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Jackie Shroff, Actor: Devdas. Jaikishen was born in the Gujarati-speaking Shroff family on February 1, 1957. His dad's name is Kakubhai, his brother's is Hemant, and.
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Korean Movie Reviews for 2. The year 2. 00. 6 was a boom year in a number of different respects. Mercilessly teased and bullied, Do- yeon (Bong Tae- gyu) knows that he is the low man on the totem pole at his high school where he daydreams about the drop- dead gorgeous Ji- yeon (Ko Eun- ah) who sits in front of him in class. The predictability of this episode, which is actually the second chapter of the omnibus, is not played for humor. In fact, it takes itself far too seriously. This later work was originally screened at the 2.
Pusan International Film Festival. Review ethics keep me from going into greater detail, but it's lovely in its cheekiness. So much is revealed in this scene about where the film is headed. Naturally, they don't know a word of each other's language. Both Mori and Seo, a real- life third- generation Korean- Japanese, deliver excellent, naturalistic performances.
Its low- octane, soft- in- the- heart approach and lack of cinematic razzle- dazzle will likely disappoint some viewers. Nonetheless, One Shining Day deserves a place in the history of postwar Korean cinema as a thought- provoking snapshot of a stage in the evolution of mutual perceptions by Japanese and Koreans. Ethically uncompromising, Hyung- jin is marked as a persona non grata at his police department. Really serious trouble brews when he falls in love with a politico's trophy wife Yoon- hee (Kim Ji- soo, That Charming Girl). He dreams of emigrating to Argentina with her, where she can fulfill her childhood dream of being a tango dancer (I didn't make this up).
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Yoon- hee's husband, enraged by the illicit affair, schemes to permanently incarcerate her in a psychiatric ward and annihilate Hyung- jin by means of a forced drug overdose. And he's got many underlings, even among the police, to do his bidding. Disparaged as vulgar and tasteless only a few decades ago, like so many popular Korean artforms, melodrama has stoutly weathered insults and derisions, to claim the position of a commercial and artistic force to be reckoned with. If Park Jin- pyo's You Are My Sunshine stands as one example of how to successfully update or reconstruct the tear- jerker for the 2.
Moon Seung- wook's Romance, the kind of jaw- dropping train wreck that only a talented director could have made. If Kryszytof Kieslowski was asked to make a hybrid of Endless Love and Die Hard, could it have resembled Romance? No, actually that movie would be a whole lot more entertaining. Or if Ingmar Bergman and Sven Nykvyst decided to make a Steven Segal movie as a joke..
Anyway, you get the picture. Why this mock- Hollywood ? Why blow up a get- me- out- of- this- unhappy- marriage female fantasy scenario into an action extravaganza with shrapnel and body parts flying everywhere? It's a miscalculation of monstrous proportions, if indeed it was a miscalculation: this intrusion of Hollywood action flick bull is so ludicrous that it almost appears to be an allegory of some kind. Is Moon trying to comment on how this overwrought violence, the endless display of gunfire, explosions, beatings, face- slaps and foul language, has supplanted romantic yearning in so- called melodramas, i.
Otherwise how do you explain the pupil- dilating ? This is the kind of stuff Jerry Bruckheimer would be too embarrassed to put in his blockbuster. It is entirely due to Jo Jae- hyun's acting ability that we at least remain convinced that Hyung- jin genuinely cares about her. In almost every other respect he is a carbon copy of one of those psychotic .
Kim Ji- soo, who publicly complained about the lack of depth in her role, is at least allowed a few moments of dignity in which her severe, porcelain face registers trauma and despair. For the rest of the film, Yoon- hee might as well be a varnished paper cut- out. Adding insult to injury, she is stuck with some of the most atrocious lines I have ever encountered in a Korean movie, melodrama or not: . He was a rough man, but he was sensitive inside.. Yoon Je- mun's (so powerful in A Dirty Carnival) snickering, weasel- like secondary villain is a colossal waste of his talent. Poor Jang Hyun- seong (Nabi, Spider Forest, Git) sinks into a bowl of second banana pudding.
Lee Jung- hwan's live- wire primary villain seems to think he is Juan Peron and his wife Evita. At least that goes in sync with the film's mortifying reference to tango and its cringe- inducing use of the dance tunes as background music. Moon, DP Kwon Hyuk- joon (Ardor, Marathon), lighting director Lee Jae- hyuk, production designer Hwang In- joon (Antarctic Diary, Tube) and art director Jeong Hyun- cheol (Bungee Jumping of Their Own) collaborate to create a stunningly stylized chromascape dominated by two colors, dark blue- indigo and gold- orange, a sort of Vermeer- meets- classic film noir look that's unlike anything ever seen in a Korean movie.
