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5) The Chaser 5) The Chaser
Director: Na Hong-jin Direktur: Na Hong-jin
Writer: Hong Won-chan, Lee Shinho, Na Hong-jin Penulis: Hong Won-chan, Lee Shinho, Na Hong-jin
Genre: Crime, thriller, drama Genre: Crime, thriller, drama
Release Date: February 2008 Tanggal rilis: Februari 2008
One night, a man in his car makes a routine call to one of his girls… Suatu malam, seorang pria di dalam mobilnya membuat panggilan rutin ke salah satu gadis itu ...
But she doesn't pick up… Tapi dia tidak mengambil ...
Jung-ho Jung-ho knows something is going on. tahu sesuatu sedang terjadi. As a former police detective now turned pimp, his instinctual “cop radar” has gone off. Sebagai mantan detektif polisi sekarang berbalik germo, insting-nya "radar polisi" telah pergi. Another one of his call girls from his “pleasure business” has gone missing and the numbers continue to decrease. Satu lagi gadis panggilan dari-Nya "bisnis kesenangan" yang hilang dan jumlah terus menurun. Nearly penniless after paying these missing girls' debts, Jung-ho realizes something has to be done; he's got to get his money after all. Hampir tidak punya uang setelah membayar utang gadis-gadis yang hilang ', Jung-ho menyadari sesuatu yang harus dilakukan, dia harus mendapatkan uang setelah semua. He flips open his cell phone and notices the recent disappearances originated from client number 4885's home. Dia membalik membuka telepon selulernya dan pemberitahuan penghilangan baru-baru ini berasal dari nomor klien rumah 4885's. Min-jee, a mother and soon to be victim, is called to work. Min-jee, seorang ibu dan akan segera korban, yang dipanggil untuk bekerja. He instructs her to call him back once she arrives at the address. Dia menyuruh dia menelepon kembali begitu ia tiba di alamat tersebut. But it's getting late in the night and when Jung-ho does not get a call back, he's convinced he knows who's behind the kidnappings and that Min-jee's life is in grave danger: thus begins The Chase. Tapi itu semakin larut di malam hari dan ketika Jung-ho tidak mendapatkan panggilan kembali, dia yakin dia tahu siapa di balik penculikan dan bahwa hidup Min-jee adalah dalam bahaya besar: sehingga mulai The Chase.
The unique twist on this crime thriller is that the viewers not only see what the protagonist – Jung-ho – does, but also what the villain does as well. Yang unik twist thriller kejahatan ini adalah bahwa pemirsa tidak hanya melihat apa yang protagonis - Jung-ho - tidak, tetapi juga apa yang penjahat tidak juga. But where's the fun in seeing everything? Tapi di mana asyiknya melihat segalanya? While the movie lays everything out for the audience to see, the characters do not have the same privilege. Sementara film meletakkan semuanya untuk para penonton untuk melihat, karakter tidak memiliki hak yang sama. What will Jung-ho do? Apa yang akan Jung-ho lakukan? Will he solve what we – the audience – already know? Apakah dia akan memecahkan apa yang kita - para penonton - sudah tahu? The viewer hinges on his every decision and empathize with Jung-ho from the get go. Engsel penampil pada setiap keputusan dan berempati dengan Jung-ho dari bisa pergi.
At first, Jung-ho believes that this client 4885 is a rival pimp, stealing his call girls from his business. Pada awalnya, Jung-ho percaya bahwa ini adalah 4.885 klien germo saingan, mencuri gadis panggilan dari bisnisnya. Nervously waiting for Min-Jee to come out, he camps outside the suspect's house in his car, hoping that she turned down client 4885's offer to become his call girl. Gugup menunggu Min-Jee untuk keluar, ia kamp di luar rumah tersangka di mobilnya, berharap bahwa dia menolak tawaran 4885 klien untuk menjadi gadis panggilan-Nya. But as the audience soon finds out, Yeong-min is not in the pleasure business; he's a pure sadistic killer and Min-jee is soon to be the next victim. Tapi sebagai penonton segera tahu, Yeong-min tidak dalam bisnis kesenangan; dia pembunuh sadis murni dan Min-jee akan segera menjadi korban berikutnya.
As client 4885 abducts Jung-ho's ladies one by one, the audience learns the shocking torture that is occurring. Sebagai client 4.885 wanita melarikan Jung-ho satu per satu, penonton belajar penyiksaan mengejutkan yang terjadi. The ladies are thrown into a spacious bathroom, bound and chained by the hands and feet, and gagged with a bandage. Para wanita yang dilemparkan ke dalam kamar mandi luas, terikat dan dirantai oleh tangan-tangan dan kaki, dan mulutnya tersumpal dengan balutan. Then, using a hammer and chisel, client 4885 slowly tortures his female victims by chiseling their heads until enough blood spills their eventual death. Kemudian, dengan menggunakan palu dan pahat, klien perlahan-lahan 4.885 perempuan korban penyiksaan itu dengan memahat kepala mereka sampai cukup darah tumpahan akhirnya kematian mereka. Min-jee is also subject to this disgusting act, as the sides and top of her once beautiful face is ripped with bloody gashes and deep scars. Min-jee juga dikenakan tindakan menjijikkan, sebagai sisi-sisi dan atas wajahnya cantik sekali terluka dengan luka berdarah dan luka dalam. As she soon passes out, it seemed that this client claimed another of Jung-ho's girls. Saat ia segera jatuh pingsan, tampaknya bahwa klien ini diklaim lagi gadis-gadis Jung-ho. Will Jung-ho solve what's going on? Akan memecahkan Jung-ho apa yang terjadi? Can he stop this sick pervert this time? Bisakah dia berhenti ini pervert sakit saat ini?
Jung-ho, still waiting outside the gated house, now suffers the same premonition as when his other girl disappeared the other night. Jung-ho, masih menunggu di luar rumah berpagar, sekarang menderita firasat yang sama seperti ketika gadis yang lain menghilang malam. As he polices the local neighborhood in his car, he damages another car from the side. Ketika dia kebijakan lingkungan lokal dalam mobilnya, ia kerusakan mobil lain dari samping. Calm and collected, he goes to the other car and tells the other driver he will pay for their car damages. Tenang dan dikumpulkan, ia pergi ke mobil lain dan memberitahu pengemudi lain, ia akan membayar kerusakan mobil mereka. The driver rolls down his tinted window and is revealed to be a young male. Sopir gulungan menurunkan jendela gelap dan diturunkan menjadi laki-laki muda. He insists that he doesn't require reprimands and impatiently waits for the blocking traffic to clear before driving off. Ia menegaskan bahwa ia tidak memerlukan teguran dan tak sabar menunggu untuk memblokir lalu lintas untuk jelas sebelum mengemudi off. Yet, when Jung-ho notices blood on the driver's shirt, he suspects something wrong and calls client 4885, but the heist is up; the driver's phone rings. Namun, ketika pemberitahuan Jung-ho darah di baju pengemudi, ia tersangka sesuatu yang salah dan panggilan klien 4885, tetapi pencurian adalah up; telepon berdering pengemudi. As the suspect escapes through the side door, Jung-ho runs after him and The Chase is on. Sebagai tersangka lolos melalui pintu samping, Jung-ho berjalan setelah dia dan The Chase aktif.
After an intense chase scene, Jung-ho catches up to him and proceeds to pummel, kick, and stomp the suspect into bloody submission. Setelah adegan intens mengejar, menangkap Jung-ho ke arahnya dan hasil untuk memukul, menendang, dan menginjak-injak tersangka dalam pengiriman berdarah. Grabbing his ID, he finally discovers the suspect's name: Je Yeong-min. Meraih ID-nya, ia akhirnya menemukan nama tersangka: Je Yeong-min. Bringing Yeong-min in the police station, he soon realizes what the audience already knows: Yeong-min is not some rival pimp stealing his ladies, but a cold blooded killer. Membawa Yeong-min di kantor polisi, ia segera menyadari apa yang penonton sudah tahu: Yeong-min adalah bukan germo saingan mencuri istri-istri Nabi, tapi seorang pembunuh berdarah dingin. Now he suddenly asks himself, is Min-jee still alive? Sekarang dia tiba-tiba bertanya pada dirinya sendiri, adalah Min-jee masih hidup?
First-time director Na Hong-jin' s 2008 hit is similar to “Memories of Murder” ; it's a crime thriller based on a true story. Pertama-waktu direktur Na Hong-jin 's 2008 hit serupa dengan "Memories of Murder", melainkan sebuah thriller kejahatan berdasarkan kisah nyata. However, unlike most films of the genre where the killer is revealed in the final showdown, Na turns the genre on its head and presents the murderer within the first 20 minutes. Namun, tidak seperti kebanyakan film genre mana si pembunuh terungkap di final, Na mengubah genre di kepala dan menyajikan pembunuh dalam 20 menit pertama. But what's the point of a crime movie if the killer is already found? Tapi apa gunanya film kejahatan jika si pembunuh sudah ditemukan? If only it were that simple. Jika saja itu yang sederhana. Jung-ho has the cards stacked against him: Yeong-min is a psychopath, the police investigators reek of corruption, and there is no evidence. Jung-ho memiliki kartu ditumpuk melawan dia: Yeong-min adalah psikopat, bau penyidik polisi korupsi, dan tidak ada bukti. If Jung-ho cannot prove in 12 hours that Yeong-min was involved in the killings, he will be set free. Jika Jung-ho tidak bisa membuktikan dalam 12 jam Yeong-min yang terlibat dalam pembunuhan, ia akan bebas.
