A conscious exploration of fantasy and flesh. The director talks about the novel upon which the film is based, we see the crew at work, the actors talk about what's going on. Y, a schoolgirl of 18, chooses her first lover (rather than wait to be raped, as were her two older sisters). After phone sex with J, a sculptor who's 38, they begin an affair that, by the second meeting, includes spankings as foreplay. J brings a suitcase full of rods, hoses, and wires; Y gathers sticks to bring.
Y's brother discovers the affair. J's wife, studying in Paris, calls him to join her. Will the lovers part? Will the violence get out of hand? When do the lies begin? I was at first disgusted with director Sun-Woo Jang because I had felt that he cheated me. Jang had the potential to create a strong, deeply emotional film about sex and its effects on people, but instead chose to focus his strength on the pornography element more than the actual human element.
I couldn't see the characters at first and his sloppy introduction which blended both realism and cinema together was amateurish at best yet this film remained in my mind for days after I viewed it. What stayed with me wasn't the story, it wasn't the characters, nor was it the apparent pornographic nature of the film, but the transition that Jang demonstrated between Y and J. If you watch this film carefully, you will see that both begin in an exploration phase of their relationship, eager to jump into the unknown, but not quite certain the next step. As they continue to meet, exploring new avenues of pleasure, they continually jump between the aggressor and the aggressed. Jang initially explores the idea that J is the one that in control of the situation, then hauntingly, the reversal happens when J becomes obsessed with Y. It is a very small change, and due to the graphic content of this film, it can easily be missed, but it is there.
It becomes apparently clear near the end when J cannot live with Y, as their meetings become less frequent, and J attempts to become a part of normal society. This was a huge and very exciting element to this film to see right before your eyes, but alas, it was the only element of this film worth viewing. I will ignore those that speak of this film as nothing more than pornographic, because there are human elements at the core of this film, as underdeveloped as they are, they are there.
It is a film about a facet of our lives that is very rarely explored in cinema or talked about in the papers. What happens behind closed doors is never known or so we should believe. While the act itself does becomes repetitive after a bit, director Jang tries to change it up a bit with some constantly changing scenery. Our characters are continually moving from hotel room to hotel room to best quench their thirst for each other's flesh. This is fun at first, but again, Jang's repetitive streak seems to make it feel boring than exciting.
This leads me to the biggest issue that I had with this film. Jang had a great story with Gojitmal, but where he failed (outside of the obvious choice to focus directly on the pornographic side) was that he took scenes, repeated them time and again, without changing in front of us to allow us to get to know the characters. Where was Jang going with this movie? Did he want the sex to tell the stories, or did he believe the characters would?
He failed in this sense because by the end of the film we know so little about Y and J that we could care less how they resolve themselves. The ending seems almost random at best as Jang attempts to create a final resolution for our two, absolute unknowns, of this film. I have to give Jang some credit for trying, but not much. He attempted to create some sub-stories that would create the personal element that we were lacking, but they just couldn't congeal well together.
Y's brother and J's wife were those plot points, but again, due to him focusing so strongly on the sexual element, these stronger sub-stories became un-rememberable and down-right dull. Maybe it was just how I viewed this film, but outside of the sexual scenes, nothing else worked together. We knew nothing about J and Y and that is why Gojitmal failed. Finally, I would like to say that this film could have benefited from having a strong score or a daftly remote music genre element to it to bring us, the viewers, closer to the emotions being felt by J and Y. From what I can remember, and I am trying to push this film far from my mind, I don't remember any musical undertones.
Gojitmal may have been a stronger film if Jang either stylized it with music or done something to allude towards our character's beings. While I understand that he wanted the sex to speak for itself, there was just a technical element missing from this film that may have quenched a stronger desire for more. Technically, this was a poor film. Obviously an independent film in nature, it felt more like director Jang was trying to make symbolic references out of nothing instead of your typical independent of this nature. I didn't see as much of a social message or human element like mentioned above, I just felt like he threw this film together over the course of two weeks and understood that the sex would sell it enough. This was no Larry Clark production; this was sub-par and definitely needed some further technical clicks to develop it stronger than the final release! Overall, I think I could have liked this film and there were smaller elements that I did enjoy, but I felt this film was rushed, repetitive, and played too much towards the taboos instead of breaking them.
