The premise of Mr Go is that a trained gorilla from China becomes a major league baseball star in South Korea. On paper, this sounds like one of the parodic Troy McLure vehicles from The Simpsons. Mr. Go does indeed paint in broad strokes, seeking wide appeal. It’s a rare Korean film, and is also a co-production with China.
Showing posts with label baseball. Show all posts
Showing posts with label baseball. Show all posts
Sunday, May 11, 2014
Thursday, August 23, 2012
KOFFIA 2012: Metamorpheses (변신이야기, 2011) and the Impact of Film Schools on Korean Cinema
Part of MKC's coverage of the 3rd Korean Film Festival in Australia (previously published).
One of the aspects of Korean cinema which strikes people the most once they become acquainted with it, is the highly sophisticated level of the production values. From a technical standpoint, Korean films are often on par or even above their Hollywood counterparts: cinematography, sound, production design, editing, and even special effects are deftly handled with skill and care. Wondering how this is the case for a national industry that had been until relatively recently a marginal one is a worthwhile question. The answer therein lies in examining how a cultural and economic climate fostered this type of change.
One of the aspects of Korean cinema which strikes people the most once they become acquainted with it, is the highly sophisticated level of the production values. From a technical standpoint, Korean films are often on par or even above their Hollywood counterparts: cinematography, sound, production design, editing, and even special effects are deftly handled with skill and care. Wondering how this is the case for a national industry that had been until relatively recently a marginal one is a worthwhile question. The answer therein lies in examining how a cultural and economic climate fostered this type of change.
During the intense state-driven globalization of a newly democratized Korea in the 1990s, which was known as seghewha, the cultural sector was heavily promoted. With the creation of a few different motion picture laws that, among other things, provided tax breaks for investment in the film industry, the chaebol, which were large corporations such as Daewoo and Samsung, got involved in film production. Just as you would modernize any other industry, the film industry’s production standards had to be quickly brought up to speed due in large part to the chaebol’s injection of significant amounts of capital. However, it wasn’t just money that led to today’s technical proficiency. I would argue that perhaps more than anything, it was the education of a skilled below-the-line workforce that contributed to the phenomenon.
Thursday, January 5, 2012
G-Love (글러브, Geu-leo-beu) 2011
The team |
Kang Woo-suk is a big name in Korean cinema. He is the director behind the Two Cops (1993-98) and Public Enemy (2002-08) trilogies and
helmed the blockbusters Silmido (2003)
and Hanbando (2005), as well last
year’s big mystery film Moss. He’s been around for a long time and
has had a big hand in shaping the industry as it stands today. In the 1990s he formed Cinema Service,
which is now one of the country’s top film producers. Like a more prolific Kang Je-gyu, Kang specializes in
blockbusters and doesn’t seem to know how not to make an event picture. Earlier this year however, his new film
GLove was released. A baseball pic with a big star (Jeong
Jae-yeong) and a rather modest concept by Kang’s standards.
GLove does feature
a number of typical Kang features:
a male-centric narrative populated by his regulars, such as Jeong and
Kang Shin-il; an ambiguous protagonist who has fallen from grace; a lack of
subtlety; and a very long running time (144 minutes). If it sounds like I’m criticizing him I will admit that I find
Kang to be a very limited director though what he does, with his big, bombastic
style, he does quite well and Public
Enemy (one of the first Korean films I ever saw) still stands as one of my
favorites. That said, in this new
territory, Kang seems a little out of his depth. He recognizes the codes of the sports film and uses them to
his advantage, the mise-en-scene
is typically strong though not par with his other films, especially the
sumptuously filmed Moss (2010). What Kang does struggle with is the
saccharine melodrama, he doesn’t do a bad job but he is not subtle in his
approach, not that many Korean filmmakers are, but it’s clear that it’s not his
area of expertise.
The star and his agent: Sang-nam (Jeong Jae-yeong) and Charles (Jo Jin-woong) |
To begin with the concept is terribly cloying. Baseball superstar Kim Sang-nam (Jeong Jae-yeong) falls from grace
and is suspended, in order to rebuild his image his agent Charles (Jo Jin-woong) suggests that he start teaching baseball at
a school for the hearing-impaired.
Stubborn, moody, and resistant at first he soon starts to take a shine to
the kids and begins to shapes these diamonds in the rough with the help of teachers Gyo-gam (Kang Shin-il) and Joo-won (Yoo Seon).
