[A Taxi Driver (2017)]
I was unfamiliar.
With this amazing film by Jang Hoon.
Not a perfect film, but very close!
A very moving picture.
Very much due to he extraordinary performance of Song Kang-ho.
I am learning Korean.
And seven other languages.
But I am lagging behind.
So we dive in further.
Kim Man-seob (Song Kang-ho) has a daughter in the film.
She is very important.
Played by Yoo Eun-mi.
But the big story is that of Gwangju.
South Korea’s sixth-largest city.
Something about “hope”.
The “official story” is that “civilians raided armories and armed themselves”.
That’s what Wikipedia says.
So still you see that this movie is (whether true or untrue) at odds with mainline history.
None of the protesters are seen with guns.
Indeed, no protester in this film does anything but peacefully protest.
So we are looking at (perhaps beautiful) propaganda.
Or, on the other side, FAKE NEWS.
Which is it?
I don’t know.
I am rather new to the subject at hand.
Modern Korean history.
But it begs a further question.
Why is an entire film dedicated to showing how bad the South Korean military coup government was in 1980 when the regime across the border (North Korea) is extraordinarily famous for their ruthlessness?
It is weird.
Who’s funding this?
It wasn’t the United States.
This is not American propaganda.
So who, then?
The most likely culprit is China.
Means, motive, and opportunity.
The idea would be to show the South Korean government as corrupt and (by extension) the American military as grotesque occupiers.
In 1982 (two years after this incident took place), Gwangju was made a sister city with my hometown: San Antonio.
Bringing it all back home, said Bob Dylan.
But, as Godard said (and I paraphrase), all propaganda can be beautiful.
i.e., it doesn’t matter if it’s true…it’s still a good story.
Jürgen “Peter” Hinzpeter is framed to make us unquestionably worship reporters.
That is the propaganda showing through.
About the politeness and honor of Koreans.
Honor a favor.
And do not bring shame on your country by being greedy.
Stand up for your fellow countrymen.
Yes, of course.
Ahhh, those great balls of dough (?) in Honam.
I love Korean food!
So fucking good!!!
Before cell phones.
Left his 11-year-old daughter home alone in Seoul.
Because he’s a widower.
And now he can’t call to tell her he’s alright.
Because the military has cut all the phone lines to Gwangju.
All she has is him.
All he has is her.
Nice acting by Yoo Hae-jin.
Like the ice factory workers in that Bruce Lee film.
The best Bruce Lee movie (probably).
The Big Boss.
Like in Hong Kong.
People take to the streets.
Very real threat of bodily harm.
Up against an immensely powerful military.
That doesn’t want to be embarrassed.
In a precarious position.
CIA uprising in Hong Kong.
This film goes a little overboard with the schmaltz.
A few too many string swells (and lifted Mussorgsky licks).
Sometime around this point we enter the world of BATHOS.
Like a Schindler’s List remake done in Korean.
Out to Suncheon.
This really is a fine film.
Even with its excesses.
A LONG film.
It almost comes apart.
But hangs together like a Bruckner symphony.
The dramatic arc is there.
The film just gets wobbly for a bit.
Threatening to collapse beneath its own weight.
Some genuinely great cinematography here and there.
Thanks to Go Nak-seon.
Definitely a cautionary tale here.
Certainly a danger that military might can be abused.
When military becomes police.
Gets a little “buddy film” with a strange Fast and Furious meets Thelma & Louise sequence.
As ridiculous as “Gangnam Style”.
Yes, there may be some things lost in translation here.
I know not ALL South Korean films are like this, but are some of these mannerisms normal?
Put plainly, there are some CHEESY film gestures which cheapen this movie unnecessarily.
I’d like to find them endearing (and I kinda do), but they are mostly annoying when encountered.
The Gwangju Uprising.
That a mere taxi driver (a humble rung of society) could make a huge difference.