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Review
by
Kevin Ma: |
For his 1986 film about
legendary Korean woman Hwang Jin-Yi, director Bae
Chang-Ho avoided the usual biopic trappings by employing
frustrating, alienating long takes and subtlety (read:
slow silence). The latest big-budget retelling of
Hwang Jin-Yi from director Jang Yoon-Hyun (The
Contact, Tell Me Something) also tries
to avoid the same trappings, but he uses action and
star-crossed lovers instead of self-indulgent artistic
devices to do so. In other words, it's Hwang Jin-Yi
for summer at the multiplex. Still, despite its dubious
intentions, this latest version is actually mildly
successful for what it is.
For those not in the know,
Hwang Jin-Yi was a legendary figure who lived in 1500s
Korea. Hwang was forced to become a kiseang
- a singing and dancing entertainer much like the
Japanese geisha - after she found out that
her biological mother was a kiseang. Due to
the lack of historical records, filmmakers, television
producers and writers have been able to take artistic
license with her story over the years. The film and
its source material, an award-winning 2002 North Korean
novel, are no different. Starring popular Korean drama
star Song Hye-Kyo, this version of Hwang Jin-Yi
adds a love interest in the form of Nom-Yi (Yoo Ji-Tae
from Oldboy), a childhood friend and protector
who Jin-Yi has been in love with all her life. After
an extended exile, Nom-Yi returns to the Hwang household
to help put it back into order. However, Jin-Yi cannot
fall in love with Nom-Yi not only because he's born
of a different social class, but also because she
is set to marry into another rich family.
Nom-Yi, on the other hand,
finds a dirty little secret of his own: Jin-Yi is
actually the offspring of a maid who was raped and
impregnated. Everyone in town eventually finds out
about Jin-Yi's past when the marriage is canceled,
forcing her to choose exile to save the family honor
and become a kiseang like her biological mother.
Nom-Yi, racked with guilt for exposing Jin-Yi's secret,
initially agrees to be her protector, but vanishes
because of torturous jealousy. Thanks to efficient
storytelling, the film also skips five years, wherein
Jin-Yi becomes one of the most popular kiseangs
in Song Do, attracting the attention of the new magistrate.
That's when the film begins
to go off the rails. Nom-Yi and his merry men have
become local Robin Hoods, stealing from the government
in order to help the people. By the third act, Hwang
Jin-Yi is strangely no longer about Hwang Jin-Yi.
Instead, it turns into a period drama about the conflict
between Nom-Yi and the jealous new magistrate, with
Jin-Yi as someone who happens to get caught in the
middle. However, that's also when the film's pace
picks up from its sluggish middle section, which is
highlighted by random excursions, including the seduction
of a well-known scholar (an episode from the history
books) and a wise man who lives in the woods and isn't
named Yoda. On the other hand, the middle section
also appropriately focuses on its titular character
and her various exploits as a kiseang, effectively
making the fictional additions a double-edged sword.
While the scene of Nom-Yi
literally breaking someone's testicles by hand is
nearly worth the price of admission, his existence
undermines what is supposed to be Hwang's life story,
reducing the film to a melodramatic tragedy of unrequited
love. People who enter the theater looking for an
empowering "chick flick" about woman who defied the
odds to become the most famous kiseang in Korean
history will see only half the story. Instead, you're
more likely to find an entertaining epic for the masses
with action and enough melodrama to fill a night of
Korean television.
In its current form, the
film only amounts to a contrived blend of well-known
episodes from Jin-Yi's life (some events are depicted
in both the 1986 and the 2007 films) and fictitious
subplots that deviate too far from its source material.
Jin-Yi is supposed to be a famous kiseang,
but the film mostly shows her refusing to do what
she does best. When making a movie about Korea's most
famous kiseang, you should at least show its
protagonist doing what made her famous in the first
place. If director Jang had wanted to tell the story
of a tough woman in a period where women are not known
to be tough, plus add in some ass-kicking along the
way, then he didn't need to use Hwang Jin-Yi to do
it.
Then again, Jang never insisted
that his film intended to be historically accurate
in the first place. Instead, the 2007 Hwang Jin-Yi
should be seen as just a handsomely produced variation
of a legend rather than a faithful retelling of history.
It's an aspiring big-budget blockbuster that is nothing
like Jang's previous works, which may be both good
and bad. While Jang should get credit for trying to
inject some excitement into a classic story, is it
that difficult to have a movie about Hwang Jin-Yi
that actually tells a straightforward story about
Hwang Jin-Yi? (Kevin Ma 2007)
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