Na also takes a different approach in creating his film, where the suspense, action, and evidence gathering takes a back seat to the protagonist's own development. Na juga mengambil pendekatan yang berbeda dalam pembuatan film, di mana ketegangan, tindakan, dan mengumpulkan bukti mengambil kembali kursi untuk pembangunan itu sendiri protagonis. Make no mistake, Kim Yuk-seok ’s fantastic portrayal as the lead character, Jung-ho, is the focal point of this suspense thriller. Jangan salah, Yuk-Seok Kim 's gambaran fantastis sebagai tokoh utama, Jung-ho, adalah titik pusat dari ketegangan film ini. In the beginning of the film, Jung-ho is shown as a bastard. Pada awal film, Jung-ho ditampilkan sebagai bajingan. Unsympathetic, heartless, and greedy, Jung-ho shows no remorse for his call girls' well-being. Tidak simpatik, kejam, dan serakah, menunjukkan Jung-ho tidak ada penyesalan atas nya gadis panggilan kesejahteraan. After all, he was generous enough to clear every girl's past debt in exchange for their “services” to clients. Setelah semua, dia cukup murah untuk menghapus hutang setiap masa lalu gadis itu sebagai imbalan untuk "jasa mereka" untuk klien. The bottom line is profit. Intinya adalah keuntungan. Being sick for days, feeling scared of creepy customers, and spending time with their kids are all needless excuses – meaningless reasons that do not pay him, put food on the table, or clear the girls' debts. Sakit selama berhari-hari, perasaan takut pelanggan menyeramkan, dan menghabiskan waktu bersama anak-anak mereka semua perlu alasan - alasan berarti yang tidak membayar, menaruh makanan di meja, atau melunasi hutang-hutang anak-anak '.
As the movie progresses, he slowly realizes he is greatly responsible for his own reputation and own deteriorating business. Saat film berlangsung, ia perlahan-lahan menyadari bahwa dia sangat bertanggung jawab atas reputasinya sendiri dan memiliki bisnis memburuk. When one of his girls is threatened to be raped by two clients, Jung-ho comes in and roughs them up. Ketika salah satu gadis itu terancam akan diperkosa oleh dua klien, Jung-ho datang dan roughs mereka. But he doesn't protect the girl for her well-being; he sees it as protecting his business assets. Tapi dia tidak melindungi gadis itu untuk kesejahteraan dirinya, ia melihatnya sebagai melindungi aset bisnisnya. She sees Jung-ho for what he is – a greedy money-grubber—and finally leaves his harem. Dia melihat Jung-ho untuk apa dia - sebuah haremnya serakah uang-buaya-dan akhirnya daun. Many of his former cop co-workers now look at him in disdain, as a good cop turned into a shady man. Banyak mantan polisi rekan kerja sekarang menatapnya jijik, sebagai polisi yang baik berubah menjadi seorang pria yang teduh. Even Min-jee, sick and tired from balancing a motherly role to her daughter and as a call girl, sees his boss as nothing but “filth”. Bahkan Min-jee, sakit dan lelah dari menyeimbangkan peran keibuan untuk putrinya dan sebagai seorang gadis panggilan, melihat bosnya sebagai apa-apa selain "kotoran". This begs the question, how did Jung-ho become like this? Hal ini menimbulkan pertanyaan, bagaimana Jung-ho menjadi seperti ini? Wasn't he a servant of justice before? Bukankah dia seorang hamba keadilan sebelumnya?
As described in the first couple paragraphs above, The Chaser will suck the viewer in from the start. Seperti dijelaskan dalam beberapa paragraf pertama di atas, The Chaser akan menyedot penampil dari awal. It is a non-stop adventure of suspense, action, problem solving, and emotion. Ini adalah petualangan non-stop ketegangan, tindakan, pemecahan masalah, dan emosi. While “ Memories of Murder” laid out an incredible murder story and calmly created a slow build up for the grand ending, “ The Chaser” presents many obstacles from the get-go and never lets up. Sementara "Memories of Murder" diletakkan sebuah cerita pembunuhan yang luar biasa dan tenang membuat lambat membangun untuk mengakhiri grand, "The Chaser" menyajikan banyak kendala dari-get pergi dan tidak pernah membiarkan up. Jung-ho's transformation from being slightly better than the killer to actually caring about the lives of others and serving justice is amazing. Jung-ho transformasi dari yang sedikit lebih baik daripada si pembunuh untuk benar-benar peduli tentang kehidupan orang lain dan melayani keadilan yang luar biasa. The acting that Ha Jung-woo portrays as the psychopathic killer, Yeong-min, is dead on, giving the audience a glimpse into a serial murder's thought process. Bertindak bahwa Ha Jung-woo menggambarkan sebagai pembunuh psikopat, Yeong-min, sudah mati pada, memberikan penonton sekilas pembunuhan proses berpikir yang serial. It's a performance that you can't help but love to hate. Ini merupakan kinerja yang tidak dapat membantu tapi suka membenci.
Following the recent trend of other successful Korean movies, “The Chaser” will be getting remade on US shores. Mengikuti tren terbaru dari film Korea lain yang sukses, "The Chaser" akan mendapatkan remade di pantai-pantai AS. This is faster than usual – even for Hollywood – as the film was only released last year in 2008. Warner Bros recently bought the rights and William Monahan – who had a hand with Martin Scorsese in remaking “The Departed” , based on Hong Kong's “Infernal Affairs” – is the potential favorite to be heading the script. Hal ini lebih cepat dari biasanya - bahkan untuk Hollywood - film tersebut hanya dirilis tahun terakhir di tahun 2008 Bros. Warner baru saja membeli hak dan William Monahan - yang telah tangan dengan Martin Scorsese dalam memperbaharui "The Departed, berdasarkan Hong Kong" Infernal Affairs "- adalah favorit potensi untuk menjadi pos script. Let's hope a remake of “The Chaser” captures the spirit of Na's original vision. Mari kita berharap remake dari "The Chaser" menangkap semangat visi asli Na's.
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4)Welcome to Dongmakgol 4) Selamat Datang di Dongmakgol
Director: Park Kwang-hyun Sutradara: Park Kwang-hyun
Writer: Kim Joong, Park Kwang-hyun Penulis: Kim Joong, Park Kwang-hyun
Based on : Jang Jin (play) Berdasarkan: Jang Jin (bermain)
Genre: Drama, War, Comedy Genre: Drama, Perang, Komedi
Release Date: August 2005 Release Date: Agustus 2005
(An aspiring director walks into a producer's office one afternoon to pitch a movie idea.) (Seorang direktur aspiring berjalan ke kantor produsen suatu sore ke lapangan ide film.)
Director: So check this out, I have a new brilliant idea for a movie! Direktur: Jadi, periksa ini, aku punya ide cemerlang untuk sebuah film baru!
Producer: Okay, go on. Produser: Oke, terus.
Director: Here's the vision. Direktur: Berikut visi. I see a movie with wild boars, a secluded village, a dorky village girl, butterflies, rifles, the Korean War, and horrible American acting. Aku melihat sebuah film dengan babi liar, sebuah desa terpencil, seorang gadis desa norak, kupu-kupu, senapan, Perang Korea, dan bertindak Amerika mengerikan. I'll make it a blockbuster! Aku akan membuat sebuah blockbuster!
Producer: That's the most retarded idea ever! Produser: Itu ide yang paling terbelakang pernah! It doesn't even make sense! Bahkan tidak masuk akal!
Director: I got this all planned out. Direktur: Aku punya semua direncanakan. We'll get that one girl from “ Oldboy “ to act as the dorky village girl, we'll base the movie around the Korean War, and I'll personally recruit a couple of random Americans. Kita akan mendapatkan seorang gadis dari " Oldboy "untuk bertindak sebagai gadis desa norak, kami akan dasar film sekitar Perang Korea, dan saya pribadi akan merekrut beberapa orang Amerika secara acak.
Producer: This has got to be the most horrible movie idea since the 2008 US remake of “ My Sassy Girl” . Produser: Ini harus menjadi ide film paling mengerikan karena remake AS 2008 dari "My Sassy Girl". Get out!!! Keluar!
Director: Is there anyone else I can show this genius idea to? Direktur: Apakah ada orang lain aku dapat menunjukkan ide jenius untuk?
Producer: No, because I'm going to kick you out “like a boss.” Produser: Tidak, karena aku akan menendang keluar "seperti bos."
Director: You've been watching way too many “ Lonely Island's” parodies. Direktur: Kau sudah menonton terlalu banyak "pulau" Lonely parodi.
Producer: Get out now! Produser: Dapatkan sekarang!
