Posts Tagged ‘Kim Hee-Won’

THE MAN FROM NOWHERE a.k.a. THIS MAN [AJUSSI a.k.a. AJEOSSI a.k.a. AHJEOSSHI | 아저씨]

2011/01/03

http://www.mannowhere.com/

http://www.ajussi2010.co.kr/

http://cafe.naver.com/ajussi2010

KOREA 2010  Directed by: Lee Jeong-Beom  Written by: Lee Jeong-Beom  Produced by: Lee Tae-Heon  Cinematography by: Lee Tae-Yoon  Editing by: Kim Sang-Beom  Music by: Shim Hyun-Jeong  Cast: Won Bin, Kim Sae-Ron, Kim Tae-Hoon, Kim Hee-Won, Kim Seong-Ok, Thanayong Wongtrakul, Kim Hyo-Seo, Lee Jong-Pil

If THE MAN FROM NOWHERE reminds you of Luc Besson’s LEON, then you should think of it as a good thing rather than expecting a too me too movie. Essentially, THE MAN FROM NOWHERE is about a platonic friendship (love?) between a former agent (who a while ago lost his wife and his child) and a girl from the neighborhood whose mother is a drug addict and involved with a notorious crime syndicate. When So-Mi’s mother is killed over stolen drugs, So-Mi herself is sold to the drug kingpins by her aunt and ends up as an “ant”, a child drug courier. Cha Tae-Sik, the agent turned pawn shop owner, is getting caught in the middle: not only had he, unknowingly, stored the stolen drugs in his shop in a bag the mother deposited earlier, but So-Mi is also his only connection to the rest of the world, the only one he can relate to. When he learns about So-Mi being held hostage by the gang, he decides to get her back – by all means.

And he’s got an awful lot of means at his disposal: Tae-Sik is an unstoppable killing machine, a nowhere man who “only lives today”, who’s got nothing left to lose (or so he thinks), but thanks to the excellent script and Won Bin’s superior performance Tae-Sik’s character is also very real, emotionally vulnerable and sensitive (not with his enemies, though). It almost seems as if the more violent the encounters get, the more he comes to realize that there is something worth fighting for – he just doesn’t know what to make out of it. Fighting for isn’t living for (or is it), but when the last sword is drawn, the last bullet fired, all that can be shed is a tear. To be able to do that however you not only have to see through the mission, you also have to make it out alive.

THE MAN FROM NOWHERE proves that once again it all comes down to a good story and a good script: the multiple layers and plot threads provide an exceptionally strong fundament that helps rationalizing everyone’s actions and gives the audience good reasons to believe that everything’s just the way it was meant to be. THE MAN FROM NOWHERE feels so natural, so right, in short: the film makes perfect sense.

Keeping in mind that it features not just one, but basically three to four main interlinked plot threads and a parallel police investigation on top of the central rescue / revenge motif, I must say that I haven’t seen a finer script in 2010. Not that this was a particularly disappointing year for Hollywood or Europe, but I can’t remember anything matching this story and the way it’s been told: a story about the existence, about its fragility as much as its worth, presented as a synthesis of resolutely gritty thriller, discourse on friendship and spiritual tale of sacrifice.

 

Move over, I SAW THE DEVIL, here comes THE MAN FROM NOWHERE: the movie deserves every single award it received at the Korean Film Awards in November (and it should have received more at the Blue Dragon Film Awards). I SAW THE DEVIL was a serious contender in my opinion, but the fact that THE MAN FROM NOWHERE raked in so many awards is not proof of other films’ weaknesses, but indeed proof of its own strengths. There is little, if nothing that could be any better: THE MAN FROM NOWHERE features kind of the ideal cast, direction, writing, dialogue, editing and action; it’s one of the most violent, but also most poetic films coming out of Korea recently; it is a remarkably aesthetic film, features the most compelling ending of any movie lately and is probably the most rewarding film experience in a long while.

 

Compared to I SAW THE DEVIL, THE MAN FROM NOWHERE also feels more up-to-date, unleashing a world of modern-day horrors upon the audience vs. the old-school serial killer / revenge story featured in I SAW THE DEVIL that was largely driven by how things happen instead of why they happen. That also had to do with the fact that in I SAW THE DEVIL revenge is carried out for things that happened in the past and cannot be reversed (the kind of revenge that is pointless and from a theological point of view wrong), while in THE MAN FROM NOWHERE “revenge” is carried out for something that could happen in the future (except for the showdown) and is much more an act of self-defense, a necessity. There is no other choice, except So-Mi’s sure death. The context and motivation may not be identical, but it cannot be denied that Tae-Sik’s preemptive war has unmistakable resonance, while So-Hyun’s revenge is largely a playful take on genre conventions.

