(2000)
4
Jonathan Crow
In contrast to his previous works such as Mandala and Sopyonje, Korean master Im Kwon Taek creates a realm in Chunhyang that is sun-dabbled, vibrant, and thoroughly romantic. The film has the feel and look of a Grimm brothers' fairy tale with more nudity. This is the sort of world where damsels are faithful to their true loves, where upright, noble men keep their word, and where the bad guys sport flamboyant facial hair and a flinty stare. Like his early works such as Pul ui Ttal and Sopyonje, Im focuses on elements of traditional culture that are slowly disappearing as South Korea races headlong towards modernization. In this case -- as in Sopyonje -- Im showcases Pansori singing, an intoxicating variety of folk theater that can be (poorly) described as two parts kabuki and one part Shirley Bassey. Im deftly weaves together a Pansori performance in front of a very enthusiastic live audience with the actual story. While at first this may strike one as awkward and artificial, the performance and the plot mesh beautifully as the film progresses, adding to the tension of the final climax. Though far from being his most profound work, Chunhyang is a sensuous, passionate tale and a treat for the eyes.
Chunhyang on AllMovie
Chunhyang (2000)
