Hwal

A sixty and something year old captain has been raising for ten years a girl since she was six in his old fishing vessel that is permanently anchored offshore with the intention of marrying her on her seventeenth birthday. He survives bringing fishermen to fish in the vessel and predicting the future using his bow and shooting arrows in a Buddhist painting on the hull of the vessel while the girl moves back and forth in a swing. He also uses the bow and arrows to protect the girl against sexual assault of the fishermen. They live happily until the day that a teenage student comes to the ship and the girl feels attracted for him. When the teenager discovers that the girl was abducted when she was six and does not know the world, he returns to the vessel to bring the girl back to her parents.

"Hwal" is a very weird movie and it is strange that I liked. The characters do not have names; the girl and the captain do not speak; the old man is apparently an abductor and pedophile; many situations are metaphorical and do not have reasonable explanation. On the other side, the cinematography and the music score are very beautiful; Han Yeo-Reum is extremely gorgeous and sweet; there is a permanent sexual tension along the story; and the screenplay is intriguing and engaging and I was expecting to see some sort of mysterious explanation, even that the girl would be a mermaid, for example. Unfortunately the conclusion is not subtle – actually it is gross - and is very disappointing, open to the most different interpretations. My vote is six.

Title (Brazil): "O Arco" ("The Bow")

Having seen (and absolutely loved) Kim Ki-Duk's Spring, Summer, Fall, Winter and Spring this was a must-see at the Cleveland Int'l Film Festival this year.

Alas, it's just not magical enough.

I liked that the Old Man and the Young Girl never had dialog; it was the juxtaposition of the paying, fishing clientèle that was at odds with their relationship. As well, the use of the bow as a weapon was certainly effective, but the use of the bow as a badly-dubbed musical instrument was cheesy at best.

The plot was contrived, an ancient tale sent in contemporary times, uselessly introducing an anachronistic element into the plot line. The use of magical realism was spare and poorly timed, not being acceptable as a shift from the mostly concrete concerns and sensibilities of the rest of the movie.

This was a movie that got more and more disappointing as I watched it. The advice of more broadly-schooled Kim Ki-Duk fans would be good to follow: look for his "masterpieces", not this or other "more mainstream works".

An elderly fisherman lives with a young girl, he wants to marry on her 17th birthday. But shortly before that day the girl falls in love with some student and that ultimately leads to problems in the relationship between her and the old fisherman.

In beautiful pictures the movie reflects on the dialectics of refuge and prison, tenderness and sadism, love and violence. The 12th Kim Ki-duk-picture comes up with the same metaphors and symbolisms his older films were filled with, which (at least for me, as I've seen all of Ki-duk's works)leads to a déjà-vu-like experience and therefore to slight boredom.

Rating: 6 out of 10

This story is about a fisherman who lives on a somewhat dilapidated fishing boat with his beautiful "grandaughter". The film pretty much takes place solely on the boat, they are never on dry land. The old man and the girl (they are never named and utter sounds but don't speak) have a special relationship, which you learn more about as the movie chugs along. The girl, who in the film is 16, is played by Yeo-reum Han who, when she smiles, is extremely beautiful. Its no wonder the few other characters, all men who pay to fish on the boat, are drawn to her. The film is good as a minimalist piece. That also means, of course, its also a little slow. I was somewhat intrigued, and the film is brave for being so focused in one place. As you see from the 7 rating, its not a great film. If you don't like minimalist films, do not watch this. I have never seen Yeo-reum Han in a film before, so I'll need to see her to see whether she is a very good actress. She is good here, as is the old man, played by Seong-hwang Jeon. You won't love it, but it will keep your interest.

Probably Kim Ki-Duk's second most pivotal work to date "Hwai" ("The Bow") tells a story of unconventional love - one full of obsession, unfulfilled dreams and poetry. An old fisherman (Seong-hwang Jeon) lives on a decrepit boat together with a coming of age girl, which he rescued from death at sea, when she was no more than 8 years old. She came to live with him on this boat, where her only contact with the outside world are hobbyists, who pay money to come to fish at sea. All that keeps them company are themselves and the delicate music of a bow instrument. After years of caring after the girl the old man has come to love her, but not in a fatherly way. His longing is to marry the beautiful orphan once she reaches the required age...

Kim Ki-Duk is capable of beautiful storytelling, as is to be confirmed by such works of brilliance as "Spring, Summer, Autumn, Winter... and Spring". And "The Bow" comes extremely close to such exceptionality, albeit never finally overcomes it's own weaknesses. Nonetheless this is an extremely enjoyable and delightful movie, even though filled with unrealised passions and immoral egoism. Even though the script is extremely simple, even threadbare, it never lingers and keeps you enthralled throughout. Not only by the impressive cinematography, but also the subtle acting and storytelling complemented by a riveting score.

Nonetheless the issues with Kim Ki-Duk as a storyteller are quite apparent. The strength of his movie is in lyricism, romanticism and ideas that do not necessarily fit in well with the modern cynicism of today. As long as the poetry is silent the magic overwhelms you. But the moment Kim Ki-Duk's characters start talking the spell is broken, as everything becomes mundane and at times even corny. Thankfully for "The Bow" our two main protagonists do not utter a word throughout the whole movie, whilst outsiders come few and far between. This allows the director to keep his movie consistent in its poetry, something which he was unable to convey in more previous movies such as "Dream" or "Time", where poetry transforms into 'corniness' and the story sells itself short. Even in "The Bow" you have a couple of very awkward scenes, which didn't seem to fit and came out as forcibly placed into the movie (especially a rather awkward self-masturbation scene near the end of it all).

Nonetheless a required watch for anyone who likes a bit of Buddhist philosophy for dinner.