In Mother, which won over 40 international awards after its release, the eponymous maternal figure of the film (Kim Hye-ja) will do anything for her son, Do-joon (Won Bin). But even though themes of family and murder are shared between the two, Bong’s unique direction and storytelling establish a distinct tone that continues to set Mother apart over a decade after its release. In a film as classic as Alfred Hitchcock’s Psycho, the scene is a standout in its own right.īong Joon-ho’s 2009 film Mother, by the South Korean director’s own admission, draws inspiration from Hitchcock’s idea of a mother-son duo embodying one entity. Instead, she finds Norman himself dressed in his mother’s clothing, knife brandished and face twisted with frenzied glee as he charges in Lila’s direction. The subtitles were very good.In one of the most memorable reveals in cinematic history, Lila Crane wanders down into the fruit cellar of the Bates’ residence to confront Norman Bates’ mother, whom she suspects is responsible for her sister’s death. I watched the movie using the English subtitles rather than the English dubbing because I wanted the authenticity. They were wonderful, and they thanked the interviewer. The younger members of the cast, the less seasoned, are so beautiful in their desire to do it right. They're intelligent, educated and articulate. These are incredibly interesting people, and it's a sheer joy to see them smiling and peaceful. I most seriously recommend that you view the interviews with the director and the stars (all of them are stars of a special kind in my mind) in order to dispel some of the hold the story will have on you. There are not many movies that can time-travel you into their present. While I was caught there mentally-I felt the desperation, and I felt the defeat and the sorrow of the detectives, who were essentially decent enough human beings when all was said and done. I landed back here in this time and place with a thud, only after turning off the DVD player, and going to the kitchen for a glass of water. But yes, I love it for the fact that during it, I was in a small village in South Korea in a terrible era of sirens blaring, military dictatorship, and the hopeless pursuit of a serial killer. It is difficult to say, "I love this movie", just as it is hard to say, I love Silence of the Lambs, because love is a peculiar word to use for such fare. The way this movie draws you into it, so that you are walking through dangerous rain, with a warning shout in your throat, points to the brilliance of the director and the players. When one relates to the inroads made on the health mental and physical of the detectives, who are ultimately portrayed as tireless and completely dedicated to the case, you realize that you've watched something that is historic. The actors have become the people in my mind, and the horrible sense of defeat that becomes palpable eventually, is heartbreaking. It's been so long since these crimes took place, and I don't know absolutely that they remain unsolved, but I think it's the case, and I think about that, and how frustrating it still must be to those who worked on the case. In Memories of Murder, I saw this human factor almost too painfully. They seem to be people first, actors by choice, and stars, by the public making them so. I finally came to the conclusion that it has to do with the accessibility of the players. As a new viewer of Asian movies, I try to analyze the reason I tend not to be interested in western works any longer. Everything taking place on screen was riveting, from the simple act of walking down a dark lonely road in the rain, to a wild chase by three desperate detectives. Each positive comment that precedes this is accurate. Since a synopsis would be redundant here, I'll confine myself to praise alone.
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