(The director leaves.) (Direktur daun.)
While we can assume that director Park Kwang-hyun pitched his idea for a war comedy more professionally than the scene above, the idea looked like a gamble. Sementara kita bisa berasumsi bahwa sutradara Park Kwang-hyun bernada idenya untuk sebuah komedi perang lebih profesional dari adegan di atas, ide itu tampak seperti judi. The comedy/humor genre is generally easier to work into romance or action, rather than the serious war genre. komedi The / genre humor umumnya lebih mudah untuk bekerja dalam percintaan atau tindakan, bukan genre perang yang serius. Although there have been a couple of notable war comedies, such as the 1970s American series, MASH, the vast majority fall into a deadly trap: If the movie is slanted towards mostly humor, the film cannot be taken seriously. Meskipun ada beberapa komedi perang terkemuka, seperti American seri tahun 1970-an, Mash, sebagian besar jatuhnya ke dalam perangkap mematikan: Jika film adalah miring terhadap sebagian besar humor, film ini tidak bisa diambil serius. War films also have a tendency to bring up painful memories, sensitive subjects, and repressed stories that would rather be forgotten. Perang film juga memiliki kecenderungan untuk membawa kenangan menyakitkan, mata pelajaran yang sensitif, dan cerita ditekan yang lebih suka dilupakan. No war hits closer to home for Koreans than the Korean War itself. perang Tidak hits lebih dekat ke rumah untuk Korea dari Perang Korea itu sendiri. To create a war comedy about the Korean War while balancing both the hilarious and serious tones of this brutal struggle is no easy feat. Untuk membuat komedi perang tentang Perang Korea ketika menyeimbangkan baik nada lucu dan serius dari perjuangan brutal tidak mudah.
Fortunately, Park strikes the right balance of laughter and war, as the film uses comedy to intelligently convey “Dongmakgol's” meaning, while using the Korean War to show the dire situation. Untungnya, Taman pemogokan keseimbangan antara tawa dan perang, seperti film komedi untuk menggunakan cerdas menyampaikan "" yang berarti Dongmakgol, sementara menggunakan Perang Korea untuk menunjukkan situasi yang mengerikan. The film starts when an American pilot crashes his plane in the jungle. Film ini dimulai ketika seorang pilot Amerika kecelakaan pesawat di hutan. Following three separated, lost groups: three North Korean soldiers, two South Korean soldiers, and the downed US pilot, their paths all converge when they stumble upon a hidden village called Dongmakgol. Setelah tiga terpisah, kehilangan kelompok: tiga tentara Korea Utara, dua tentara Korea Selatan, dan pilot AS jatuh, jalan mereka bertemu sekali ketika mereka tersandung pada sebuah desa bernama Dongmakgol tersembunyi. The secluded villagers, unaware of the Korean War, witness for the first time a confrontation between the two sides. Para penduduk desa terpencil, menyadari Perang Korea, saksi untuk pertama kalinya konfrontasi antara kedua belah pihak. When North and South Korean soldiers engage in an intense standoff, Park uses humor by exaggerating the soldiers' stare down, which lasts for days through sunshine and rain. Ketika Korea Utara dan Selatan tentara terlibat dalam penyanderaan intens, Park menggunakan humor dengan melebih-lebihkan tatapan prajurit bawah, yang berlangsung selama berhari-hari melalui sinar matahari dan hujan. Eventually, they begin to draw down their weapons and an uneasy truce is formed. Akhirnya, mereka mulai penarikan senjata mereka dan suatu gencatan senjata gelisah terbentuk.
As the soldiers spend more time inside the village, they start forming bonds with one another. Sebagai prajurit menghabiskan lebih banyak waktu di dalam desa, mereka mulai membentuk ikatan dengan satu sama lain. When a stray grenade is accidentally thrown and blows up the village's granary, the three sides are forced to work together to replace the lost food storage. Ketika sebuah granat nyasar tanpa sengaja dilemparkan dan meledak di lumbung desa itu, tiga belah pihak terpaksa bekerja sama untuk menggantikan penyimpanan makanan hilang. Instead of hatred, suspicion, and a desire to kill the other, these traits are soon replaced with a brotherhood. Sebaliknya kebencian, kecurigaan, dan keinginan untuk membunuh yang lain, karakter ini segera diganti dengan persaudaraan. The hermit village's way of life starts to grow on the soldiers, as Dongmakgol represents a peaceful, tranquil world away from the bloodshed. Cara desa pertapa yang hidup mulai tumbuh pada tentara, sebagai Dongmakgol merupakan dunia yang damai dan tenang jauh dari pertumpahan darah. Past sins are all forgotten in this village, while differing ideologies mean absolutely nothing in their world. dosa masa lalu semua dilupakan di desa ini, sementara ideologi yang berbeda berarti apa-apa dalam dunia mereka. For these ragtag soldiers, perhaps they can all start a new life here. Untuk para prajurit sampah masyarakat, mungkin mereka semua bisa memulai hidup baru di sini. However, when the village is found and dragged into the Korean War, what will happen to this hermit town? Namun, ketika desa ditemukan dan diseret ke dalam Perang Korea, apa yang akan terjadi terhadap kota pertapa?
Throughout the film's ride, the viewer will be treated with painful moments during the war clips and laughter during the bonding moments – such as the wild boar scene, all the while being pulled into the village's atmosphere. Sepanjang perjalanan film ini, pemirsa akan diperlakukan dengan menyakitkan saat klip selama perang dan tawa selama saat ikatan - seperti adegan babi hutan, sambil ditarik ke atmosfer desa. While many war movies preach Korean unification, Welcome to Dongmakgol is more of an anti-war film, displaying the absurdities and silliness of spilling blood. Kang Hye-jeong ’s character, the white dressed female villager, Yeo-Il, represents peace. Sementara film perang banyak memberitakan unifikasi Korea, Selamat datang di Dongmakgol lebih dari film anti-perang, menampilkan absurditas dan kekonyolan Hye menumpahkan darah. Kang-jeong karakter, wanita desa berpakaian putih, Yeo-Il, mewakili perdamaian. While some may wonder her inclusion in the film, her innocence, ignorance, and free-spirited ways – such as always dancing in the rain or always smiling – slaps war in the face. Sementara beberapa mungkin bertanya-tanya inklusi di film, dia tidak bersalah, kebodohan, dan cara-cara yang berjiwa bebas - seperti selalu menari dalam hujan atau selalu tersenyum - perang menampar wajah. When she sticks her eye ball directly under a nozzle of a rifle, she has no clue what a gun does. Ketika dia tongkat bola matanya langsung di bawah nosel dari senapan, dia tidak tahu apa pistol tidak. When Yeo-Il tosses a live grenade like a ball, she doesn't realize the explosive power that “ball” really has. Ketika Yeo-Il melemparkan granat hidup seperti bola, dia tidak menyadari kekuatan ledakan itu "bola" benar-benar memiliki. Her ignorance to war and its weapons of mass destruction shows that one can live life happily. ketidaktahuan-nya untuk perang dan senjata pemusnah massal menunjukkan bahwa seseorang dapat menjalani hidup bahagia. She symbolizes a life without bloodshed, killing people, and destroying homes. Dia melambangkan hidup tanpa pertumpahan darah, membunuh orang, dan menghancurkan rumah.
The acting of the cast is excellent and fits within the movie quite well. Kang Hye-jong , as mentioned earlier, plays her role as the innocent Yeo-Il well, as her character represents the village as a whole. Acting para pemain sangat baik dan cocok dalam film Hye cukup baik. Kang-jong, seperti yang disebutkan sebelumnya, memainkan perannya sebagai Yeo-Il juga tidak bersalah, sebagai karakter merupakan desa secara keseluruhan. The actors portraying both North and South Korean soldiers are also acted well, as they are shown as deep, complex characters as the story progresses. Para aktor menggambarkan Utara dan Korea Selatan prajurit juga bertindak dengan baik, seperti yang terlihat seperti dalam, karakter kompleks seperti cerita berlangsung. If there is one major flaw in the film's acting, it has to be the American acting. Steve Taschler ’s role as US pilot, Captain Smith, is quite atrocious in the beginning. adalah salah satu kelemahan utama dalam film akting, itu harus bertindak Steve Amerika. s Taschler peran Jika ada sebagai pilot AS, Kapten Smith, cukup mengerikan di awal. His scripting is very poorly written, with much of his dialogue containing weird slang such as “c'mon”, “man”, or “you guys.” Taschler's acting, for the first half, is very robotic and unemotional. scripting Nya sangat buruk ditulis, dengan sebagian besar dialog-nya mengandung slang aneh seperti "ayolah", "manusia", atau "kalian" bertindak Taschler's., untuk semester pertama, sangat robot dan tanpa emosi. Fortunately, his performance improves during the latter half of the film. Untungnya, meningkatkan kinerjanya selama paruh kedua film. The rest of the Americans' acting, however, felt forced and uninspired throughout the film. Sisanya bertindak Amerika ', bagaimanapun, merasa dipaksa dan bersemangat dalam film tersebut. While this is major flaw in many Korean films featuring Western actors, the rest of the cast are strong enough to easily save the movie. Sementara ini cacat utama di banyak film Korea yang menampilkan aktor Barat, sisa pemain cukup kuat untuk dengan mudah menyimpan film.