I could go on dissecting and analyzing every single detail of A MAN FROM NOWHERE, but it would all just lead to the same conclusion: A MAN FROM NOWHERE is a straight 10/10, 100% great movie making, 0% BS. It’s beautiful, and it’s powerful. If there’s one Korean film to watch this year, it’s this one.

J.

 

 

 

 


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KIMCHI FLAVOR: THE MAN FROM NOWHERE [AHJEOSSHI a.k.a. AJUSI | 아저씨]

2010/08/13

http://www.ajusi.com/

UPDATE: READ THE FULL REVIEW HERE! – – – – – – – -THE MAN FROM NOWHERE by writer / director by Lee Jeong-Beom seems to be a somewhat LEON-inspired thriller with the hero, a pawn shop owner simply called “Ahjeosshi” (“Mister”), being close only to a small girl from the neighborhood. When her mother gets involved into a drug deal and steals money from the mafia, the mobsters take the girl with them and Ahjeosshi = Cha Tae-Sik is trying to get her back.

The CJ Entertainment production stars Won Bin as Cha Tae-Sik and Kim Se-Ron as the little girl; also starring are Kim Tae-Hun, Kim Hee-Won, Kim Sung-Oh, Lee Jong-Pil, Thanayong Wongtrakul, Kim Hye-Seo, Song Young-Chang, Baek Su-Ryeon, Nam Kyeong-Eup, Park Seong-Taek, Jo Seok-Hyeon, Jo Jae-Yun and Hong So-Hee.

J.

 

TWILIGHT GANGSTERS a.k.a. REVOLVER GANGSTERS’ GANG a.k.a. YUKHYEOLPO ROBBERS a.k.a. GRANDMA GANGSTERS [YUKHYEOLPO KANGDODAN | 육혈포강도단 | 육혈포 강도단]

2010/07/20

http://www.bbangbbang2010.co.kr/

USA 2010  Directed by: Kang Hyo-Jin Written by: Ki-Eop Han Produced by: Lee Seo-Yeol  Editing: Moon In-Dae  Cast: Na Moon-Hee, Kim Su-Mi, Kim Hye-Ok, Lim Chang Jung, Kim Kwang-Kyu, Kim Hee-Won, Kang Kyeong-Heon, Jang Won-Yeong, Kim Min-Jwa, Son Kwang-Eop, Yu Ha-Na, Kim Kwang-Sik, Han Kuk-Jin

For eight long years three gannies have saved up to finally afford a trip to Hawaii together. Their “savings” are actually earnings: money they earned from systematically robbing convenience stores and supermarkets. After each heist the loot is sold on the street and the money stashed away.

Now finally the day has come when they have scraped every single Won together and want to book their trip, but the travel agent doesn’t accept cash – so they have to go to a bank, deposit the money and wire it to the agent. It’s probably Friday the 13th or something as the very moment they deposit the money the bank is robbed by armed gangsters – their money, their dreams and eight years of hard work as thieves end up in smoke. But our trio doesn’t give up easily: determined to go to Hawaii no matter what they are soon on the trail of the robbers in pursuit of their money.

TWILIGHT GANGSTERS is a remake of the German movie JETZT ODER NIE – ZEIT IST GELD (“NOW OR NEVER” (2000)), directed by Lars Büchel and produced by Til Schweiger (INGLOURIOUS BASTERDS). TWILIGHT GANGSTERS is very close to the original, sticks to the storyline from beginning to end when the grannies are finally becoming bank robbers themselves. However, the original movie title is more conceptual as it indicates that they are running out of time as one of them is succumbing to cancer soon, which is why they urgently need to go on this last trip together. That is the reason they need to get that money back or find more money asap.

The idea has worked well for the German movie and also works pretty well here. It may all read cheesy on paper, but with an ensemble of well-known veteran actresses TWILIGHT GANGSTERS is charming, funny and unconventional. With a concept that has been tried, tested and proven successful Kang Hyo-Jin couldn’t do much wrong: the only critical factor was the cast, but Na Moon-Hee, Kim Su-Mi and Kim Hye-Ok are a wonderful choice. Their acting is excellent and they are very, very funny while never overacting, at the same time they bring heart and soul to the crime drama.

With so many mediocre or plain unbearable movies this year I recommend TWILIGHT GANGSTERS as one of the most enjoyable and unconventional Korean movies so far. It is not original, obviously, but nevertheless well-rounded entertainment and rewarding to watch.

J.