Chunhyang (2000)

Undescribable Perfection

Absolutely the worst movie.

A Major Disappointment

It’s sentimental, ridiculously long and only occasionally funny

With the Korean story telling tradition performed on stage, it was a interesting and novel way to tell the story. The story was beautiful and the moving. I figure it to be a Korean fairy tale given its happy ending and having a moral to the story.I didn't find the story telling method completely successful. The music and drumming added tension to the film, but the Pansori seemed to intrude in the film too frequently, describing everything that is going on when it could be done visually, rendering many scenes as some sort of announcement, not letting the ambiance set in. The scene of the whipping seemed to be a little forced, having the camera show us various audience members crying, as if we don't know this is a dramatic situation. It might have worked better if they let the dialogue be spoken by the character Chunghyang instead of the Pansori, since the Pansori does not have much dynamic range in his voicing, being always loud. The character saying it while being whipped gives a different impression than the Pansori screaming it.But all in all, still a good film.

Before video, before film, before printing, before writing -- people told and sang stories."Chunhyang" is a wonderful way to experience this oral tradition, listening to the music of language as chanted by a Pansori telling a Korean folk tale. For those of us without facility in the Korean language, the film paints for us the images conjured by the singer. These are beautiful images of a colorful, far-away land in ancient times -- images locked into the race memory of the Korean people familiar with the story, but now on the screen for our benefit as well.This collision of old and new art forms generates a synergy evident, for example, in the scene in which Chunhyang is beaten for refusing to take to the evil lord's bed. Most of this takes place off-screen -- instead we see shots of the Pansori and of his audience, sitting on the edge of their seats and weeping as he tells of the heroine's defiance. It was one of the most gut-wrenching scenes I've experienced in many years.

This is a wonderful and beautifully done film.Critics of this film, at least on this website, exaggerate any negative aspects of this picture.A little patience and willingness to accept that which does not involve Bruce Willis and Sharon Stone are a must for this film. Persons too narrow minded to appreciate a non-western culture will not be able to enjoy it.However, if you have patience and are wanting to watch a movie that is actually worth watching, Chunhyang is a must. The picture is beautiful, and the narration is a wonderful way of including ancient Korean poetry into the picture without spoiling it. Soemtimes there are so many subtitles that it distracts from the films, but dubbing would completely ruin it, so that is the biggest negative.The direction is good, acting good, which is to say that you don't think about the quality of acting as you watch it, which is good. Costumes, lighting, and all technical aspects are good.The plot is very folk tale, but for those who do not know it, it is far, far, far better than what Hollywood puts out these days. By far the worst part of the experience was watching the previews.I hope you'll take the time to go see this film and see a beautiful movie with great landscape shots. A cultural treat for those not wanting to see Not Another Teen Movie.

This is not just a movie, in the way that Americans, like myself, usually conceptualize contemporary film. Perhaps, it might be interesting, as a learning experience, to view "Chunghyang" with "Gladiator" to understand that these are two distinct art forms, devised by two distinct cultural traditions to tell important stories. I was thrilled to find this film so 'other', so un-American, so un-MTV. A Korean storytelling/operatic tradition is fused with beautiful filming. Dialogue, as the actors play out the story, is interlaced very comfortably with a storyteller's narrative in a sutra-chanting, poetic style, accompanied by one drummer. The storyteller's voice is a remarkable asset of the film. It has to be experienced to understand its power. I thought the film used very sophisticated editing to blend the highly operatic story line with the teller's narrative on stage and with a wonderful middle-Korean, as in middle-American, audience. This omniscient viewing perspective, affording views of several different levels of concurrent existence, was really wonderful. Then, I remembered in the middle of the film that I was reading subtitles without a trace of annoyance or distraction from the visuals. Very nicely done all around. I felt enriched, educated and entertained.