Welcome to Dongmakgol is an incredible blend of war and comedy. Selamat Datang di Dongmakgol merupakan perpaduan luar biasa perang dan komedi. The characters symbolize the movie's anti-war theme, as the viewer will deeply care about this quaint village. Karakter melambangkan tema anti-perang film, sebagai pemirsa yang sangat peduli tentang hal ini desa kuno. While the film created a short buzz back in its home shores of Korea, winning two awards, it is lesser known overseas. Sementara film menciptakan buzz singkat kembali di pantai asalnya Korea, pemenang dua penghargaan, itu kurang dikenal di luar negeri. Hopefully, more attention will be brought upon this classic in future film festivals. Mudah-mudahan, lebih banyak perhatian akan dibawa pada saat ini festival film klasik di masa depan.
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3) A Tale of Two Sisters 3) A Tale of Two Sisters
Director: Kim Ji-woon Sutradara: Kim Ji-woon
Writer: Kim Ji-woon Penulis: Kim Ji-woon
Based on: Janghwa, Hongryeon (folktale) Berdasarkan: Janghwa, Hongryeon (cerita rakyat)
Genre: Horror, Mystery, Drama, Psychological Genre: Horror, Mystery, Drama, Psychological
Release Date: June 2003 Release Date: Juni 2003
“There's something strange in this house.” "Ada sesuatu yang aneh di rumah ini."
“There's a girl under the kitchen sink!” "Ada seorang gadis di bawah wastafel dapur!"
“You know what's really scary? "Kau tahu apa yang benar-benar menakutkan? You want to forget something. Anda ingin melupakan sesuatu. Totally wipe it off your mind. Benar-benar menghapusnya dari pikiran Anda. But you never can.” Tapi kau tak pernah bisa. "
A loud noise is heard from the 1st floor. Sebuah suara keras terdengar dari lantai 1. Footsteps scatter around the house at night. Langkah kaki tersebar di sekitar rumah pada malam hari. Strange noises haunt this home during the dark hours. suara-suara aneh menghantui rumah ini selama jam-jam gelap. A woman stares at a channel-less TV alone at night. Sebuah tatapan wanita di saluran TV-kurang sendirian di malam hari. Not a very welcoming home, is it? Tidak sebuah rumah yang sangat ramah, bukan? But what could be causing these strange occurrences? Tapi apa yang bisa menyebabkan kejadian-kejadian aneh? As the audience watches further, nothing seems to make sense. Sebagai penonton jam tangan lebih lanjut, tampaknya tidak masuk akal. The clues are difficult to decipher, the events do not connect, and the flashbacks are seemingly random. Petunjuk yang sulit dipahami, peristiwa tidak terhubung, dan kilas balik yang tampaknya acak.
For an avid horror aficionado, this confusing storyline has been used time and time again. Untuk avid aficionado horor, jalan cerita membingungkan ini telah digunakan berkali-kali. Nothing says cliché quite like a long haired, female ghost with greasy hair, a creepy sound, and a “Kayako” Grudge. Tidak ada kata cukup klise seperti hantu berambut panjang, perempuan dengan rambut berminyak, suara menyeramkan, dan "Kayako" Grudge. Sadako from “ The Ring” would be rolling in her TV screen if it wasn't for one fact: “A Tale of Two Sisters” deviates from the normal rungs of Asian horror. Sadako dari "The Ring" akan bergulir di layar TV-nya kalau bukan karena satu fakta: "A Tale of Two Sisters" menyimpang dari anak tangga normal horor Asia. Say goodbye to a predictable story and cheap thrills and hello to one of the deepest, complex, intriguing horror movies in years. Katakan selamat tinggal untuk cerita diprediksi dan murah sensasi dan menyapa salah satu terdalam, kompleks, film horor menarik dalam tahun.
But first, let's go over what A Tale of Two Sisters has in common with the usual prerequisites to be an Asian horror film: Tapi pertama-tama, mari kita pergi atas apa A Tale of Two Sisters memiliki kesamaan dengan prasyarat yang biasa menjadi film horor Asia:
1) Creepy environment – Check 1) lingkungan Creepy - Periksa
2) Story of revenge – Check 2) Kisah balas dendam - Cek
3) Scary scenes – Check 3) adegan Scary - Periksa
4) Blood – Check 4) Darah - Periksa
5) Dark female ghost(s) with long hair – Check 5) hantu wanita Dark (s) dengan rambut panjang - Periksa
6) The lead character thinks, “time to investigate” when alone – Check 6) memimpin Karakter berpikir, "waktu untuk menyelidiki" ketika sendiri - Periksa
7) Two girls having a period in the same day – Ummm… Check? 7) Dua gadis memiliki periode hari yang sama - Ummm ... Periksa?
.8) Two females screaming at each other for half of the movie – Errr… Check. 0,8) Dua perempuan berteriak satu sama lain selama setengah film - errr ... Periksa.
9) A bloody hand coming from underneath a woman's skirt – Okay, this is just now weird… Check! 9) Sebuah tangan berdarah datang dari bawah rok seorang wanita - Oke, ini hanya sekarang aneh ... Periksa!
The first six are universally in every Asian horror film with varying degrees of success. Keenam pertama universal dalam setiap film horor Asia dengan berbagai tingkat keberhasilan. However, the last three – 7 through 9 – sound like they would belong more in a kinky college movie dealing with “naughty” gestures, such as the US series, “American Pie” , or the Korean collection, “ Sex is Zero” . Namun, tiga terakhir - 7 hingga 9 - terdengar seperti mereka akan menjadi milik lebih dalam film kampus keriting berurusan dengan "nakal" gerak tubuh, seperti seri Amerika Serikat, "American Pie", atau pengumpulan Korea, "adalah Sex Zero". While the film shares common traits with its horror brethren – 1 through 6 – the similarities quickly end there. Sementara saham biasa dengan ciri-ciri film horor yang saudara - 1 sampai 6 - persamaan dengan cepat berakhir di sana.
Inspired by the Joseon Dynasty (1392 AD –1910 AD) folktale, “Janghwa Hongryeon” (rose flower, red lotus), “ A Tale of Two Sisters” is the 6th iteration of this popular Korean story. Terinspirasi oleh Dinasti Joseon (1392 M -1910 M) cerita rakyat, "Janghwa Hongryeon" (bunga mawar, teratai merah), "Kisah Dua Sisters" adalah A iterasi 6 Korea cerita ini populer. As a modern take of the popular tale, the first scene of the film begins one afternoon in a hospital. Sebagai mengambil modern dari kisah populer, adegan pertama film ini dimulai pada suatu sore di rumah sakit. The tale begins with a young female patient, Su-mi, as she is slowly ushered into a spacious white room by a hospital lady. Kisah dimulai dengan seorang pasien wanita muda, Su-mi, karena ia perlahan diantar ke ruang putih yang luas dengan seorang wanita rumah sakit. Stooping down in a chair with her hair completely masking her face, a nearby doctor sits down across from her asks a series of questions. Membungkuk di kursi dengan rambut benar-benar masking wajahnya, seorang dokter di dekatnya duduk di depannya mengajukan serangkaian pertanyaan. Yet, Su-mi does not say a word. Namun, Su-mi tidak mengucapkan sepatah kata pun.
Later in the day, she and her younger sister, Su-yeon, are released from the hospital and welcomed back to their family's lakeside house in the peaceful countryside. Kemudian di hari itu, ia dan adiknya, Su-yeon, yang dilepaskan dari rumah sakit dan menyambut kembali ke rumah keluarga mereka di tepi danau di pedesaan damai. When the sisters step inside the Victorian-esque home, they are soon treated by their energetic stepmother, Eun-joo. Ketika saudara langkah di dalam rumah Victoria-esque, mereka segera dirawat oleh ibu tiri mereka energik, Eun-joo. Noticing the two are tightly holding hands and protective, Eun-joo attempts to “break the tension” with her friendly smile and quirky banter. Melihat keduanya erat berpegangan tangan dan protektif, Eun-joo upaya untuk "memecahkan ketegangan" dengan senyum ramah dan kelakar quirky. Neither sister wants anything to do with this woman—the woman who recently replaced their beloved mom—and quickly move for the stairs. Baik saudara ingin ada hubungannya dengan wanita-wanita yang baru-baru ini diganti mereka dicintai dan ibu-cepat bergerak untuk tangga. Eun-joo's attempts at a friendly conversation amounts to nothing as the sisters climb the stairs with their backs turned against her. Eun-joo's upaya percakapan ramah sebesar apa pun sebagai saudara menaiki tangga dengan punggung mereka berbalik melawan dia. Again, Su-mi does not say a word. Sekali lagi, Su-mi tidak mengucapkan sepatah kata pun.