The obvious pitfalls of this film can be seen by the last scene of this film when we are privy to how the title of this film was conceived. Our characters were uneventful, our story was underdeveloped, and we could have used something memorable to make what was happening between Y and J into something more symbolic than sex. To me, Jang was trying too much to capture art house meets pornographic and it failed miserably. This was not a film worth the time and effort that it took to make. Grade:. out of.
Running time 120 minutes Country South Korea Language Korean Box office US$3.4 million (South Korea) Love, Lies (: 해어화;: 解語花;: Hae-eohwa) is 2016 South Korean film directed by, reuniting co-stars, and. The story takes place in 1943, during the.
In the film, best friends Jung So-yul and Seo Yeon-hee are two of the last remaining. Although they enjoy pop music, they are committed to singing, or classical Korean songs. So-yul's life falls apart when her lover, pop music producer Kim Yoon-woo , falls in love with Yeon-hee and helps her debut as a pop singer. The story follows So-yul's downward spiral as she is consumed by uncontrollable jealousy. The film was released on April 13, 2016. Critics particularly praised the film for its meticulous reconstruction of 1940s Seoul, with period-correct sets, props, costumes and music. Contents.
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Plot In, Jung So-yul is a -in-training at one of the last remaining, learning to sing, the classical songs of Korea's upper class. Jung is the daughter of a famous gisaeng, who is also the institution's headmistress. Seo Yeon-hee arrives at the school after she is sold by her father, who cannot take care of her. The young girls become best friends, and are two of the best students in the school. They both enjoy the popular songs of the day, but promise each other to keep their dignity as the only gisaeng who sing jeongga.
So-yul's natural talent and beauty make her the center of attention, and she receives invitations from important people, including the Japanese chief of police. One day in 1943, So-yul meets the top pop songwriter, Kim Yoon-woo, and the two fall in love. Yoon-woo asks So-yul to sing a song he is writing to encourage the Korean people suffering under Imperial Japanese rule. However, things begins to fall apart when he hears Yeon-hee sing and becomes mesmerized by her voice. Yoon-woo writes the song for Yeon-hee, and encourages her to leave the gwonbeon so he can help her become a pop singer, because pop songs speak more to the common people instead of just the upper class.
Yeon-hee takes his advice, and So-yul feels betrayed. Fueled by jealousy, So-yul attempts to regain what she believes her friend stole from her, destroying the lives of those around her, and ultimately, herself.
as Jung So-yul. as Seo Yeon-hee.
as Kim Yoon-woo. as Police Chief. as San-wol.
as Purser. as Kim Ok-hyang. as Hong-seok. as young Jung So-yul.
as Military police. as Sampae student 1.
as Councilor. as Japanese army general. as. as Producer Production and release Filming began on June 21, 2015 and finished on October 17. The three lead actors had previously worked together on the 2015 film. Han Hyo-joo accepted the role of So-yul because Love, Lies is female-dominated, unlike most recent successful Korean films. She also wanted to try a more challenging role, as this is the first time she played an antagonist.
To prepare for the role, she learned Japanese, dancing, and traditional Korean songs. The film was launched in October 2015 at 's Asian Film Market. In March 2016, it was promoted at, securing distribution deals in Japan (KlockWorx), Taiwan (KBro Media) and the Philippines. The VIP premiere was held on April 11, 2016 at in, Seoul, and it premiered nationwide on April 13. It opened in fifth place at the box office, with 133,563 tickets sold across 572 screens. The film earned US$1.67 million in a five-day period (Wednesday to Sunday).