From the outset there is little doubt as to what you will be
subjected to: the bullying of deaf
children; group crying; the melting of cold hearts; redemption; etc. On these counts the film does not
disappoint. Korean cinema is rife
with mute or deaf characters harboring or enduring traumas without the ability
to express them. I briefly wrote
about these protagonists in my review for last year’s Poongsan and it occurs to me now that they are also an ideal
cinematic representations of ‘han’, which I discussed vis-à-vis mothers in my
piece on Mama (2011) earlier this
week. Of course normally we only
have to deal with one of these characters in Korean films but with GLove we get a whole school of them,
which of course comes with a whole lot of baggage. It’s nearly as though the depiction of the hearing-impaired
built to a crescendo in 2011, ending of course with the worldwide media frenzy
surrounding Silenced, which resulted
in new laws being passed in Korea.
The teachers: Gyo-gam (Kang Shin-il) and Joo-won (Yoo Seon) |
Sadly GLove is not
as interesting as it could be, which is no surprise. It’s most like A
Barefoot Dream, Korea’s 2010 selection for the Oscars, which was a strong
feature but also bogged down by saccharine melodrama. The strongest aspect of the film is Jeong Jae-yeong’s
performance whom I think is one of the best actors in Korea. Primarily identified as a bad guy or a comedian, Jeong has shown great range in the last few years and turned in some
of the best performances in Korean cinema. His deadpan comedy was the anchor of Someone Special (2004) and Going
By the Book (2007), while his vulnerability was aching in Castaway on the Moon (2009), and he rightly
won a Grand Bell award for his menacing performance in last year’s Moss. His turn in GLove
is not on the level of the previous films but he plays the arrogant, stubborn, and
stoic baseball star to a tee and as always he’s very funny. Special mention should go to Jo
Jin-woon who plays his hard-working agent. Jo, who has been in Gangster
High (2006), A Frozen Flower
(2008), and The Front Line (2011),
had never impressed me before but now I can see why he appears in so many
films. He balances the
good-natured and frustrated elements of the character very well, and his
chemistry with Jeong is excellent.
Besides a few strong performances, GLove was a disappointment but it was a strong, confident
production. It’s just too long,
not particularly engaging, and very predictable. I like to see directors trying something new but maybe Kang
should stick to what he’s good at, I’m not sure how versatile he is. I do enjoy baseball films though and still have
two Korean ones to watch from 2011, FightingSpirit and Perfect Game, I hope at
least one can bring it home.
★★★☆☆
Enthusiastic coaching |
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Tuesday, March 29, 2011
Mr. Gam's Victory (Superstar Gam Sa-Yong) 2004
Korean cinema is very much an industry of genre films: gangster, high school, melodrama, horror and revenge dramas are the most recognizable but recently, sport movies have also had a significant impact in the Korean film marketplace. I came across Mr. Gam’s Victory as I trawled the internet to find a recommended Korean film that I had never heard of before. I understand that Lee Beom-su has appeared as the star of a few films but I was not very familiar with him, having only seen him as a co-star in My Wife Is a Gangster 3, and in minor roles in 200 Pound Beauty and City of Violence. Similarly I knew nothing about writer/director Kim Jong-hyun.
Mr. Gam is Gam Sa-yong, a factory worker who moonlights at a market stall run by his mother and dreams of playing professional baseball. He lives with his mother, his brother and his sister. He is a good worker and is well liked by his colleagues, one of whom is an aspiring actress who is ridiculed by their cohorts. He plays for the company team and learns of tryouts for a professional team, the Sammi Superstars. His co-workers tell him he doesn’t have what it takes to play professionally; he is meek and seems inclined to agree. His mother does not encourage him either. His brother does support him, but seen as he is prone to drinking and gambling, his encouragement isn’t worth much. While on duty in the factory he decides to sneak off and tryout, the wannabe actress sneaks off for an audition at the same time.
Sneaking out for tryout/audition |
After a few decent pitches he makes the team. It becomes apparent that the Superstars are far from it and most of the film follows their extended losing streaks. He is not the first choice at base, nor the second, so it takes a while for him to get the chance to play. When this happens it is only to close out losing games, and he does not have the opportunity to make his mark. His chance to start comes during their most important game of the season when they face the OB Bears, who are on a 19-game winning streak, thanks to their pitcher Park Chul-soo, and are looking for another win to break the world record. In typical underdog fashion, only the Sammi Superstars and Sa-yong stand between them and that goal.
