Still, Jin-tae seems to have nothing better to do than hang out with Do-joon. This geometric model of storytelling has pushed him beyond his contemporaries' looser, more anecdotal and additive narrative strategies" p Even though we do repeat ourselves often in real life, watching the repetition of sections of dialogue in Hong's films strips them of their meaning, echoing their in-authenticity. Conversely, the piece's villain should brook no sympathy. There is nobody else on the island -- nothing but plants, trees, the odd duck and bits of trash.
In spite of the variations spun on recurring themes in the oeuvre of director Hong Sangsoo, when you repeat so many themes, bits of dialogue, actions, gestures, and characters his films are dominated by traveling role-players in the film community and writers and visual artists , you can't help but leave viewers with a sense of meaninglessness to the films and the dialogues and the characters. Kim strikes me as a bit too young and contemporary: All I knew for sure was that I had to see it again immediately. So instead of giggling at the mention of cock rings and Rabbits, use the following tidbits to launch open and honest and not bashful conversations. Every time we see Karim interacting in Korean society, someone discriminates against him. Shin displays little aptitude for an action thriller. Not just characters are repeated, but the very actors who play them. Kitchen just frustrates me, though; because it falls so far short of what it might have been. He's not retarded, but his dullness is difficult to define: Song Sam-dong as Hyuk-jin, even though barely "acting" in the technical sense, serves as the perfect foil for the languorously surreal characters he runs into. The entire sequence here is meant to end on a clear slapstick note, which might have looked good in the script. Hong even covers up the cause of the wound on Ku's cheek with a reference to an actual scene that happened in Turnging Gate , claiming a few thugs beat him up because "One of them said I was looking at their girl's legs. In the end, though, the film is so strong and well-made that it is difficult not to look forward to Lee Yong-ju's next project. Maybe a tough guy like Sam Spade? His actions mystify her, and then gradually intrigue her. His efforts to contact the mainland fail. All in all, I don't believe that the makers of Private Eye are giving film as a medium its full workout. Handphone is masochistic, cynical and ultimately misanthropic. Do-joon's Mother Kim Hye-ja, Palace , in an embroidered violet jacket, walks toward the camera through a field of tall grass. Still, the tactic of communicating what kids are typing in chatrooms by having their mouths verbalize as they type doesn't work and doesn't seem to ring as true, at least not when such a technique is used so prevalently. Do-joon is very good looking he's played by Won Bin, after all , but he's not quite right in the head, rather like Song Gang-ho's character Gang-du in The Host , and like Gang-du, there is a hint that his impairment is his mother's fault. Second, Sang-in quits his high-end stockbroker job so that he can devote himself to his lifelong dream of running a fancy restaurant. We often shorthand globalization to mean United States cultural works taking over the world. There's a hint that Sang-in and Du-re had an affair when they met in France; when Sang-in shows Du-re his room, Du-re asks him to spend the night with him. The film attempts to cover up gaping holes in the story and characters with action scenes, but those aren't so well-crafted either. I somehow doubt that's what this movie's crew and cast had in mind while making it.
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