Johnathan Ross' 'Asian Invasion', Episode 3 : Korea. Review.

The final show, a country I least about in terms of cinema. Sure, I've seen a few Korean films, some of the key ones of the last few years, but I emphasise that it's very few in comparison to HK, and even less again that Japan. We all should know a small list, a handful, of the Directors at work. To be honest I still have difficulty with Korean names right now, sure that will change as I watch more films if they're there calling to me, asking me to move over there from my usual fare. Like a huge range of people though, I go from small stepping stone to small stepping stone and pick-up snippets of info as I go along.

The biggest bonus for me in the first section of the show is to get a sense of where the current Korean Wave (as it's often termed) began : Government funding shifted during the mid-80s and it was favourable to the industry, schools popped-up and productions increased, over time leading to a greater confidence that's said to flow mainly out of the mid-90s. Of course, Korean cinema isn't coming out of nowhere and its still growing incredibly rapidly, and there's brief evidence of that here, but still we're mainly focusing on a few main figures that can easily be bought into on DVD if you walk into even the most innocent-looking high street stores in small towns everywhere. It's a fairly necessary and useful little background piece, even more so than with HK or Japan and I am glad that element of the format's there.

Into Park Chan-Wook then. Well, we get to see both a real border between North and South and one at a Studio as we're talking about the Political climate (both past and current) in relation to Park's 'JSA' from 2000. It's said to be a breakthrough film, an important and popular success at discussing a more realistic approach to how both sections of the country see each other. In some ways, there's a swing to the show which uses the Political devide to show the use of cinema as a medium for dealing with the problems and well as a way of showing the benefits of the cultural growth it represents a large part of.

Pleasing to hear it's not just about the coolness or popular draws of the films coming out of all these countries, instead there's a context which shows past and possible future whilst talking about the current crop. There's also a variety of figures on show, the 'Arthouse' darlings, the 'action' men, the groundbreakers as I suppose you could call them. There's a variety in there, amongst the relatively small selection of Directors, just not enough figures to satisfy the knowledgeable, enough for those looking for an introduction.

Park talks about the structuring of his films, mentions how he can often reverse cause and effect, play around with structures, hint and suggest rather than layer on the information thickly. He says there's an intention to encourage the audience to put in some effort for their rewards, but that they can also expect something broadly entertaining and worth watching too. A compromise that makes for a step towards a more sophisticated cinema, and a more sophisticated audience too. There's a great sense as we go through explanations of the three subsequent films, in particular with 'Sympathy for Mr,Vengeance' and 'Old Boy' that there's a good deal going on in Park's head which understands cinema in both instinctive and informed ways. Unfortunately, the descriptions of the films during the narratives could be potentially spoiling, for those familiar with the work it might seem like a 'whoa!' moment, but it's easy to argue these films are widely known too - it's just this is an introductory show too.

At the mid-point, and a couple of clips from other films, including 'Attack the Gas Station' - something I've never seen - that show more purely action entertainment with creative production values and substantial talent at work. Giving a little more dimension to the range of stuff on display here, there's also 'My Sassy Girl' shown briefly, and 'Pulgasari' makes an appearance too to give more weight to the Political elements and discussion that can be seen within the films. The second large section of the show goes to Kim Ki-Duk, a very gentle man who quietly talks about his lack of dialogue and drifting slow narrative structures.

Interesting to hear Kim talk about attempting to make his films have a more global or universal element by removing most of the dialogue in order to avoid the need to explain the subtle expressions that can be at work. The subtlety of the stories in an element of realism, less truncated film narrative structures which the stories weight. Sure, Kim is an interesting character, the films are a challenge and potentially too obviously aimed at Internationl Arthouse crowds, but there's certainly great films in his body of work worth checking out : just probably in the 'more obvious' category of World Cinema Fans potential arsenal of DVDs to watch, not necessarily in the 'best of the best' or 'most suitable to your individuality' range either.

As we head towards the latter part of the show, the last major section gives more dimensions and mentions the larger budget work of 'Brotherhood' and 'Shiri' Director Kang Je-Gyu. Fine, so Ross intends to say it's not all low-budget and therefore 'minimal broad appeal' as I would describe it, but that there's both the ability to hold their own in comparison to Hollywood (as per Chow and the HK industry last week) and that there's also no need to be afraid or ashamed of the more heavily-polished, 'perfect hair', commercial or intentionally popular work that can be turned out in any country, funds permitting. Personally, I am, as is pointed out during the show, looking elsewhere (to the East largely) to find different experiences like so many - tired of the same old thing - but also open to the idea there's, for example, stunning individuality wihtin such works than can initially appear to contain borrowed production styles and story ideas. There's something very original, to my eyes, within the brotherly love story in 'Brotherhood', and a great entertaining war film too. Odd how it's easier to find small foreign, odd films than it often seems to be to find local ones.

Now, there's a huge list of films even I know a little about, films with titles I can mention which aren't given time in the show. Fine, limited time, nice clear explanation of the major parts that serves as a potential catalyst for new fans of the cinema. Would love to hear other opinions on the shows, all very interested, all in the 'hamburger' division of informative TV : nice and tasty, not very filling. A great selection of films shown outside these documentary programs. Didn't catch any though, by the time you hit the end of the show at 11pm I am practically out for the count, and hidden away beyond the borders of the shows they're a little hard to keep track of and remember to tune in for. Good fun, little similarly structured over the weeks, but good work. Worth doing, worth seeing.

'Asian Invasion' Screening Schedule on BBC4.

'Asian Invasion' BBC4 Minisite.

'Asian Invasion' piece by Jonathan Ross at The Guardian.

'Asian Invasion' Trailer in RealPlayer form.