Critical reception Rumy Doo of called the film 'meticulously made-up' and pointed to its painstaking recreation of 1940s Seoul (then called Gyeongseong). Doo said Han Hyo-joo's acting is 'somewhat strained' in the beginning of the film, but her portrayal of a jealous, wronged woman is more convincing and 'painfully human'. Jin Eun-soo of the called the film a 'feast for the eyes and ears', praising the actors' musical talent, the costume design, and the reconstruction of 1940s Seoul. Yun Suh-young of also praised the actors' musical performance. Shim Sun-ah of gave the film a more mixed review.
She praised Han Hyo-joo and Chun Woo-hee's 'brilliant performances', but said Chun's singing was not good enough to be believable for a character with 'mesmerizing talent'. Shim also disliked So-yul's 'very unnatural' makeup as an elderly woman. According to Shim, the film's greatest weakness is the storyline, because it is vague about how Yoon-woo's love shifts from So-yul to Yeon-hee, and why Yeon-hee feels no remorse for taking her best friend's lover. Shim said the film's greatest strength is its 'immaculate period reconstruction', with accurate sets, props, costumes and music. In a 19th-century painting Highlighted in the film is the conflict between tradition and modernity, illustrated by the classical jeongga and early Korean pop music (later known as ).
At a press junket for the film, director explained how he chose the film's setting: 'The 1940s was a doomed period for Koreans. But it was also a period when Korean pop first emerged and experienced its golden age. It was a good period to show the conflict between two female gisaeng who wanted to become top singers.'
Park concentrated on how So-yul loses herself through jealousy, the 'universal emotion', and later finds herself and regrets her past. He said the film can be summed up by the phrase, 'Why didn't I know that before, if it was so good'. Another theme in the film is the duality that was expected of gisaeng, who were well-educated in the arts but treated as socially inferior, and ultimately existed for men's pleasure. The film's Korean title literally means 'flowers that understand words' or 'a flower that can talk', referring to gisaeng. This is explained by So-yul's mother in the film: 'Gisaeng are like flowers that can understand human speech.We're flowers meant to be picked by men who grant our wishes'.
Awards 2016. Asia Star Award: References. Korean Film Council. Retrieved April 12, 2016. ^ Shim Sun-ah (April 7, 2016).
Retrieved April 12, 2016. ^ Shim Sun-ah (April 5, 2016).
Retrieved April 12, 2016. ^ Doo, Rumy (April 6, 2016). Retrieved April 12, 2016. ^ Jin Eun-soo (April 8, 2016).
Retrieved April 12, 2016. Jeong Yu-jin (March 30, 2016).
Yoo Yeon-seok in 'Loves, Lies' in the 1940s. OSEN (in Korean). Retrieved April 13, 2016. Jo Ji-yeong (October 29, 2015).
'Loves, Lies' starring Han Hyo-joo, Yoo Yeon-seok and Cheon Woo-hee has finished filming. TV Report (in Korean). Retrieved April 13, 2016. Jeong Yu-jin (April 12, 2016). 'Loves, Lies', the 1940s version of 'Beauty Inside'.
OSEN (in Korean). Retrieved April 12, 2016. Park Se-wan (April 26, 2016). Retrieved April 26, 2016.
Kil, Sonia (March 14, 2016). Retrieved April 14, 2016. Conran, Pierce (March 29, 2016).
Link Download Film Subtitle Indonesia
Korean Film Council. Retrieved April 14, 2016. Ahn, Woorim (April 12, 2016). Retrieved April 12, 2016. Shim Sun-ah (April 18, 2016). Retrieved April 29, 2016. Jin Eun-soo (April 19, 2016).
Retrieved April 29, 2016. Kil, Sonia (April 17, 2016). Retrieved April 30, 2016.
^ Yun Suh-young (April 5, 2016). Retrieved April 12, 2016. Kyung Moon Hwang (February 4, 2015). Retrieved April 13, 2016. Jung Min-kyung (March 2, 2016). Retrieved April 14, 2016. External links.
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