The film starts off well, the structure is sound, the plot is clear, the characters and their predicaments are all well presented. However, Sa-yong gets to realize his ambition of playing professional baseball very quickly and subsequently the narrative begins to lag. He does not move up the ranks, does not get any chances to prove himself, and the dynamic in his family does not change very much. The climax, which is the extended game against the OB Bears, is much more entertaining, it is also his ‘0ne opportunity’, just like his brother keeps referring to.
There are a lot of mirrored character trajectories in the film, namely the fledgling baseball and acting careers of Sa-yong and his co-worker, and the two brothers hopes to stirke it big and support their family. Sa-yong and his co-worker skive off for tryouts and auditions at the same time and both make it, although she finds success much quicker. His brother lacks ambition and does not give himself a chance to get his ‘one opportunity’ due to his drinking and gambling. During the final game, which is Sa-yong’s ‘one opportunity’ he gets into a crash at the same time that Sa-yong collides with a player on the field. These three narratives, where each wants to succeed, demonstrate different paths and opportunities. The brother has no specific dream, beyond being rich, and therefore cannot attain it. Throughout the narrative he can only live vicariously through the false image he portrays of his brother, this leads him to storm the field and make a fool of himself when this image doesn’t not match the reality. The actress has a very specific dream and works hard to achieve it, although it is hinted that she may have received help due to her ample cleavage. Sa-yong similarly works hard to reach his goals but is thwarted by his slow pitch and a system that won’t give him his ‘opportunity’. Ambition, talent, chance, and physical characteristics all play important parts in determining the ultimate trajectories of these characters.
A new color TV set |
The film begins in black and white and only switches to color when we are introduced to Sa-yong’s siblings, the reason for this being that his brother has purchased a new television and he points out that they no longer have to watch anything in black and white. The previous scenes all feature Sa-yong, in a way it is as if his family is watching him, or at least following his narrative, which will see him end on television. His mother, who disapproves of baseball, also disapproves of the TV. She is older and more traditional; the color set could represent progress and the impending sociological change of the future. In the next scene Sa-yong is on his bed, tossing a baseball up at the ceiling, which is adorned with a poster of an American baseball star. He dreams of playing in America, as it is a symbol of hope and opportunity, a recurring theme in the film.
Mr. Gam's Victory also fits nicely into my discourse on 'Manly Tears'. After losing the big game (the English title of the film is misleading) all the Sammi Superstars exit the dugout, leaving Sa-yong by himself. The OB bears make their exit off the field as well, huddled around and congratulating record-breaking pitcher Park Chul-soo. Sa-yong tries to keep his head down and avoid eye contact with Chul-soo. He raises his head apprehensively and Chul-soo notices him, the rival pitcher nods his head in respect and Sa-yong reciprocates, although awkwardly. When the OB Bears have left the diamond and Sa-yong is by himself, he cries.
So what is the significance of his tears? He mutters to himself that he really wanted to win, that he could have won, but I believe other factors are at work in this emotional display. He has worked very hard to reach this point and is no doubt disappointed that he was not able to notch up his first win but it seems like his tears are a result of the wordless interaction he has just had with Park Chul-soo. Despite losing, he has gained his respect. He has overcome the circumstances of his life, which are dictated by the makeup of society, the recognition he has just received proves this. Thus, the tears are a manifestation of the relief he feels having succeeded in tearing himself from the shackles of oppression.
Sa-yong jogs past a riot squad |
The film is set in the 1980s and while it does not go to great lengths to examine the past, it does allude to the political unrest and social dissatisfaction of the time. In one scene Sa-yong goes jogging past a line of riot police right into a group of rioters which forces him into the middle of the altercation. As is the case for many characters in films of the Korean New Wave of the 80s, the working class protagonists frequently have no control over their own destiny and forced to walk a certain path or risk being cast off from society. Mr. Gam’s Victory is more optimistic however, as after the riot Sa-yong does become a professional baseball player and begins to have a say (albeit a small one) in his own future.
The film is based on a true story, and is quite modest in its ambitions. This works both for and against it, as the midsection lacks narrative thrust. It is an enjoyable and fresh take on the baseball film that embraces certain clichés but wisely sidesteps many others. Most significant perhaps is that Sa-yong is not a great pitcher, he is merely decent, but nonetheless his love of the game carries him through to the big game of the final act.
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