As Su-mi and Su-yeon start re-familiarizing themselves in their old rooms, Su-mi notices an exact duplicate of her notepad and pen on her bedroom desk. Sebagai Su-mi dan Su-yeon mulai kembali membiasakan diri di kamar lama mereka, pemberitahuan Su-mi merupakan duplikat yang tepat dari notepad dan pena di meja kamarnya. But is that the only uncanny resemblance? Tapi apakah itu hanya kemiripan aneh? Upon opening her clothing cabinet, she finds nothing but blue and green dresses. Setelah membuka lemari pakaiannya, dia menemukan apa-apa selain gaun biru dan hijau.
The strange events continue to occur. Peristiwa aneh terus terjadi. Noises start emanating through the house during the first night and Su-yeon is the first recipient of this living nightmare, as she soon wakes up to someone or something slowly opening her bedroom door. Suara mulai berasal melalui rumah selama malam pertama dan Su-yeon adalah penerima pertama dari mimpi buruk hidup, seperti dia segera bangun untuk seseorang atau sesuatu perlahan-lahan membuka pintu kamarnya. Scared and frightened, she covers herself tightly with her blanket in hopes that her bedroom Boogeyman will disappear. Takut dan ketakutan, ia meliputi dirinya dengan selimutnya erat dengan harapan bahwa dia hantu kamar tidur akan hilang. Her blanket is slowly pulled off her inch by inch, and in terror, she quickly gets up to see… thankfully no one. selimut-nya perlahan-lahan melepas nya dengan inci inci, dan di teror, dia cepat bangun untuk melihat tak ada untungnya .... Su-yeon runs quickly to her sister's bedroom; only now does Su-mi speak. Su-yeon berjalan cepat ke kamar kakaknya, hanya sekarang tidak berbicara Su-mi. “There's something in my room,” Su-yeon stutters nervously. "Ada sesuatu di kamar saya," Su-yeon gagap gugup. “Everything is going to be okay,” Su-mi responds. "Semuanya akan baik-baik saja," menanggapi Su-mi. The scares within the house have just started. The takut dalam rumah baru saja mulai.
If the viewer does not watch the movie closely, they will not get the story. Jika pemirsa tidak menonton film itu dengan cermat, mereka tidak akan mendapatkan cerita. If the viewers enjoy a complex mystery, then the confusion becomes a facilitator for the story's art. Jika pemirsa menikmati misteri yang kompleks, maka kebingungan menjadi fasilitator untuk seni cerita. Unlike many other horror movies, “A Tale of Two Sisters” has no shame in taking its sweet time setting up its multi-layered story. Tidak seperti banyak film horor lainnya, "A Tale of Two Sisters" tidak memiliki rasa malu dalam mengambil waktu sweet pengaturan multi-layered ceritanya. The pacing is slow and the first 20 minutes are an unbearable wait for the rhythm to pick up. mondar-mandir adalah lambat dan 20 menit pertama adalah menunggu tak tertahankan bagi irama untuk mengambil. Yet, this tempts the viewer to become lazy. Namun, ini menggoda penonton untuk menjadi malas. One may assume since the pacing is quite slow, they can take a jog, play chess, or hit on their hot neighbor. Orang mungkin beranggapan karena mondar-mandir cukup lambat, mereka dapat mengambil joging, bermain catur, atau tekan pada tetangga panas mereka. However, this is a disservice to the viewer, as the film is filled with incredible amounts of symbolism in the form of clues, dialogue, expressions, and flashbacks. Namun, ini adalah merugikan untuk penonton, film tersebut diisi dengan jumlah yang luar biasa dari simbolisme dalam bentuk petunjuk, dialog, ekspresi, dan kilas balik. As with 3-Iron, depending on one's ears alone is not enough; both the human eyes and ears are needed. Seperti dengan 3-Besi, tergantung pada telinga seseorang saja tidak cukup, kedua mata dan telinga manusia diperlukan. Missing one image will throw off the viewer's understanding of the movie. Hilang satu gambar akan membuang pemahaman si pengamat film.
“A Tale of Two Sisters” differs from other Asian horror in how it presents the concept of horror itself. "Sebuah Kisah Dua Sisters" berbeda dari horor Asia lain dalam cara menyajikan konsep horor itu sendiri. Whereas the vast majority of films in the horror genre depend heavily on a combination of: cheap scares, excessive gore, screaming, long haired ghosts, and unnecessary deaths, the movie relies on an application of a beautiful and familiar environment to create an unsettling feeling. Sedangkan sebagian besar film horor genre sangat bergantung pada kombinasi dari: takut murah, gore berlebihan, berteriak-teriak, hantu berambut panjang, dan kematian yang tidak perlu, film ini bergantung pada penerapan lingkungan yang indah dan akrab untuk menciptakan perasaan mengganggu . Throughout the movie, the Victorian house slowly becomes scarier. Sepanjang film, rumah Victoria perlahan-lahan menjadi menakutkan. Harrowing music and complete silence are used in juxtaposition with great effect to add to the fear. Mengerikan musik dan diam digunakan dalam penjajaran dengan dampak yang luar biasa untuk menambah rasa takut. Sprinkled with a few shock scares, the viewer is always on edge, uneasy when the next scary scene is going to occur. Disiram dengan takut beberapa kejutan, penonton selalu tegang, tidak nyaman ketika adegan menakutkan berikutnya akan terjadi.
The acting deserves special mention in this film, since it blends in the movie's psychological, creepy horror theme perfectly. Bertindak wajar menerima penghargaan khusus dalam film ini, karena menyatu psikologis film ini, tema horor menyeramkan sempurna. Director Kim Ji-woon could not have asked for more talented actors: newcomer Lim Su-jeong as the older sister Su-Mi and Yeom Jung-ah as the wicked stepmom play the perfect foil to one another. Direktur Kim Ji-woon tidak bisa meminta lebih aktor berbakat: pendatang baru Lim Su-jeong sebagai kakak Su-Mi dan Yeom Jung-ah sebagai ibu tiri jahat memutar foil sempurna untuk satu sama lain. During every meal, hallway conversation, and late night encounters, the viewer will see the constant tension, anger, and disgust for the other. Selama setiap makan, lorong percakapan, dan pertemuan larut malam, pemirsa akan melihat ketegangan konstan, marah, dan jijik bagi yang lain. Breaking expensive porcelain as Eun-joo pours tea, leaving the table early, and hurling insults at her father's new wife, Lim Su-jeong channels an incredible aura of vindictiveness during the movie. Breaking porselen mahal Eun-joo menuangkan teh, meninggalkan meja awal, dan penghinaan di baru melemparkan istri ayahnya, Su-jeong Lim saluran aura balas dendam yang luar biasa sepanjang film. Jung-ah, on the other hand, plays a very convincing evil stepmom in Eun-joo, as she makes Su-Mi's life a living hell while under the same roof. Jung-ah, di sisi lain, memainkan ibu tiri jahat yang sangat meyakinkan dalam Eun-joo, saat ia membuat hidup Su-Mi adalah neraka tinggal sementara di bawah satu atap. Beginning by throwing barbs back at Su-Mi, she later goes on the offensive, physically asserting herself on the sisters behind their father's back. Dimulai dengan melemparkan barbs kembali Su-Mi, ia kemudian melanjutkan ofensif, menegaskan secara fisik dirinya di belakang punggung saudara ayah mereka. Although in real life the actresses are best friends, you wouldn't know it by watching this film. Meskipun dalam kehidupan nyata aktris bersahabat terbaik, Anda tidak akan tahu dengan menonton film ini.
The other two support characters also do a great job in playing their roles. Dua karakter lain mendukung juga melakukan pekerjaan yang besar dalam memainkan peran mereka. A very young Moon Geun-young , the media dubbed “nation's younger sister,” plays the painfully shy and innocent Su-yeon. Seorang yang sangat muda Moon Geun-young, media dijuluki "saudara muda bangsa," memainkan pemalu dan lugu Su-yeon menyakitkan. Avoiding confrontation and always deferring to her older sister, Moon Geun-young plays the perfect complement to the more outspoken Su-jeong. Menghindari konfrontasi dan selalu menunda untuk kakaknya, Moon Geun-muda memutar pelengkap sempurna untuk Su-jeong lebih vokal. Acting veteran Kim Kap-su rounds out the cast as the quiet, patient, and tempered father to the two daughters. Bertindak veteran Kim Kap-su putaran keluar dilemparkan sebagai pasien, tenang, dan ayah marah kepada dua anak perempuan. His presence as both the concerned father and mediator between his eldest brash daughter and his new wife balances out the constant animosity within the home. kehadiran-Nya baik sebagai ayah yang bersangkutan dan mediator antara putri sulung dia kurang ajar dan istri barunya saldo keluar permusuhan terus-menerus di dalam rumah.