It is undeniably gorgeous, occasionally even breathtaking. A tableau of Yoon- hee walking across a rain- drenched empty lot in one scene, for instance, that you could swear was filmed at a Middle European plaza, perhaps previously featured in The Third Man or some such post- Second World War masterpiece, turns out to be the Seobu Police station, one of the drabbest locations in Seoul! Alas, all this fine- arts sophistication is for naught, overwhelmed by ridiculous dialogue, unpleasant violence and overripe performance. Romance proves, like countless Korean horror films of the summer season, how difficult it is to reformulate tired- but- true cinematic cliches. It requires far greater mastery of cinematic conventions than is usually supposed. To put it bluntly, it is easier to make an imitation- Hong Sang- soo . One can only hope that Moon Seung- wook will be able to put this no doubt frustrating experience behind him and get things right next time.
Two among them were the negative experiences of military draftees (there is no such thing as sexual abuse among men in the Korean military, of course) and the widespread use of drugs (only Americans do drugs, of course). I've in fact vilified Korean filmmakers on more than one occasion for not having the guts to take on these issues. Well, I am as happy as Winnie the Pooh with a pot of honey to eat my own words, as we now have The Unforgiven tackling the military controversy, and Bloody Tie, one of the most harrowing crime thrillers to come out in Korea for some time, for the drug problem. Meth was used by various governments (Japanese, Nazis, American) during the Second World War to boost production and keep troops alert: today it is recognized as one of the most widely used and socially destructive addictive substances in the world, next to alcohol, caffeine and nicotine (What, did you expect cannabis to make the list?). Bloody Tie begins with an actual news montage chronicling the explosive rise of meth use in the Busan area following the 1.
IMF crisis. The film then introduces two protagonists: Sang- do (Ryoo Seung- beom from Crying Fist), a cocky, street- savvy small- time dealer with a tragic family history involving his dopehead uncle (the veteran Kim Hee- ra), and Lieutenant Do (Hwang Jeong- min, You Are My Sunshine, Bittersweet Life), a corrupt cop obsessed with bagging his arch- nemesis Jang Cheol (theatrical actor Lee Do- gyung), a big- shot crime lord ensconced in China. I was reminded of William Friedkin's equally nasty To Live and Die in L. A. Director Choi Ho, who previously helmed the interesting Who Are You? Several obviously cliched setups attain, under his careful direction, a sense of dramatic authenticity, such as Sang- do's don't- tell- me- why- I- am- doing- this effort to detox an upper- class addict Ji- young (the TV drama actress Choo Ja- hyun), which develops into a highly convincing, non- sentimental relationship between the two. Hwang is brilliant as usual.
His trademark steam- engine puffing (. I am fast running out of superlatives to praise Ryoo, undoubtedly the most naturally talented Korean actor of his generation, no contest.
Following at the heels of his stunning turn in Crying Fist, Ryoo, without ever resorting to cute mannerisms or exaggerated theatrics, makes us root for Sang- do, a craven little thug full of hot air, who is just smart enough to be one step ahead of his competitors but not smart enough to see that he is nothing more than a rat in a pinwheel in terms of the Big Picture. Do not expect something beautiful and slick: this baby's got a bite. Kim, Blood Rain), a horn player, is leading a happy middle- class life, along with his elderly but active parents and the married sister's family.
And the grandfather, whom the family thought was an honored Communist hero, has been living in South Korea all these years. Mexicans in the United States or Moroccans in France would certainly resonate with the Kim family's experience, their befuddlement, desperation and courage in their efforts to create new identities in a familiar yet strange land, and their sorrow resulting from the inevitable choices they make in order to survive. Considering the reality that more than one thousand . The painstaking recreation of communal restaurants and concert halls with their opulent but hollow- looking interior design, and an apartment house with its warm- colored but borderline cheesy wallpapers are stunning in their verisimilitude and naturalism: equally impressive are the detailed descriptions of housing facilities and relocation programs for Northerner exiles. Cha Seung- won, eschewing the comic images familiar from his earlier pictures, is so convincing in portraying Seon- ho's naive, trusting nature that I basically forgot throughout the movie that, if he were to mingle with North Koreans in real life, Cha would stick out like Gandalf among a bunch of Hobbits. As a counter- point to Jo's youth and wide- eyed vivaciousness, the veteran actress Shim Hye- jin (Out to the World, Acacia) delivers an excellent supporting performance as a mature, tough owner of fried chicken restaurant who befriends Seon- ho.