Primavera, Verão, Outono, Inverno... e Primavera

This film left me speechless, and I still have a hard time putting how I feel about this movie into words. After seeing it the first time in the theater, my friend and I couldn't bring ourselves to say a word to each other...not even in the car on the ride back. The second time I saw it, after purchasing it, another friend and I walked around the campus for half an hour in silence. The third time, a friend and I sat in silence in her room for an hour after the movie was over. This film is that profound, touching, and moving.

Spring, Summer, Fall, Winter...Spring is the most beautiful movie I have ever seen. Visually it is fantastic, though several films surpass it in this aspect. However, the film manages to speak directly to the soul (or...failing to believe in the soul...something deep inside anyone watching it), and this is where it's beauty lies. Parts are so affecting that a painful nostalgia for a place you never knew overwhelms you.

I am sorry I cannot be more helpful...the quality that makes this movie so wonderful is well beyond words for me.

I'm constantly amazed by the appearance of some seemingly off-the-wall piece of art that when you view it evokes a stunning effect. The simplicity of this film, its low-key action and pace, its visual surrealistic beauty, all interact to create an emotional impression that is long-lasting and thought-provoking. Korea has been somewhat slower to enter the international cinematic world and here is a film with actors whose names stir little or no recognition. For myself, who has enjoyed the Korean films I've seen before, it was a delightful surprise. The film itself is a wonderful tapestry of Korean Buddhist culture, with quiet visual beauty, simple moral themes and human passions put into a simple, homespun perspective. The remarkable natural setting which reflects the wide spectrum of Korea's seasons, which range from hot, sticky humid-fraught summers to icy, cold snow-bound winters, become a metaphor of life with unadorned figures, completely human in form. The old monk becomes a witness to the interplay of human qualities, without judgment yet with a complete and quiet moral presence. The foibles of child cruelty is met with a simple retribution which imparts a lasting lesson. Judgment is always withheld and warnings are given simply. The effect of all of this rings long and lasting, much like the impression of a delicate Korean silk print: simple in design with plain brush strokes and stylized representations of nature-- yet, lasting in impression, often to the point of being unforgettable. I buy few videos and DVDs, preferring to see things I really enjoyed again and again. But, I've ordered this one.

After watching the movie a second time, I was determined to find out what the Old Monk had drawn on the deck of the hermitage. The only clue I had was the scene's subtitle: "Prajnaparamita Sutra – it helps restore inner peace." Those were the words the Old Monk used to describe the sacred teachings that the Young Monk had to carve out as penance for his crime of passion. When I looked up the Prajnaparamita Sutra on the internet, I found out it was known as the Diamond Sutra of the Buddha.

The Buddha spoke the wise words in a monastery near Sravasti, saying that "this sutra should be called the Diamond that cuts through illusion because it has the capacity to cut through illusions and afflictions and bring us to the shore of liberation." There are 32 sutras or sections, and the 32 sections are also "marks" that are used to meditate on "the Tathagata" – which means "the suchness of all things (dharmas)." The meaning of Tathagata is "does not come from anywhere and does not go anywhere." The insight into the truth of the sutras consists in a realization that "the idea of a self is not an idea, and the ideas of a person, a living being, and a life span are not ideas either." A self-realized or awakened "Buddha" is called a Buddha because he/she is free of ideas.

The "Buddha" in the Diamond Sutra is also called the World-Honored One, and his message can be summarized by two axioms: (1) "Someone who looks for me in form or seeks me in sound is on a mistaken path and cannot see the Tathagata." (2) "All composed things are like a dream, a phantom, a drop of dew, a flash of lightning. That is how to meditate on them, that is how to observe them."

Now I will have to watch the movie a third time and meditate on the 32 marks that the Old Monk draws with the cat's tail on the floor of the ashram. I will also feel the urge to count and see if there are really 32 marks.

At the risk of boring you all senseless here are some observations off the top of my head.