The surprise twists and thought-provoking ending, however, is what sets “ A Tale of Two Sisters” apart from the vast majority of horror movies. tikungan yang mengejutkan dan memprovokasi pikiran berakhir, bagaimanapun, adalah apa set "Sebuah Kisah Dua Sisters" terpisah dari mayoritas film horor. Fans of the movie all have their unique impressions of the film's key plot points and judging from which information Kim holds back in the end, many people's takes are very believable. Penggemar film semua mempunyai kesan unik mereka dari poin kunci film plot dan menilai dari mana informasi Kim menahan pada akhirnya, banyak orang membutuhkan sangat dipercaya. Kim provides just enough clues for the viewer to understand the story, yet still have many questions at the same time. Kim memberikan petunjuk hanya cukup untuk penampil untuk memahami cerita, namun masih memiliki banyak pertanyaan pada waktu yang sama. A quick view on various Korean movie sites' forums shows that A Tale of Two Sisters is one of the most discussed movies, in part due to its complex ending. Sebuah tampilan cepat pada berbagai forum situs film Korea "menunjukkan bahwa A Tale of Two Sisters merupakan salah satu film yang paling dibahas, sebagian karena berakhir kompleksnya. The “re-playability” of the film is simply endless; there's no shame in watching it again. The "kembali dimainkan" dari film ini hanya habisnya; tidak ada rasa malu lagi menonton.
“ A Tale of Two Sisters” is an incredible psychological thrill ride for horror virtuosos or even non-horror fans. "Sebuah Kisah Dua Sisters" merupakan sensasi perjalanan psikologis yang luar biasa untuk virtuosos horor atau bahkan non-fans horor. With a talented cast, a gorgeous setting, well-orchestrated music, well-timed scares, and an engaging story, this movie stands as one of the best horror movies ever created. Dengan cast berbakat, latar cantik, baik diatur musik, takut tepat pada waktunya, dan cerita menarik, film ini berdiri sebagai salah satu film horor terbaik yang pernah dibuat. Both the Korean and foreign press agrees, as the movie currently stands upon 12 awards and 3 nominations in various film festivals and reviews. Kedua Korea dan pers asing setuju, sebagai film saat ini berdiri pada 12 penghargaan dan 3 nominasi di berbagai festival film dan tinjauan. Actresses Lim Su-jeong and Yeom Jung-ah took home a number of acting awards and director Kim Ji-woon collected 6 awards himself. Aktris Lim Su-jeong dan Yeom Jung-ah membawa pulang sejumlah penghargaan akting dan sutradara Kim Ji-woon dikumpulkan 6 penghargaan diri.
An American remake by DreamWorks recently came out on January 2009 called, “ The Uninvited” – no relation to the Korean movie with the same name. Sebuah remake Amerika dengan DreamWorks baru-baru ini keluar pada bulan Januari 2009 yang disebut, "The tak diundang" - tidak ada hubungannya dengan film Korea dengan nama yang sama. While the US version pays homage to the Korean film, movie watchers owe it to themselves to experience the original. Sementara versi US membayar penghormatan kepada film Korea, pengamat film berutang kepada diri mereka untuk mengalami yang asli.
Check out the Top 10 to 6 movies Check out the film Top 10-6
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2) My Sassy Girl 2) My Sassy Girl
Director: Kwak Jae-young Sutradara: Kwak Jae-young
Writer: Kwak Jae-young Penulis: Jae-young Kwak
Based on : Kim Ho-sik (a novel) Berdasarkan: Kim Ho-sik (novel)
Genre: Drama, Comedy, Romance Genre: Drama, Komedi, Romance
Release Date: July 2001 Release Date: Juli 2001
(A group of nine female starlets approach the concert stage. Two of them take the lead.) (Sekelompok bintang muda perempuan sembilan pendekatan tahap konser Dua dari mereka memimpin..)
Tiffany: “Uh huh! Tiffany: "Uh huh! Listen boy.” Dengarkan anak laki-laki. "
“My first love story” "Kisah cinta pertama saya"
Jessica: “My angel and my girls.” Jessica: "Malaikat gadis saya dan saya."
“My sunshine. "Sinar matahari saya. Uh! Uh! Uh! Uh! Let's go!” Mari kita pergi! "
— The opening to the 2009 song “Gee” - Pembukaan ke lagu 2009 "Wah"
Girls Generation (SNSD) Girls Generation (SNSD)
The ever catchy, popular, and overplayed “Gee” tells about a girl who experiences her first crush, her first love. Yang selalu menarik, populer, dan overplayed "Wah" bercerita tentang seorang gadis yang mengalami crush pertamanya, cinta pertamanya. For many movie fans, “My Sassy Girl” is their first foray into Korean cinema, their first “movie love.” From seeing the studly, dorky Cha Tae-hyun to the beautiful, border-line abusive Jeon Ji-hyun, many of us knew their on screen romance was something special. Bagi banyak penggemar film, "My Sassy Girl" adalah perampokan pertama mereka ke bioskop Korea, mereka pertama "film cinta Dari." Melihat, studly norak Cha Tae-hyun ke perbatasan yang indah-line kasar Jeon-Ji hyun,, banyak kita tahu cinta layar mereka sesuatu yang khusus. Having a cute story to complement these two was just perfect. Memiliki cerita lucu untuk melengkapi kedua hanya sempurna. The entirety of South Korea had fallen in love. Keseluruhan Korea Selatan telah jatuh cinta.
Putting this movie down in sweet words is as difficult as confessing your love for the first time, but – as the movie's theme sings – I Believe that even if one stumbles across their words, the first time is the moment you always come back to. Puting film ini ke dalam kata-kata manis adalah sebagai sulit mengaku cinta Anda untuk pertama kalinya, tapi - seperti tema film bernyanyi - Aku Percaya bahwa bahkan jika seseorang terantuk di kata-kata mereka, waktu pertama adalah saat kau selalu datang kembali. It's a time of nostalgia, and it's always in the back of your mind. Ini adalah waktu nostalgia, dan selalu di belakang pikiran Anda. That's essentially “My Sassy Girl,” a movie based on Kim Ho-sik' s real life adventures. Itu dasarnya "My Sassy Girl," film didasarkan pada Kim Ho-sik 's petualangan kehidupan nyata. Go out anywhere in South Korea—in fact, in most of Asia—and ask what's the number one romance comedy, and you will most certainly get Kwak Jae-young' s movie. Pergilah di mana saja di Korea Selatan-dalam kenyataannya, di sebagian besar Asia dan bertanya apa yang nomor satu komedi romantis, dan Anda pasti akan mendapatkan Kwak Jae-young film 's.
For the My Sassy virgins, this is a story about the loveable pushover, Gyun-woo, and his fateful encounter that would change his life forever. Untuk perawan Sassy saya, ini adalah cerita tentang pushover loveable, Gyun-woo, dan pertemuan yang menentukan bahwa akan mengubah hidupnya selamanya. Escaping his aunt's most recent attempt to hook him up with a blind date, he goes to the subway station to head home. Escaping upaya bibinya terbaru untuk menghubungkan dia dengan kencan buta, dia pergi ke stasiun kereta bawah tanah untuk pulang. Unexpectedly, he meets an intoxicated and beautiful girl who is stooped over the yellow borderline and is about to fall onto the tracks. Tanpa diduga, dia bertemu seorang gadis mabuk dan indah yang membungkuk di atas batas kuning dan akan segera jatuh ke trek. The train whistles, and before the wind of the locomotive passes by, Gyun-woo catches her before she falls. peluit kereta itu, dan sebelum angin lokomotif lewat, Gyun-woo tangkapan sebelum dia jatuh. He enters the same train as the drunken girl all the while making sure to keep his distance. Dia memasuki kereta yang sama dengan gadis mabuk semua sambil memastikan untuk menjaga jarak.
The word, “honey,” is something every guy would like to hear, especially from a beautiful woman, but when these words come from a girl who just hurled her dinner at an elder, the words lose their appeal. Kata, "Sayang," adalah sesuatu yang setiap orang ingin mendengar, terutama dari seorang wanita cantik, tapi ketika kata-kata ini berasal dari seorang gadis yang baru saja dilemparkan makan malam di sebuah tua, kata-kata kehilangan daya tarik mereka. As if that's not enough of an indicator, just before she faints, she points towards Gyun-woo. Seolah-olah itu tidak cukup dari indikator, tepat sebelum ia pingsan, ia menunjuk pada Gyun-woo. Now Gyun-woo is forced to carry much more than just a girl on his back; he is forced to carry a problem. Sekarang Gyun-woo terpaksa membawa lebih dari sekedar seorang gadis di punggungnya, ia dipaksa untuk membawa masalah. Not knowing what to do with this stranger, he moans, “How did I get into all of this?” Thus marks the beginning of “ My Sassy Girl” . Tidak tahu apa yang harus dilakukan dengan orang asing ini, ia merintih, "Bagaimana aku bisa sampai ke semua ini?" Demikian menandai awal "My Sassy Girl".
