’s award winning Secret Sunshine. The film stars Song Kang-ho and Jeon Do-yeon, who actually won the award for best actress at this year’s Cannes Film Festival for her remarkable performance in this film. The film portrays the hardship of a mother, in a new town, dealing with a tragedy that transforms her life into a search for meaning. The film has enjoyed a long run in Korean theaters and is destined for a significant place in Korean cinema history. This year Song Kang-ho also stars in another interesting film entitled The Show Must Go On. This work is a clever new take on the familiar Korean gangster movie subgenre. It approaches the topic from a new angle. Instead of showing the gangsters as a family, it focuses on the actual family life of an individual gangster. The man seems like a normal working man when he comes home to his family, but as the film progresses we discover the problems that surface due to his profession. Although he dreams of a stable family life in an idyllic house, his family feels the strains of his increasingly hazardous occupation. Uncommon Korean genres were also covered this year in film. Although Korea actually does much of the labor for many Japanese and American cartoons, rarely is a Korean animated feature film produced. Yobi, The Five-Tailed Fox is the latest work from Lee Sung-gang. This whimsical tale is brought to life through many breathtaking visuals. Documentary films are also uncommon for Korean theaters. Kim Myung-jun’s Our School has built on its independent roots by touring small theaters around Korea. Due primarily to word of mouth, the film has gotten much attention and even playing time in select multiplexes. Another film that shows a child who has grown up without typical conditions is Jang Jin’s My Son. This film stars Cha Seung-won as a father, serving a life sentence, who is released to spend one day with his son who he hasn’t seen for 15 years. The son was only a small child when he left, so he finds himself in over his head trying to catch up. The film creates an interesting sense of tension as we feel his time running out and we become enthralled with the unraveling mysteries of their past. The latest film depicting the life of an important figure from Korea’s past is Chang Yoon-hyun’s Hwang Jin Yi. This lavish epic, set in the Chosun Dynasty, stars Song Hye-kyo as Hwang Jin Yi, a legendary gisaeng (sort of like a Korean geisha) who actually had quite a bit of political influence. The film features a poignant love story accompanied by many vibrant sets and costumes. There is even a breathtaking scene shot among picturesque mountains in North Korea. Hwang Jin-Yi was also the subject of a popular television drama last year. Hwang Jung-min stars in Black House, a unique thriller that borders on the horrific. Summer is the time for horror films in Korea and this early summer release provides a message to go along with the obligatory gore. The story involves insurance fraud and a chilling mystery surrounding a decrepit old house. From thrills to chills, the first half of 2007 has been a showcase for Korean cinema. Groundbreaking films have surfaced and international recognition has been awarded. The Korean film industry may be dealing with a temporary crisis, but the products they are currently releasing sure don’t show it. Josh Hoffman(KOFIC)

Fathers take center stage in Korean films

Melodramas, horror flicks, gangster comedies and thrillers have one thing in common for Korean moviegoers: they are not so popular at the box office. To find a breakthrough, filmmakers have been exploring other alternative genres and themes, one of which turns out to be the father. Not a traditional Korean father who symbolizes the paternal authority, though. The latest cinematic Korean fathers are usually depicted as middle-aged, increasingly powerless, anxious to survive, lonely, and willing to admit their vulnerability. In-gu, a mid-level mob boss in "The Show Must Go on", is a case in point. The character represents many Korean fathers who feel threatened by the worsening conditions in Korean society. In-gu, played by veteran actor Song Kang-ho, wants to get a decent house for his family - one of the key issues for most Korean households - but does not make enough money. After all, he's just a gangster-cum-worker stuck on the lower rung of the social ladder. Unlike traditional Korean fathers who used to wield enormous power just a century ago, today's Korean fathers do not have the guts to speak up even when their meager authority is challenged, questioned and ignored. In-gu, for instance, does not command any authority among family members. His daughter openly despises him. The crisis facing middle-aged Korean fathers involves a weakening status in the workplace, soaring education costs for their children, the elusive dream of owning a big house, and a marriage that is steadily falling apart. Paternal authority has become non-existent. There is no clear role model to follow so fathers must continue to battle the tough world - alone. Fathers including In-gu are being pushed to the sidelines and forgotten in society and among their own spouses and children Helplessness is another important aspect in depicting today's Korean fathers. Director Jang Jin introduces Lee Kang-shik (played by Cha Seung-won) in his latest film "A Day with My Son" (Adeul), a father who has been incarcerated in prison for more than a decade and is given a single day out of jail. In the film, to be released on May 3, Kang-shik's only wish, once out of jail, is to meet his son, who was an infant when he was arrested. The only problem is that his son, now a high school student, is not ready to discover that he has a father - a father saddled with a not so respectable history. "My Father", which will be released later this year, tackles the fatherhood issue more directly. The story involves James Parker (Daniel Henney), a boy adopted by an American family. He embarks on a quest to find his birth father, and addresses questions about what father, if anything, means. "Meet Mr. Daddy" ("Shiny Day" - Nunbushin Nal-ae), which hit theaters yesterday, is expected to shed light on the soft side of a Korean father who has a cute, pretty daughter. The film, directed by Park Kwang-soo, features the encounter between a father (Park Shin-yang) and his young, estranged daughter, against the backdrop of the 2002 World Cup. The story revolves around the abrupt father-daughter bonding, which is rare in Korean cinema. In a sense, it is refreshing to see a variety of father figures in Korean films, though many of them do not lead a comfortable or enviable life. It is a fact that paternal authority is diminishing fast, and local filmmakers seem to believe that such a change in roles deserves some silver-screen attention.