THE HUT Representing the self. All the possessions and shelter needed is on the floating hut. When the young man can no longer live at peace and comfort in the hut then bad things transpire. He never commits lustful acts in the hut. When we seek happiness outside ourselves, we are never truly content.

THE DOORS The doors by the lakeside and in the hut are symbolic rather than prescriptive. The fact there are no walls means their use is not forced but elected. They represent morality and discipline. Morality is not defined by a higher power but by society and the self. By adopting the constraints the doors engender, self-discipline is attained. As soon as the young man transgresses these self-imposed boundaries, to sneak across to the young woman, then disaster follows.

THE DEAD ANIMALS The Master allows the young boy to let the animals die. He does not become an all powerful father figure, cleaning up after him, but allows him to make mistakes and suffer the consequences. Buddhism does not have a higher power but rather promotes self-awareness.

THE MILLSTONE AND BUDDHA Represent the twin stones of regret for killing the fish and the snake. What you do unto others, you do unto yourself. He has carried that karma around with him all his life until he transcends them both, carrying them to the top of the hill, near heaven. Here he cuts himself free and attains redemption through struggle.

THE MASTER Is a great teacher, but does not lecture. Hardly a word is spoken, but lessons are learned. A good teacher points the way for a student to discover self-evident knowledge for themselves.

THE MOTHER The veil, representing guilt and shame are ultimately the cause of her downfall. Hiding from the outside world can bring about ruin.

THE YOUNG BOY Both at the beginning and the end, represents us. A good life is attained not by the absence of bad thoughts, but rather by their mastery, so they have no hold over us. We choose our behaviour rather than it choose us. The new boy is not born without sin, but rather must walk his own path to divinity. The same actor playing the young boy show the eternal cycle of the human soul.

THE SEASONS The endless cycle of birth, growth and death.

The circle of life is everlasting. We, as busy humans, sometimes miss the opportunity to see it in full effect. The modern day conveniences of life and the hustle and bustle of work sometimes fog our eyes to the constantly moving world. Thankfully we have films like Spring, Summer, Fall, Winter … and Spring, to help guide us back to our roots. Through each season, director Ki-duk Kim shows us the journey of one young boy as he learns life through the hands and mind of an older monk. Through events that are beyond his control, this young boy learns about love, lust, jealousy, hatred, and eventually rage. He makes choices that ultimately effect his life causing turmoil and distress, yet somehow continually finds his way back to the floating house on the lake where his journey began. It is during his final visit home he learns of his final journey in life. As a new soul is handed to him, he embarks on a final journey using his master's lesson, to pay homage to the life he has lead.

When I watched this film the first story that came to mind was that told by Trina Paulus in 'Hope for the Flowers'. It is the story of two caterpillars that embark on a journey into butterflies. Along the way they experience a full range of emotions that are attached to life and death. In the end, they become two of the most beautiful creatures in the world. This is how I viewed this entire film. I felt as if I was watching a young caterpillar (the young boy) experience life and journey along the path to become the beautiful butterfly. The beauty of the scenes and the simplicity of this story not drenched in words only kept this image vibrant. The spiritual themes of this film are present, but not bold. They are not hitting you in the face and forcing you to understand, but instead showing you and demonstrating the power of those willing to believe. This is a quiet film that leaves much up to our imagination. We never leave the valley that surrounds the lake, we never know what year is currently going on outside of the forest, and we are meant to understand that this story could take place anytime. Kim gives us themes that can be used to express any period of time and is especially poignant in today's terror filled world.

I loved everything about this film. From the simplicity of the opening doors to introduce each scene to the stunning and hypnotic ending that makes you believe in the human spirit. If you walk away with anything from this film, I hope it is hope. Hope for everything on this planet, and especially a hope for our fellow man. Mistakes are made to learn by. Take these errors and accept them to move closer to the world you have always dreamed about. Be that young boy that is able to transform into the man he desires.

See this movie, and feel a warmth like no other. This is quite possibly one of the best films of the year. Amazing!

Grade: **** out of ****