What makes “ My Sassy Girl” different from many other romantic dramas/comedies is director Kwak Jae-young' s well-spaced melodrama. Apa yang membuat "My Sassy Girl" yang berbeda dari drama romantis lainnya / komedi adalah sutradara Kwak Jae-muda 's-spasi melodrama dengan baik. He does not force the viewer's emotion—to cry to his every whim—or overuse sarang he (“I love you”) every five minutes to the point where it loses its meaning. Dia tidak memaksa emosi si pengamat-menangis untuk setiap nya-terlalu sering menggunakan kehendak atau sarang dia ("I love you") setiap lima menit sampai ke titik di mana ia kehilangan maknanya. Kwak knows better. Kwak tahu lebih baik. While any movie in the genre is expected to have its share of crying, sad moments, and love, he makes sure these themes have meaning. Sedangkan dalam genre film apapun diharapkan memiliki pangsa menangis, saat-saat sedih, dan cinta, dia memastikan tema tersebut memiliki makna. As the main leads become more rounded and deep, the movie becomes more liberal with its serious tones. Sebagai sadapan utama menjadi lebih bulat dan dalam, film menjadi lebih liberal dengan nada yang serius. Since the viewer becomes more attached to the actors, they start caring for them – feeling their pain, excitement, happiness, and loss. Sejak penampil menjadi lebih melekat pada aktor, mereka mulai merawat mereka - mereka merasa sakit, kegembiraan, kebahagiaan, dan kerugian.
If this film teaches you one new word, it's “sassy.” The Asian stereotype for women is a reserved, demure, and loving individual. Jika film ini mengajarkan satu kata baru, sudah "lancang" Stereotip Asia untuk perempuan adalah pendiam, dilindungi, dan individu yang penuh kasih.. Get ready for a sassy ride, as Gyun-woo goes through the craziest relationship with this nameless girl (yes, she has no name). Dapatkan siap untuk naik lancang, sebagai Gyun-woo berjalan melalui hubungan gila dengan gadis tanpa nama (ya, ia tidak memiliki nama). From the get-go, the viewer will empathize with Gyun-woo; when ordering anything other than coffee gets a “Do you wanna die?”, playing fun games gets Gyun-woo bitch-slapped, and refusing to read horrible movie scripts is returned with a petrifying stare, even the most apathetic of viewers will be moved. Dari mendapatkan-pergi, pemirsa akan berempati dengan Gyun-woo; ketika memesan apa pun selain kopi mendapat "Apakah Anda ingin mati?", Bermain permainan menyenangkan mendapatkan Gyun-woo jalang-menampar, dan menolak membaca skrip film yang mengerikan adalah kembali dengan tatapan petrifying, bahkan yang paling apatis pemirsa akan dipindahkan.
“My Sassy Girl” has plenty of depth, going beyond a one-dimensional story of cute love. "My Sassy Girl" memiliki banyak kedalaman, akan melampaui dimensi salah satu kisah cinta manis. For a romantic comedy, “My Sassy Girl” has plenty of depth, an uncharacteristic quality of the genre. Untuk komedi romantis, "My Sassy Girl" memiliki banyak kedalaman, kualitas seperti biasanya dari genre. The vast majority follows the typical “guy likes girl” formula, where the only focus is “how do the main leads hook up?” This movie, however, goes much deeper than that, presenting sub themes such as: living in the moment, living in the future, contemplating the meaning of love, and, of course, dealing with love's pain. Sebagian besar mengikuti "tipikal orang menyukai gadis" formula, di mana fokus hanya "bagaimana melakukan hook up lead utama" film ini?, Namun, jauh lebih dalam dari itu, mempresentasikan sub tema seperti: hidup di saat ini, hidup di masa depan, merenungi makna cinta, dan, tentu saja, berhubungan dengan rasa sakit cinta. Blending all these sub themes in this genre well is no easy feat; without a balance, the film goes off too many tangents and loses its identity – such as Kwak's 2004 follow up, “Windstruck” . Memadukan semua sub tema dalam genre ini juga ada tugas yang mudah, tanpa keseimbangan, film berbunyi terlalu banyak garis singgung dan kehilangan identitasnya - seperti Kwak's 2004 tindak lanjut, "Windstruck".
The biggest draw to seeing this film has to be the amazing performances by its leading stars. Jeon Ji-jyun easily steals the show for her role as the girl and single-handedly redefines the meaning of sassy. Penarikan terbesar untuk melihat film ini harus menjadi kinerja luar biasa dengan bintang-bintang terkemuka Ji. Jeon-jyun mudah mencuri acara untuk perannya sebagai gadis dan seorang diri mengubah arti lancang. From her facial expressions: quirky smiles, angry lipped growls, annoyed frowns, and sweet blushes, to bullying her co-star, she plays the unnamed heroine perfectly. Dari ekspresi wajah: tersenyum unik, bibir marah geram, mengernyit jengkel, dan blushes manis, untuk bullying rekan-bintang, ia memainkan tokoh disebutkan namanya sempurna. Throughout the movie, the audience will see her growth from the drunkard subway female to the aggressive, vicious girl he dates to the Juliet of Korea. Sepanjang film, penonton akan melihat pertumbuhan dia dari kereta bawah tanah pemabuk betina gadis, agresif kejam ke dia tanggal Juliet Korea. Her evolution from drunkard to Shakespearean status comes in the latter half of the movie, where both main characters start to see one another at their worst and their best. Cha Tae-hyun, playing Jeon's opposite as the comedic Gyun-woo, displays an incredible acting job as the male lead. evolusi-nya dari pemabuk status Shakespeare datang di paruh kedua film, dimana kedua karakter utama mulai melihat satu sama lain di terburuk dan terbaik Tae. Cha-hyun, bermain yang berlawanan Jeon sebagai Gyun komedi-woo, menampilkan luar biasa bertindak memimpin pekerjaan sebagai laki-laki. His counter expressions, when confronted with the girl's bipolar-induced mood swings, are justified and understandable. ekspresi counter-Nya, ketika dihadapkan dengan ayunan bipolar-induced gadis itu suasana hati, dibenarkan dan dimengerti. Any guy would react that way. Setiap orang akan bereaksi seperti itu. But not every guy would stick with the girl. Tapi tidak setiap orang akan tetap dengan gadis itu. Gyun-woo develops alongside the girl, and although he initially just goes with her antics and adventures, he finds himself slowly wanting to heal her sorrow. Gyun-woo mengembangkan bersama gadis itu, dan walaupun dia awalnya hanya berjalan dengan kejenakaan dan petualangan, dia menemukan dirinya perlahan-lahan ingin menyembuhkan kesedihannya.
Love or hate it, the 2001 success of “ My Sassy Girl” revitalized the romantic comedy genre in Korea. Cinta atau benci itu, keberhasilan 2001 dari "My Sassy Girl" direvitalisasi genre komedi romantis di Korea. Before its breakout performance in theaters, the genre was largely ignored, as producers would release serious melodramas instead. Sebelum kinerja pelarian di bioskop, genre itu diabaikan, sebagai produsen akan rilis serius bukan melodrama. This film showed skeptics that a love story could be a mixture of lightheartedness, funny, and serious at the same time. Film ini menunjukkan skeptis bahwa kisah cinta bisa menjadi campuran kegembiraan, lucu, dan serius pada saat yang sama. Like the infectious Girls Generation“Gee” song that spread like wildfire earlier this year – where singing about the 7th letter in the English alphabet could be so addicting – this movie also spread like an epidemic around Asia. Seperti menular Generasi Girls "Wah" lagu itu menyebar seperti api awal tahun ini - di mana bernyanyi tentang 7 huruf dalam abjad Inggris bisa begitu addicting - film ini juga menyebar seperti epidemi di Asia. Other Asian countries, intrigued by the sassy concept, also produced their own versions: the 2008 Japanese TV drama” Ryokiteki no Kanojo” and the 2008 Indian movie “Ugly Aur Pagli” . negara-negara Asia lainnya, tertarik dengan konsep lancang, juga menghasilkan versi mereka sendiri: drama TV Jepang 2008 "tidak Ryokiteki Kanojo" dan film India 2008 "Ugly Aur Pagli". While countless Korean romantic comedies were churned out after 2001 – such as the 2003 “ My Tutor Friend” or 2004 “My Little Bride” – few are able to capture the magic that “ My Sassy Girl” did.
As with many movies on this list, a “ My Sassy Girl” American remake came out last year in 2008. While the movie tries to replicate the sassy feel, unfortunately, the movie is missing the atmosphere and setting; after all, they are different cultures. The chemistry between the US actors Elisha Cuthbert and Jesse Bradford is not the same. Again, watch the original.
It has been 8 long years since this movie came out. As mentioned earlier, for many fans, this film is their “first love.” My Sassy Girl has it all: a charming love story, incredible acting, multi-layered themes, and memorable soundtrack. What a great “first love” indeed. While these fans still consider this Korean classic as their favorite, the POPSEOUL list, like former lovers, has moved on; this film stands as #2 on our list.
Check out the Top 10 to 6 movies
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1) Tae Guk Gi
Director: Kang Je-kyu Sutradara: Kang Je-kyu
Writer: Kang Je-kyu Penulis: Kang Je-kyu
Genre: War, Drama, Action, Historical
Release Date: February 2004
Quotes from famous people during the Korean War (1950 –1953).
“The most important thing in our war preparations is to teach all our people to hate US imperialism.”
— Kim Il-sung
North Korean leader
“We will defeat the Reds, the Communists!”
