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bhchao –
Quote:
Of course, Koreans can brag how great their movies are in the Pusan Film Festival.
You cannot make a random judgment like that if you have not been to the Pusan Film Festival. If
Koreans are using the festival to brag how great their movies are, then why was Three Times by
Taiwanese director Hou Hsiao Hsien the opening film of the 2005 festival, and Crazy Stone by Andy
Lau the closing film of the 2006 festival?
The PIFF is not a showcase to brag how great Korean films are. The purpose of the festival is to
showcase the achievements made in Asian cinema. Otherwise why would directors and start-up
filmmakers from the Middle East, and south/southeast Asia, or actors like Zhou Xun and Andy Lau
bother to attend? Undoubtedly they would be offended by this so-called arrogance, which is not the
case as indicated by the widespread participation in the event.
Who was named Asian filmmaker of the year at last year’s festival? Andy Lau of course. If
Koreans were braggers like what you described, then why not name a Korean filmmaker as Asian
filmmaker of the year to show their excellence in filmmaking?
Quote:
But how great their movies are do not solely depend on their domestic audience.
How great a movie is does not depend on any audience, let alone a Hollywood one. Just because a
movie scores big at the box office in Hollywood does not mean it is a great movie. A movie is
great because it is inherently good, not because of how much money it receives at the box offices.
Good movies have flopped at the box office, and movies which many people perceive to be inherently
bad have done well at the box office.
And so what if Chinese films like Hero or Kung Fu Hustle scored big at the US box office? Movies
are not meant to be judged good just because they score big at the box office in the USA. So just
because American audiences went to the theaters in large numbers to see a film, that means the
film is good? Since when were films judged to be great based on the reception of the American
audience?
Hero was a lousy, distastefully politically-inclined movie that was undoubtedly successful at the
US box office. I wouldn’t call it a good movie just because of its success in the US (a
plurality of mainland audiences didn’t even like it). And what matters most is not
cinematography or swirling martial arts choreography, but well developed or meaningful storylines
with acting of substance to back it up.
To say that filmmakers should follow the HK-centric model of martial arts choreography is
ludicrous.
Quote:
In Oscar, those from Greater China have already got awards in Best Director, Best Cinematography,
Best Costume Design etc. But so far Koreans have got none.
So, what is your point? Is there a sizeable number of films other than Crouching Tiger, Hidden
Dragon (which I thought was a great movie) that received Oscars in the categories you described?
Enlighten me if you must.
Quote:
So far no Korean actor or actress have been as successful as Zhang Ziyi or Jet Li or Jackie Chan
or Gong Li in Hollywood.
Again I do not see the purpose behind this statement. But since it matters a lot to you that what
defines greatness in films is measured by success in Hollywood, I’ll kindly ask you to define
what “success” is as it relates to Zhang, Jet Li, Chan, or Gong Li. Is it shooting two or
three movies that made it in the US? So Zhang Ziyi appearing in a successful movie like Rush Hour
2 with Chris Tucker makes her worthy of acclaim? As far as I know, she perpetuated the evil,
deranged dragon lady stereotype that so many American audiences wanted to see. And Jet Li (no pun
intended for Mr. Li) played a sadistic Asian male gangster in his first American film, Lethal
Weapon 4.
Confirming misleading stereotypes to the gratification of American viewers is hardly grounds for
acclaim.
The only one of the four that achieved significant breakthrough in the US is Jackie Chan.
Ian, this is a thread on Korean films. I respect your initial statement that you do not boycott
Korean films out of nationalism. But if you want to illustrate how great Chinese films are, and
that “Chinese have won more Oscars than Koreans”, or “scored bigger financially in the US
than Koreans”, create your own thread on the topic and I will participate if interested.
I surely hope we do not engage in such narrow-minded pettiness.
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Ian_Lee –
Bhchao:
First of all, my post is in reply to post #79 by Wilson Fong who claims that “they (Koreans) make
the best movies in asia right now”.
So what does it mean by the “Best in Asia”? Then I list my parameters and I doubt that Korean
movies can be called No. 1 in Asia.
If you read my words, I don’t underestimate the importance of the Pusan Film Festival. In fact, it
is better organized than most other film festivals in Asia. I only doubt about Korean filmmakers’
bragging that they are No. 1 in Asia.
How to evaluate a movie?
IMO a good movie should have won the acclaim of movie critics and the applause of audience. But if
it cannot have both, at least it can make the audience willing to open their wallets since anyway
movies are still merchandise.
Those from Greater China do not only rely on Kung Fu flicks to succeed in Hollywood. Ang Lee got
his Best Director award in “Brokeback Mountain”, John Woo was famous in “Face Off” and “MI2″,
Zhang Ziyi was renowned in “Story of a Geisha”, Chow Fun Fat first appeared with Jodi Foster in
“Anna and the King”, Pang Brothers directed “Messengers”,,,,,,,,,etc. All above are not Kung Fu
movies.
Anyway, many Korean movies are undeniably good. But the fans in US can only order them from
Yesasia (or other websites) if they really desire to watch them. So how can the other Americans
know about how good Korean movies are?
Ardison –
Recently I saw a good Korean TV drama called 葡萄园的那男子(葡萄园的小伙子)
【韩文名】포도밭그사나이【英文名】Grapeplantation The Man.
It is really funny and suitable for a whole family to see.
Official website
Ian_Lee –
Just crammed through another three sets of 20+ episodes of Korean soap. And I started to wonder
how come frequently either the actor or actress is always an orphan.
Of course, Korea does not have as many orphans as PRC does no matter in absolute number or in
proportion. But that is because of the “One Child Policy” in PRC and the Chinese orphans are
mostly girls.
I verified with my Korean friend and she confirmed that there are indeed a lot of orphans in
Korea. And I checked the number of immigrant visa granting to orphans coming to US. Surprisingly I
found S. Korea constantly ranks No. 4 for many years among the 20 top countries (all are
underdeveloped except S. Korea and Taiwan). Even though S. Korea has only about twice the
population of Taiwan, its orphans are almost 10 times as many as that of Taiwan. Read:
http://travel.state.gov/family/adopt…stats_451.html
Next time if the actor and/or actress are orphans again in another Korean soap, I would say that
the script writers are not running out of ideas but just reflecting the reality of the Korean
society.
Ian_Lee –
全度妍 just got the Best Actress Award in Cannes. Has anyone watched her “Love in Prague”
series? She is the second Asian actress, after Maggie Cheung, who got this award.
bhchao –
I have watched a few episodes of Lovers in Prague. Never expected 全度妍 to be film material
though.
Maggie Cheung was on Cannes film jury this year.
skylee –
Quote:
I have watched a few episodes of Lovers in Prague. Never expected 全度妍 to be film material
though.
She’s good in “Untold Scandal / 挑情寶鑑”, which is adapted from “Dangerous Liaison”. The male
lead is Bae Yong Jun.
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