Bomnaleun ganda

When I finished watching this film, I was reminded of what poet Lord Tennyson said about love: 'Tis better to have loved and lost than never to have loved at all.

And I agree with others who have commented here on the film that it s only if you have loved and had been loved that you fully appreciate the film.

One aspect of the film that I found most interesting was that Eun-su (Lee Yoeng-Ae) and Sang-woo (Jit-taeYue) met and fell in love because of sound but yet the acting was mostly silent. A simple gesture or a grimace here and there conveyed with clarity the powerful emotions and inner turmoil of these two main characters.

I am grateful that I saw the film. It was so refreshing and so different that it was sort of a catharsis and I actually said to myself, "I needed that" when it was over.

You might expect that this movie, like all the other common consumer movies, that would be like stereotypical features, but that's not the case. Always the audience makes a general definition of the melodrama genre in his mentality, and in front of his default, he is directed to a film that is not far from its presuppositions. But the creation of a romantic film that can literally deal with the petitions of an emotional relationship is praiseworthy. Joining and separating two verbs is an inseparable part of relationship in the cinema, but setting to these two is not attractive alone. Romance movie needs some kind of subject writing. In this context, it is a more successful film that set to detail. I saw a good spring day movie on a good spring day, the first day of the spring of 2018. Without exaggeration, the other romantic films I had seen, was in far space. The culmination of the story is a fascinating reminder of a collapsing and annihilating relationship in which both conflict different behaviors in spite of their psychological and internal reaction, despite the emotion they are involved with. The point to be considered here is that the problem that originally causes conflict and heterogeneity in their relationship is precisely where the one is willing to agree, and the other does not want to, and this position is changing. Eventually, in the end of our film, we face an approach that is not happy end at all and confirm the signature of the modern structure of the film. This movie should be seen because of its state of affairs and suitable for today.

A friend once told me that the only thing you can never possess forever is love. If you saw this film, you would vaguely be aware of the idea.but i think the film should be shortened to less than 100 minutes. There are quite a few plots that would make you sleepy all the times. Also, the natural scenes in the film certainly defy my description and it was a pity that the director had not focused attention enough on these things.

I watched this movie with no expectations and was brought on a roller coaster ride of emotions. All the highs and lows of love are here and presented through visually emotional camera work as well low-key yet powerful acting. When I'd finished watching, there was a gut-wrenching feeling in me that lingered for days. There is little dialogue in this film. Yet it speaks volumes because of the performances of Lee Young-Ae and Yu Ji-Tae. Each look, each gesture, each simple touch said more than a thousand words. If you want a genuine portrayal of a love affair from its beginning to its end, then watch this.

Although Alfred Lord Tennyson said, "Tis better to have loved and lost than never to have loved at all", anyone who has endured the breakup of an intense relationship would not necessarily agree. Certainly not Lee Sang-woo, the young sound engineer from Seoul, Korea in Hur Jin-ho's exquisite second feature One Fine Spring Day (literally Spring day goes). In the film of quiet power, two young people meet, fall in love, then gradually pull back and withdraw, but the film is not about their circumstances, but about the impermanence of life and how we must learn to ride the roller coaster. Like Hur's 1998 film Christmas in August, it is a realistic and intimate work, filled with a touching lyricism that never succumbs to manipulative devices.

Working to record sounds of nature for a radio station, Sang-woo and radio disc jockey Han Eun-su meet at a bus station in a most unusual way. Unable to wake her from a bench in the waiting room, he calls her on his cell phone even though she is sitting right next to him. As they work together, their relationship develops slowly. She has recently been divorced and he lives at home with his father, aunt, and grandmother. The joy of discovering a new relationship is conveyed against a background of nature – its mountains, forests, and streams and, as we listen to the two recording the sound of the wind against the bamboo and the wheat fields, we are struck by the mood of serenity created by the cinematography of Kim Hyeong-gyu and the original music of Jo Sung-woo, based on the French ballad, "Plaisir D'amour".

Impermanence is a constant theme in the film and the seasons represent various stages in the character's relationship. To underscore the fleeting nature of love, Sang-woo's grandmother denies that her deceased husband was ever unfaithful to her and, barely in touch with reality, goes to the train station everyday to wait for him. Though Eun-su lives in the provinces, she and Sang-woo begin to meet each other after work and spend some nights together. On the surface, they are an attractive couple - warm, sensitive, and very cute together. But Hur drops hints that each, in their own way is eager to pull away from what looks like it might become a lasting relationship. Though the reason for their growing coolness toward each other is not specifically defined, she may be reacting to the fallout from her last marriage or may be put off by his tendency to cling. In his first real relationship, he may be having thoughts that it is too soon to close off other possibilities in life.

Neither, however, communicates their fears and, like a flower that is not being nurtured, their relationship is allowed to wither. As she withdraws, he pursues her even more, giving her the upper hand and placing her in a controlling position and Sang-woo is run by his expectations and disappointment, drinking and hiding out when things start to turn sour. In "One Fine Spring Day", we learn that, as in the Buddhist tradition, life has the characteristics of instantaneity, impermanence, and decay and that the three realms are deceptive and illusory in nature. We share Sang-woo's discovery of the joy of love and also its confusion and pain. Literally, not too much happens in the film, and, on paper it sounds ordinary, but, like the poetry of Walt Whitman, if we look beneath the surface we can easily see the divine in the commonplace.