— Syngman Rhee
South Korean leader
“Never before has this nation been engaged in mortal combat with a hostile power without military objective, without policy other than restrictions governing operations, or indeed without even formally recognizing a state of war.”
— Douglas MacArthur
Supreme Allied Commander of the Pacific
“[Korea is] the wrong war, at the wrong place, at the wrong time, and with the wrong enemy.”
— Omar Bradley
General of the Army, United States
“If we allow the United States to occupy all of Korea, Korean revolutionary power will suffer a fundamental defeat, and the American invaders will run more rampant, and have negative effects for the entire Far East.”
— Mao Zedong
Chairman of the People's Republic of China Ketua Republik Rakyat Cina
Near the 38th parallel dividing the two Koreas, a big movement towards the south is occurring. Soldiers are heard marching step-by-step, with their rifles swaying and grenades attached to their belts. Rumbling engines echo loudly nearby, as armored tanks slowly drive through narrow roads. Supply trucks are heard going over bumpy tread marks. Grunts and signs of fatigue are heard from mortar teams pushing heavy artillery guns over steep hills. Fighters and bombers are heard from above, flying at incredible speeds in formation. North Korean propaganda is heard from loudspeakers, proclaiming that Communism will prevail over Capitalism. As onlookers see this advancing army approaching from the north, calamity is thrown out the window and panic ensues; the entirety of South Korea is in chaos. Dressed in light brown and red uniforms, the invading army conquers, pillages, and destroys any towns in its wake. Their target: all of Korea – the reunification of the Korean peninsula. The date: June 25th, 1950 – the Korean War has just started.
Fast forward to modern times in 2004; archaeologists are excavating the remains of fallen soldiers in preparation for a Korean memorial. An elderly man receives a phone call from the South Korean army. They claim one body found is Lee Jin-seok, but upon confirming that he is alive, the aged man suspects the body is actually his brother's. He travels to China in hopes of finding his brother's remains—no luck—and heads to the excavation site; there, he opens a shoebox containing vanilla colored shoes. As a flood of memories start coming back, tears swell up in his eyes. Fifty-four years ago may sound like an eternity for many, but for the survivors of war, they can relive the struggles like it happened yesterday. The pain, repressed memories, war wounds, bitterness, and brutal experiences are things any former soldier wants to forget. This begs the questions: how did the other brother die? What happened to Lee Jin-seok during the war? The movie shifts back to 1950 and the story of “Taegukgi” begins.
Director Kang Je-kyu' s film follows two brothers – Lee Jin-tae and Lee Jin-seok – and their family during the Korean War. Living in Seoul, life was peaceful for the Lee family following World War II. The older brother, Jin-tae works as a shoeshine boy during the day, foregoing his higher education to support his younger brother's. Since his father passed away, he has taken the mantle as male figurehead in the family household. His fiancée, Young-shin, helps out at the family noodle shop in the afternoon with his mother. Jin-seok, the younger brother, dutifully studies and excels in academics in hopes of getting into a good university. Yong-seok, the brother's childhood friend, spends time with the two on the streets of Seoul. With a loving family, food on the table, and clean clothes, the Lee family lived carefree in the newly established South Korea, looking towards a promising future. However, their peaceful world is shattered when the North invades. While the Lee family travels further south to escape the ensuing battles, the South Korean army drafts males between the ages of 18 to 30 in preparation for the South Korean war machine. Both brothers are thus drafted and must survive this hell together.
Shortly after, Jin-tae and Jin-seok find themselves in the muddy trenches with other scared and new recruits. Mortar fire and pounding artillery pepper the recruits' first battlefield and Jin-seok immediately becomes shell-shocked, unaccustomed to the horrors of real combat. Worrying that his younger brother might not survive another battle, Jin-tae knew he had to do something fast; he had to save his family.
Jin-tae knows that their family's future lays in Jin-seok and his promising future. If one of them can return home, it has to be his younger brother. Knowing this, he attempts to persuade his commanding officer to discharge his brother from the war. However, it comes with a condition: his superior tells him he has to get an Order of Military Merit medal, South Korea's highest military honor. Agreeing to this secret deal, he starts volunteering for near suicidal missions, ranging from placing land mines during enemy fire to leading reckless assaults. Jin-seok starts wondering why his older brother is doing this. However, despite Jin-tae's heroic and insane deeds, the South Korean army is in a terrible bind; they are surrounded and nearly annihilated.
Their regiment has little sleep, food, ammunition, and morale; the soldiers are beginning to go crazy. The sounds of suicide, amputated body parts, and screaming become the lullaby of their camp. Contemplating a last stand, many soldiers write their wills, ready for their inevitable fate. Jin-tae, however, has other plans; he suggests going on the offensive. After all, to him, the more suicidal the odds are, the better. Taking the North Koreans by complete surprise, the South Korean regiment makes rapid headway. Leading a one man charge, Jin-tae begins to braves the danger and lucks through. Eventually, his efforts pay off: he conquers the enemy headquarters on a mountain. As the North Koreans start a full retreat, he returns to see cheers and celebrations; it was the squad's first victory.
However, as victory after glorious victory continued to pile up, Jin-tae becomes infatuated with the proposition. No longer is it about his brother's safety; it's about fame. He receives all the adulteration: promotions, mass cheering, awards, and even an appearance at the United Nations press conference. He sees the world in two shades: Communism and Capitalism. As a result, he becomes desensitized to murder—he becomes the perfect soldier. After another battle, he sees a childhood friend forced to fight for the North …yet, he has no compassion for his life; he sees nothing but an enemy. Soon, he barely recognizes his own younger brother, the very same he promised to protect. As Jin-seok begins to resent his older brother and his motives, their brotherhood starts to fall apart. Can they reconcile their differences? Will they ever see their family again? Does Jin-tae even see a different between Capitalism and Communism?
“Taegukgi” shows that war is hell. Like the critically acclaimed American war movie, “ Saving Private Ryan” , this film does not hold back the brutal reality – arms are separated, legs are blown off — blood is used in great amounts. The battle scenes are intense: machines guns, tanks, airplanes, and artillery are all shown; bodies, shattered homes, and dreams ornament this battlefield. There is no peace in hell—no haven even in one's house. War doesn't discriminate and battles can be fought anywhere. War crimes, needless to say, were rampant by both sides during the war. Vicious propaganda was used to portray the other side as “evil”, framing the enemy with lies and atrocities. Surrendering to the enemy was frowned upon and even doing so did not guarantee survival. Prisoners weighed down advancing armies, so rather than keep them, commanders ordered captured prisoners to be shot. For every handful that benefits from war, there are millions more that are devastated by it.
With the success of his 1999 movie, “ Shiri” , director Kang Je-kyu had the leeway to go for some big name actors for Taegukgi. Kang decided to go for some of the best, enlisting skilled actor Jang Dong-gun as Jin-tae and pretty boy Won Bin as Jin-seok. Jang plays a brilliant Jin-tae that evolves (or devolves) from a protective brother that places family first to a ruthless murderer. From his facial expressions to his dialogue, the audience will see how the rigors of war can change a person. Although slow, his transformation is believable because of his atrocities. His decision to weigh awards over his brother's safety is, in itself, a result of his transformation. Won's performance as the younger Jin-seok, however, steals the show. Since his role required the most radical change, his part was incredibly challenging. However, Won does not disappoint at all. This role required a transformation from passive intellectual to rookie soldier to a strong, determined man that opposes his brother's motives. The audience will empathize with Won's character and grown alongside with him throughout the war.
Korean beauty, Lee Eun-joo , played the fiancée of Jin-tae admirably in the few scenes she is in. Unfortunately, this was one of her last films she acted in, as she took her life on February 2005. If there is a knock in the film's cast, it has to be the supporting characters. While the film focuses on the two main leads' struggles, the supporting cast, compared to war movies like “Welcome to Dongmakgol” , pales in comparison. The movie, sadly, does not spend the time to develop their characters and most of them play extremely minor parts in the brothers' journey. Although, not to take away from what they did, these characters still played their parts quite well, considering the time.
“Taegukgi” elicits poignant memories for South Koreans. The film name itself – “ Taegukgi” – is symbolic; it represents the South Korean national flag. Like the American Civil War or the schism of Western and Eastern Germany after World War II, this film presents the viewer a greater understanding on the turmoil post division. When heartthrob Won Bin was asked to do a movie about the Korean War, he did not hesitate. “How could you not want to act in a movie about the Korean War … I would be honored,” Bin said. Thousands of extras also heeded the call in recreating this bloody conflict; many did their roles for little or no money. The North-South division still hurts to this day for Koreans and this movie provides a glimpse to seeing that very pain.
This film is one not to be missed by movie fans. While one may dismiss the movie as the Korean “ Saving Private Ryan” – other than some inspired scenes from the American classic – they are both vastly different story wise. With slick battle cinematography, incredible scripting, deep main leads, a non-biased look at war, and a tale of brotherhood, the film's scope is breathtaking. Crying “man-tears” during or at the end is acceptable, because the movie's final message is powerful: family blood runs deeper than any sort of ideology or government. And for that, “ Taegukgi ” deserves the top slot.
