Hwal

Hwal is probably the best film I've ever seen in my life, in the sense of being the most beautiful and complete one. The camera and photography are superb, the acting is equally outstanding, the music is adorable and the story, even though it's a simple one, talks about the most important things in life - feelings, choices and destiny.

It goes deeper than the film's length though, if we care to try to understand a bit further than its rather clear metaphors and start wondering about its cultural roots - I may be mistaken here, but I believe that I could foresee some relation with this film itself and the I-Ching oracle that we can see painted on the ship's hull.

As an object of art, I gave 10 in 10 stars to Hwal because it fulfills what cinema is meant to be, well above the conventional, mainstream films that we are flooded with these days.

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".

Turn the lights off, sit back and prepare for a climax of the senses.

What you are about to experience is both visually and aurally exquisite. Nothing short of a manifestation of pure emotion.

Yeo-reum Han is breathtaking in her role as a beautiful 16 year old child, bound to a boat in the middle of an ocean with her companion, 60 year old Seong-hwang Jeon. An elderly fisherman, he cares for her every need, feeds her, bathes her, and sleeps above her in an old bunk bed, desperately clutching for her hand in the middle of the night.

You will begin this film as a spectator, and you'll leave the film with a small part of your soul and heart invested in this masterpiece. Ki-duk Kim teaches us what pure love looks and sounds like, and its a realisation that will haunt you for years to come.

Hwal / The Bow is a very rich movie for those interested in Buddhism however in cinematic terms there are some fairly substantial and overt structural problems with the movie. For example the film starts with a jolt of clumsy expositional dialogue (this is where characters have a very forced conversation that reveals the back story of the movie). Motifs are over-repeated (shooting of arrows) and non-sourced / non-diegetic music is layered on every time the old man starts to play his bow, all the worse because it is fairly saccharine.

Those with a yen for Buddhist films are however living on food parcels and so the film's flaws may be overlooked in kindness to the healing the film provides and the thoughts it provokes.

The plot of the movie concerns an old man who lives out on the sea on a fishing boat. He provides divination services and also a platform for line fishing. Customers sit on pastel-coloured sofas and ease away the day. He has spent a decade bringing up a young foundling girl and intends the unnatural act of marrying her when she reaches age.

To me one of the key points of Buddhism is that if you are angry with the world, there are two ways to proceed, change the world or change your attitude to it, the latter is the more likely to work. Another idea would be to be like the smooth stone in a river, over which the world flows softly, rather than the jagged cause of turbulence. Dukkha (a catch-all concept of suffering that has no direct translation to English) is minimised by the changing of the self. One facet of dukkha is viparinama-dukkha, which concerns the pain of unmet expectations and the pain caused by the impermanence of happiness. The old man in the movie suffers from this and has to learn to deal with it.

I found myself accepting unpalatable truths about my life watching this movie and salvaged a couple of evenings of calm from it. I would recommend it to those seeking to do likewise. One point to raise is that Kim is not averse to animal cruelty in his movies, in this one a chicken receives several deliberate blows from a character.

Others have pointed to the entire movie being composed of symbols, this is a particularly beautiful alternative way of looking at the movie, although it amounts to much the same take home in the end.

This is to my friend Mollie.

I must confess I am a huge Kim Ki-Duk fan, and have loved every one of his films. In my opinion Ki-Duk has directed 4 absolute masterpieces of modern cinema, Bad Guy, 3 Iron, The Isle, and Spring, Summer, Fall, Winter and Spring. Each of these films has gone some way to changing the shape, scope, style or accepted boundaries of modern cinema.

The Bow, however does not go to these lengths, but instead falls into the category of Ki-Duk's more eclectic and arguably more mainstream works like the Birdcage Inn or Samaria. This is by no means a bad thing as these are also great films in their own right.

Much like 3 Iron, the Bow has very little dialog, and much of the emotion is conveyed solely by glances, gestures or actions. This makes the film both more and less commercially acceptable to western audiences.

The Bow has re-confirmed Kim Ki-Duk as a modern cinematic maverick, an uncompromisingly original and visionary director.