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VOD Choice in April

2020-03-27 ~ 2020-04-30
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VOD Choice in April
VOD Choice April, recommended by the staff at Korean Film Archive. 

Films
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    01. Let's Meet at Walkerhill ( Wokeohileseo Mannapsida ) Han Hyeong-mo, 1966
    A father who is searching for his daughter who was lost during the Korean War meets a young man looking for an old lover with whom he lost contact. The two men in Seoul, visiting from the countryside, are filled with wonder at the urban sights. The story unfolds as the young man visits a music hall and civic center to find his old lover, who has since become a singer.
    The film shows actual performances of popular singers from the time between the scenes, which adds to the entertainment value of the story. The featured performances are “Ullie Bullie” by Key Boys, “Man in a Yellow Shirt” by Han Myeong-suk, “Heuksando Island Girl” by Lee Mi-ja, and more. These old Korean pop songs heavily influenced by jazz and blues music, combined with dance routines, make the film an enjoyable experience. The Walkerhill Show, which all entertainers at the time wished to perform, is depicted at the end of the film. The show is quite unconventional, even by today's standards.
    Through the events that the two characters encounter, the film shows the process in which traditional Korean values conflicted with the incoming American culture. A character is flustered by the sight of people dancing to a popular song influenced by American pop music, and another lead character uses straws like chopsticks to pick up ice cubes. A scene shows one of the dried fish—brought by the young man from the countryside—dropping onto the busy street, only to be crushed by the rushing cars; another displays the father’s sesame oil bottle being kicked around by the people dancing in a music hall. Scenes as these seem to represent the confused minds of the two characters exposed to a new culture, or even the turbulent spirit of the times.
    The film is sufficiently attractive just for its depiction of popular songs and culture from the mid-1960s, as well as the lives people led during the period. The film has been enhanced to HD quality, making the images of old Seoul, colorful costumes, and busy performances, which helps the audience experience the popular culture at the time, albeit indirectly. Choi Eun-ji, Librarian, Korean Film Archive Video Library
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    02. Love Me Once Again ( Miweodo Dasi Han Beon ) Jung So-young, 1968
    “What is your favorite film?” 
    This was the question I found most difficult, as a student of film directing. If I mentioned a work of Tarkovsky, it would have seemed pretentious (I have actually never seen any of his films), and to say “Batman” seems a bit too lowbrow. That's why I tend to avoid answering such questions. 
    Nursing homes are some of the places that our mobile movie theater visits rather frequently. A commercial film director said that a measure of film’s success is whether people can cry over the story. By this standard, “Love Me Once Again” is an immense commercial hit. 
    As soon as Yeong-sin, the lead character in the film who is trembling in the rain in front of her house, says “mom, I miss you,” residents at nursing homes begin to shed big, fat tears. This applies to people of all ages and gender. 
    The film is also funny. Everyone laughs when Yeong-sin says that her dream is to “become a fat boss like [her father],” the audience falls into laughter. The scene breaks the long preceding silence. 
    Of course, it may seem old-fashioned that all characters express their emotions with words. They say what they are feeling out loud. What is even more, Hye-yeong (played by Moon Hee) has a crying voice that is louder than the thunder. 
    Some may criticize the patriarchal practice displayed when a man who cheated by lying that he was not married (played by Shin Young-kyun) boldly criticizes Hye-yeong for her “faults.” We must remember, however, that the movie is over half a century old. Neil Armstrong stepped onto the moon in the year that the film was released. That is why I can say this: 
    “This is the best-made (classical) commercial film.” 
    It’s a “commercial film.” That gives me a way out. I need to be careful since the words I write here will last. Still, I leave by saying this again: “This is the best-made (classical) commercial film.” The film extended to a series of four works. First to third films in the series are available, of which the first one is the best. Lee Yong-gam, ‘Cinema on Wheels’ Coordinator, Korea Film Archive Cinematheque Team 
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    03. Sopyonje (Seopyeonje) Im Kwon-taek, 1993
    “Sopyonje” does not show colorful K-pop concerts, nor grand orchestra performances. It is a film that contains the sorrow and lamentation expressed solely through the voice of one person. The pansori performances depict a family's life and tragedy, moving the audience’s hearts. In particular, the voices of actors who studied Korean traditional music for this film perfectly blends into the story from the original novel—often taught in schools—by Lee Cheong-jun, in addition to bringing the book characters to life.
    Although the highly artistic film opened among many commercial films at the time, it became a big hit that garnered one million viewers just in Seoul. As big of a big as it was, the film promoted the beauty of Korean traditional music to many people. Even I, who viewed pansori as a boring form of art, broke away from the stereotype.
    Another element to watch in the film is the beautiful landscape of Korea. Such gorgeous sights harmonize with the Korean sounds, enhancing the Korean beauty. Since the scenery of the land and emotions of the people have changed greatly as time passed, I wonder if a film like this can be ever made again.
    I suggest watching “Sopyonje” this weekend to experience the beauty of Korea and view the old lifestyle of the Korean people. Lee Ji-won, House Manager, Korea Film Archive Film Museum
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