FILM REVIEW
Korea parable unapologetic
By Kenneth Turan
Los Angeles Times
When a film has a title like "Spring, Summer, Fall, Winter ... and Spring," it's clearly not a "Kill Bill" knockoff. And in fact this unhurried Korean effort is as meditative and beautiful as its title would indicate.
Hawaii International Film Festival
"Spring, Summer's" director is Kim Ki-duk, the designated mischief-maker of South Korean cinema, so the fact that we're not dealing with a "Kill Bill" knockoff is a bit of a surprise. Kim's best-known film, "The Isle," was, as one source wrote, "notorious for causing viewers to scream, vomit and pass out at its Venice premiere."
Director Kim Ki-duk tells the story of a boy monk with foolishness on his mind.
With "Spring, Summer," by contrast, an opening panoramic shot of a minuscule Buddhist island monastery perched on a mountain lake of stunning tranquillity reveals an intense fable-like quality as well as the leisurely way things are likely to unfold.
The film's production company negotiated with South Korea's Ministry of Environment to build that floating monastery set on Jusan Pond in a national park in North Kyongsang province, and it was time well spent.
The lake and its remarkable calm and serenity are essential in telling this particular tale — an unapologetic parable of the ages of man and the cycle of life — in an unexpectedly persuasive way.
'Spring, Summer, Fall, Winter ... and Spring'
"Spring, Summer" introduces an old monk (Oh Young-soo, a Korean theater veteran), wise in ways of the spirit and soul, and a sprightly boy monk (Kim Young-min) with foolishness on his mind. A pattern of young monk/old monk interaction repeats itself as season succeeds season.
Filmmaker Kim grounds his work in specific Buddhist practices and makes the best possible use of Baek Dong-hyun's beautiful nature photography, things like the shimmering of waves and the light playing on green leaves that may sound standard but looking ravishing.
Also critical is the intensity Kim brings to conceiving and directing the film. Confident in his ability to make this material hypnotic, sure that he has something to say, he is able to convince us that in fact he does.
