If your idea of high filmed entertainment involves a spoiled governor's son from a patriarchal society getting everything he wants, bullying his faithful servant, marrying and then having awkward sex with a woman he encounters on a lark and a gruff male voice "singing" everything that takes place, from the servant's illicit play in the fields to the scenery that passes by the camera to even the imaginary dialogue taking place within characters' minds, this may just be the film for you. And should that terribly long-winded sentence put you off the movie, it shouldn't, for the story of Chunhyang is a treasured Korean folk tale, the narration is presented in the time-honored tradition of pansori, an ancient Korean rhythmic narrative singing style accompanied by percussion, and the director of this version of the story is none less than the esteemed I'm Kwon Taek, perhaps Korea's grandfather of cinema with 99 films to his credit.
Lee Mong Ryong (played by Cho Seung Woo) is the local governor's son and, during a visit to the countryside village of Namwon, he observes the playful Chunhyang (Lee Hyo Jeong) swinging from a distant tree. He uses his authority (and his manservant Pangja, played with astounding relish by Kim Hak Young) to visit, woo and marry the girl, a courtesan's daughter, all within a matter of hours, and without his own father's consent. All is idyllic for a while until the two lovers encounter the real rough and ready world of Chosun-era Korea. When the staccato wailing of the pansori narrator begins to intrude even upon the dialogue of the primary actors, it becomes hard to take, and non-Koreans are apt to turn away. It is only in the recognition of the centrality of pansori to this story that I was able to stomach it. I'd like to remove pansori from my cinematic lexicon. But the vocal elements of pansori are beautiful in their precision and purity, so when it is central to the telling of a historical tale, little 21st century me refuses to argue with such history. It would be like asking directors of Shakespearian plays to do away with iambic pentameter.
And so, Mong Ryong hides his marriage from his father, who is appointed a minister for the king in Seoul and must go there. But first, as he settles affairs in his district, he sends Mong Ryong, who leaves Namwon under melodramatic circumstances, Chunhyang screaming all the while, left behind to face the full brutality of the Chosun Dynasty. She is to become a mistress to the new governor of Namwon, but she resists him, suffering torture and painful public humiliation. Eventually, she is imprisoned and sentenced to die at the new governor's third anniversary of rule.
Meanwhile, Mong Ryong rides to Seoul where he studies for and takes the royal examination. Earning the highest score, he is appointed a provincial inspector, beholden to the king. In his duties, he comes across Pangja, who tells him of Chunhyang's plight. Using Pangja's information, Mong Ryong travels back to Namwon and, disguised as a beggar, infiltrates the governorship there to win back his beloved Chunhyang.
Doubtless, this film is hokey, as its roots are so terribly old, but that does not mean it lacks enjoyment. Character interactions, clever asides and unexpected dialogue mesh with the ubiquitous pansori chanting to create an undeniably Korean masterpiece. The acting is exquisite, with Kim Hak Young standing out, but with newcomers Cho Seung Woo and Lee Hyo Jeong, in the title role, performing beautifully as well.
From ancient times, the telling of this story has been incidental to the pansori musical presentation. Director I'm is fully cognizant of this fact and determines not to depart from tradition. Instead, he focuses on imagery, color, angles, even special effects and other cinematographic treats courtesy of veteran cinematographer Jung Il Sung, to bring this film to life even for those turned off by the pansori.
A typical Western audience would fail to understand, and perhaps even be irked by this unique presentation of a very old Korean folk tale. And while Koreans themselves may be unimpressed by the film by virtue of their sheer familiarity with the story, both non-Koreans and Koreans should allow themselves a couple hours to see I'm Kwon Taek's superb rendering of this timeless folk tale.
Note: I know the director's name is I'm, not I'm. The program just sticks the apostrophe in there. Please forgive.
Lee Mong Ryong (played by Cho Seung Woo) is the local governor's son and, during a visit to the countryside village of Namwon, he observes the playful Chunhyang (Lee Hyo Jeong) swinging from a distant tree. He uses his authority (and his manservant Pangja, played with astounding relish by Kim Hak Young) to visit, woo and marry the girl, a courtesan's daughter, all within a matter of hours, and without his own father's consent. All is idyllic for a while until the two lovers encounter the real rough and ready world of Chosun-era Korea. When the staccato wailing of the pansori narrator begins to intrude even upon the dialogue of the primary actors, it becomes hard to take, and non-Koreans are apt to turn away. It is only in the recognition of the centrality of pansori to this story that I was able to stomach it. I'd like to remove pansori from my cinematic lexicon. But the vocal elements of pansori are beautiful in their precision and purity, so when it is central to the telling of a historical tale, little 21st century me refuses to argue with such history. It would be like asking directors of Shakespearian plays to do away with iambic pentameter.
And so, Mong Ryong hides his marriage from his father, who is appointed a minister for the king in Seoul and must go there. But first, as he settles affairs in his district, he sends Mong Ryong, who leaves Namwon under melodramatic circumstances, Chunhyang screaming all the while, left behind to face the full brutality of the Chosun Dynasty. She is to become a mistress to the new governor of Namwon, but she resists him, suffering torture and painful public humiliation. Eventually, she is imprisoned and sentenced to die at the new governor's third anniversary of rule.
Meanwhile, Mong Ryong rides to Seoul where he studies for and takes the royal examination. Earning the highest score, he is appointed a provincial inspector, beholden to the king. In his duties, he comes across Pangja, who tells him of Chunhyang's plight. Using Pangja's information, Mong Ryong travels back to Namwon and, disguised as a beggar, infiltrates the governorship there to win back his beloved Chunhyang.
Doubtless, this film is hokey, as its roots are so terribly old, but that does not mean it lacks enjoyment. Character interactions, clever asides and unexpected dialogue mesh with the ubiquitous pansori chanting to create an undeniably Korean masterpiece. The acting is exquisite, with Kim Hak Young standing out, but with newcomers Cho Seung Woo and Lee Hyo Jeong, in the title role, performing beautifully as well.
From ancient times, the telling of this story has been incidental to the pansori musical presentation. Director I'm is fully cognizant of this fact and determines not to depart from tradition. Instead, he focuses on imagery, color, angles, even special effects and other cinematographic treats courtesy of veteran cinematographer Jung Il Sung, to bring this film to life even for those turned off by the pansori.
A typical Western audience would fail to understand, and perhaps even be irked by this unique presentation of a very old Korean folk tale. And while Koreans themselves may be unimpressed by the film by virtue of their sheer familiarity with the story, both non-Koreans and Koreans should allow themselves a couple hours to see I'm Kwon Taek's superb rendering of this timeless folk tale.
Note: I know the director's name is I'm, not I'm. The program just sticks the apostrophe in there. Please forgive.