April Snow

"April Snow" is only the fourth Korean film I have seen and it has transformed my budding interest in that country's cinema to outright obsession. The simplicity and intimacy of the camera work piqued my interest and the two leads -- the movie's only significant characters -- held me there. Ye-jin Son and Yong-jun Bae moved me effortlessly from one emotional swell to another as they found solace, revenge and perhaps more? -- in each other. The question of how they can care for their adulterous comatose spouses falls quickly away as they silently wonder if, through this tragedy and betrayal, they might have found something wonderful.

Sad, lovely and surprisingly sensual, I highly recommend "April Snow" to those who have the slightest interest/curiosity in Asian cinema.

'Oechul' takes a premise that may seem forced and elevates it to a heartfelt yet very sober movie. One of the strongest points is precisely the subtle treatment of highly dramatic events so that they feel closer to reality. Feelings are captured in a natural way that allows for their complexity to shine through.

All this goes into exploring the psychology of multi-layered characters. Torn between loyalties and wounded by betrayal, the main couple is placed in a highly stressful situation. Restrain and painful outbursts are tensely balanced. The budding relationship evolves with the natural flow of the cinematography, with increasingly intimate moments assisted by smart camera work.

There are also scenic shots of great beauty and an interesting play on outside scenes and inside ones. It all invokes an atmosphere charged with human emotion in which love is believable as a struggle for happiness. With a brilliant conclusion that ties in the title of 'April Snow' to the story, 'Oechul' is not to be missed and especially recommended to fans of romance that is true to life.

Yes, it's a bit like Random Hearts and I guess In the Mood for Love, but I liked the realism of it. I liked that they had a reason to stay near each other because their spouses needed tending (best looking coma victims, ever!). I like a bit of logic in my romances.

I really enjoyed the lead actress. In the few Korean movies I've seen, the lead actresses always seem too done-up (hair, make-up, perfect clothes and shoes). This actress was just a bit messier and a bit more average in her appearance, which made her all the more attractive. I could relate to her numb anger. She's mad, but she also has an ill husband to watch over. I like too that she's the one who approaches the other man first. That she reaches out and doesn't stay all locked up in her grief. I hope I can find more movies she's been in.

My favorite moment at the very beginning is when she spots the condom in the basket and just freezes and knows. She just knows in that instant. And he just grabs it to hide it away.

It was romantic without going over the top. Very cool.

"Oechu", or "Wae Chu" according to the Toronto IFF, means "going out". The English title for both Toronto and Hong Kong is "April Snow". It seems that director Hur Jin-ho has a high awareness of the seasons as the titles of his two previous movies were "Christmas in August" (1998) and "One fine spring day" (2001).

To many regular viewers of Korean movies (a few movies each year), "Christmas" was their first introduction and is still considered among the best (while the tombstones of those who died of boredom watching it would already be showing signs of weather erosion). "Spring" has mixed reviews, with many considering it a setback from "Christmas". "April snow" is sort of a comeback, although it does not have the depth of "Christmas" in which death is the subject matter rather than a plot device.

The plot of Oechu is simple. His wife and her husband, who are having an affair, got in an accident during their escapade and are both in a coma. Encountering at the hospital, they gradually find out that their respective spouses, who where college classmates, have been cheating on them. Starting with understandable animosity, they wind up falling in love.

The key to the success of the movie is the development of the relationship between these two people, which takes time and patience to render believable. With this director Hur has done a splendid job. For the critical turning point, he cleverly utilizes a situation where the two attend together the funeral of a third victim of the accident, a young chap. As the spouses of the careless drivers (it could not be established which one was driving), they obviously are met with extreme hostility from the family of the deceased. This incident creates the necessary empathy which breaks the ice between them.

There are some lovemaking scenes, which are more sensual than erotic. Very palpable together with the pleasure is also a sense of agony and pain. And those who think that these scenes are daring for a Korean movie have obviously not seen "Happy End" (1999).

One scene that left me with the deepest impression was when his father-in-law knocks on his hotel room door while they are in the room, not making love but simply enjoying being with each other. Millions of similar scenes must have been seen in movies and yet I've never seen one that moves me so deeply. There's light tension, but no panic, as he asks the father-in-law to wait a second, gathers her telltale belongings and leads her gently into the bathroom and closes the door, gently. He then meets the father-in-law at the door and suggests that they go out to lunch together. On the stairs, he asks the father-in-law to wait downstairs, saying that he has forgotten something. Back in the hotel room, he opens the washroom door. She is still standing there, coat in hand, looking very stoic. She then turns and faces him and very mildly, but reassuringly, says, "I'm OK". The scene ends in a light, affectionate embrace.

This scene says so much. There is nothing that they are ashamed of or need to hide, but tradition dictates that they should not be found together in his room. They face the situation together, with sensible and sensitive consideration for each other.

Since Lover's Concerto, Son Ye-jin has been the most sought after young Korean actresses. Personally, I think her most popular "Classic" (2003) is over-rated. "April snow" is where Son has attained a breakthrough in her performance.

Bae Yong-jun is a victim of his own popularity as I've seen more than one criticism of his acting that reflect the writers' "hate-celebrity" syndrome, from which I'm happily immune as I can't tell him apart from the guy next doors. The only other movie I've seen him in is "Untold Scandal" (2003), in which he wears a mustache and beard. In that picture he comes short, not having enough maturity and charisma to play a character brought to life by John Malkovich in "Dangerous Liaisons" (1998). He is much better cast here in "April snow" as a melancholy sort-of artist (stage light designer, particularly for concerts).

One thing I must say is that you'll be hard-pressed to find a better looking (in a very literal sense) Asian couple than this pair.

There was another Hollywood movie by Harrison Ford, forgot the title, same synopsis, husband (Ford) wife in horrific accident and she was cheating on him with the other man, also injured. He also got close to the man's wife.

The K version gets up close and personal with the respective wife and husband. Btw the characters are so good looking, they cheating couple must be out of their minds. As K movies tend to be, this is slow and agonizing, with long pauses. Had to deduct two points for this. Sometimes they even show an empty long corridor for whatever reason best known to the Director.

Good acting by the two main actors. The ending was inevitable. For die hard romantics maybe a stab in the heart?