晚秋影评

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Film Review on Late Autumn

外国语学院 087班 084050221 陆丽娟 Late Autumn, South Korean director Kim Tae-yong’s remake of Late Autumn, a

1966 South Korean film, Director Kim’s subtle, nuanced direction elicits wonderful performances from his lead actors, crafting a lyrical and captivating love story. After having killed her physically abusive husband in self defense, Anna (Chinese actress Tang Wei) is imprisoned, but 7 years later she is given a 72-hour parole to be present at her mother’s funeral. As she takes the bus to head to Seattle, Hoon( South Korean actor Hyun Bin) boards the bus at the last minute but finds that he doesn’t have enough money to pay for the ticket. He asks Anna to lend him $30 and later gives her his watch as his promise to repay her. Upon arriving in Seattle, Anna clearly shows her lack of interest in Hoon, but as their paths cross, she begins to confide in Hoon about her loneliness in love and in regards to her family.

The film Late Autumn displays three subtle emotions through the Chinese girl Anna, the first is cold family love between brother and sister after the mother's death, the second is a chance acquaintance friendship of Xun and Chen at their first sight, the third is this friendship turns into the tacit love.

Meanwhile, the film is made in three languages, in English, Chinese and Korean. When a film is made in three languages, it usually takes courage and patience to watch. And it doesn’t disappoint.

The plot is similar to that of Before Sunrise (1995) as the couple spends a day and a half exploring the city. At the major turning points of their relationship, they engage in a child-like play-acting. In one scene Hoon pretends to be Anna’s fiance at the funeral and provokes a punch-up with her jealous ex-lover.Apart from the light-hearted scenes, dialogue is limited. Under Kim’s direction, the film is surprisingly peaceful and chaste.However, it is during the narrative’s silences and pauses that deeper feelings have a chance to emerge. For example there is a scene at a bus stop, in which the camera circles Anna as she mills about in the mist looking for Hoon. Her distress and sense of loss echoes the opening shot of her staggering down the road the day she


killed her husband.In Late Autumn, Tang replays her sullen, repressed character in Crossing Hennessy, and Hyun’s performance is impressive–for not underplaying the dandy, narcissistic side of his personality.

And there is the third main role in the film–the city of Seattle, which appears beautiful and romantic, yet foggy and drab, with hardly any color or smell of autumn.

There's something not right with a film when the interludes are more interesting than the central setpieces. Kim Tae-yong's sympathetic characterization is evident in his adaptation of Korean master Lee Man-hee's lost film "Late Autumn", about the brief encounter between a female convict on temporary leave and a fugitive. But Kim treads too softly with his protagonists' injured psyches, as if afraid to hurt them, so he couldn't capture the urgency, desperation or illicitness that stoke their passion. More like a cute date movie than ashattering love tragedy, the film will stay a while in domestic commercial cinemas. In the rest of Asia, the billing of Tang Wei the lead could be draw card, but the Seattle location and awkwardness of hearing English dialogue by two leads who are obviously not native speakers could be deterrent to wide distribution. It is actually during the narrative's silences and pauses that deeper feelings have a chance to emerge, like a scene at the bus stopover, when the camera whirls around Anna as she mills about in the mist looking for Hoon, her distress and sense of loss echoes the opening shot of her staggering down the road the day she killed her husband. Tang re-plays her sullen, repressed persona in "Crossing Hennessy" but it is Hyun who impresses more for not underplayingthe dandy, narcissistic side of his personality. Technical credits are polished with quiet, mellow music adding a shade of wistfulness. Seattle appears foggy and drab, with hardly any color or smell of autumn.

This tri-lingual film (English, Korean, Mandarin) was definitely more than I was expecting. The chemistry between Tang Wei and Hyun Bin was fantastic, even through their accented English. Though the movie itself did not have much dialogue, much was spoken in the silences through the expressions and gestures of the actors.

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