[KOREAN DVD REVIEWS] 오로라 공주 (Princess Aurora)

Director - 감독
방은진 (Bang Eun-Jin)

Cast - 출연
엄정화 (Eom Jung-Hwa), 문성근 (Moon Sung-Geun), 권오중 (Kwon Oh-Joong), 최종원 (Choi Jong-Won), 현영 (Hyun Young), 김용건 (Kim Yong-Geon), 김익태 (Kim Ik-Tae), 박효준 (Park Hyo-Joon), 장현성 (Jang Hyun-Sung), 박성빈 (Park Sung-Bin), 이지수 (Lee Ji-Soo), 최예진 (Choi Ye-Jin), 이대연 (Lee Dae-Yeon)
CAMEO: 박광정 (Park Gwang-Jung), 정은표 (Jung Eun-Pyo), 김연재 (Kim Yeon-Jae), 유혜정 (Yoo Hye-Jung), 김선화 (Kim Seon-Hwa), 정성화 (Jung Sung-Hwa)

Staff - 스테프
Writer - 각본: 서민희 (Seo Min-Hee), 방은진 (Bang Eun-Jin), 김창래 (Kim Chang-Rae), 정용주 (Jung Yong-Joo)
Planning - 기획: 강우석 (Kang Woo-Suk)
Executive Producer - 제작: 명계남 (Myung Gye-Nam)
Cinematography - 촬영: 최영환 (Choi Young-Hwan)
Lighting - 조명: 김성관 (Kim Sung-Gwan)
Music - 음악: 정재형 (Jung Jae-Hyung)
Editor - 편집: 김현 (Kim Hyun)
Art Director - 미술: 전수아 (Jeon Soo-Ah), 최재훈 (Choi Jae-Hoon)

==============
AWARDS
==============

- 25회 한국영화평론가협회상 (25th Korean Critics Association Awards) - 신인감독상 (BEST NEW DIRECTOR) - 방은진 (Bang Eun-Jin)

==============
THE FILM
==============
NOTE: SPOILERS

근데 왜 남의 일 같냐....
(Why does it feel so much like someone else's business?)
오성호 (문성근) - 오로라 공주 中
Oh Sung-Ho (Moon Sung-Geun) - Princess Aurora

Mid-sized, big eyes, and gentle looking. Not exactly how you'd describe your average serial killer, but that's our Princess Aurora, or at least one of the many Princess Aurora which populate the world of Bang Eun-Jin's debut film 오로라 공주 (Princess Aurora). The combination of a leading role for female icon Eom Jung-Hwa and such a title probably led some people to think this was going to be another romcom in the vein of some of Eom's past successes, like the delightful 싱글즈 (Singles), but while we're dealing with a completely different film, if you think about what kind of role Eom plays in the film, then 'Princess Aurora' becomes all the more ironic. Originally, Princess Aurora was one of the main characters in a hugely popular Toei Anime called SF 西遊記スタージンガー (SF Sayuki Starzinger) [also known as Spacekeeters], which aired on Fuji TV between 1978 and 1979.

Along with her three companions -- a group of cyborgs named Porkos, Jesse Dart and Airmos -- this Aurora (the Princess of the Moon) had to face several battles with mutants and monsters to reach her destination, the 'Great King' Planet, where she'd finally restore the ever decreasing energy of the galaxy. Coming from the pen of legendary Matsumoto Leiji, 'Starzinger' was one of the many tragic Space Operas which made him one of the most famous figures in the industry, with works like 銀河鉄道 ９９９ (Galaxy Express 999). That Sayuki in the title is very important, as those familiar with Chinese characters might recognize it as the Japanese spelling for what is known as 서유기 (Seoyugi) in Korea, and 西遊記 (Xī Yóu Jì) in Chinese. Yes, I'm talking about one of the classics of Chinese literature, that Journey To The West telling the story of Sun Wukong (손오공 - Son Oh-Gong or Sonokong in Korean) -- better known as the Monkey King. It's been used as the foundation for many works, including several film and TV adaptations, like Stephen Chow's 大話西遊 (A Chinese Odissey) films and the classic 1986 CCTV Series.

'Starzinger' was later broadcast in the early 80s in Korea as 오로라 공주와 손오공 (Princess Aurora and Sonokong), which jumpstarted sales of toys in the country, with Hyeopseong Industry (later renamed, you guessed it, Sonokong) establishing what would become one of the world's leading brands in the toys industry. The show, now renamed 별나라 손오공 (Sonokong From The Land of Stars) was re-broadcast on KBS in 1989, once again rousing interest in the characters, especially Aurora. That beautiful, tragic heroine trying to restore peace in her world, fighting off forces which seem stronger than her, forces which threaten her peace of mind. It does sound a little familiar, doesn't it? Bang might have simply used that 'Princess Aurora' to mirror little Min-Ah's (Eom Jung-Hwa's daughter in the film) condition, or simply as a McGuffin tacked on (literally) every murder our 'tragic heroine' commits. But it's much more interesting to look at the character putting it in context within the frame of the film.

Be it because of misleading marketing, or the expectations certain keywords ('murder', 'kidnapping', 'detective') create on moviegoers, most people approaching 'Aurora' will expect a thriller, with all the tropes coming with it. But if Bang commented this film was just a very 지독한 멜로 (cruel melodrama), I'd argue the best description for Bang's impressive debut is a 지독한 모성 신파 (cruel motherhood shinpa). We're not simply dealing with a whodunit, or even a morality play using revenge as its moving force, like those who compare this film to Park Chan-Wook's masterful 친절한 금자씨 (Sympathy For Lady Vengeance) often describe it. Geum-Ja and Jung Soon-Jung (Eom Jung-Hwa) are two completely different 'beasts', moved by a different kind of rage and instincts, with different modus operandi, and most importantly much different aspirations.

That maternal instincts form the centerpiece of this film is something which might sound predictable, coming from one of the few female directors in the country, but it's one of the reasons why a film like 'Princess Aurora', using plot elements which are not exactly original, can feel so fresh despite often adhering to the genre's tropes. And then again this is not a feminist film per se, raging tirades against those 'pigs' called men, as Soon-Jung does not spare women from her symphony of rage. When she received the prize for Best New Director at the latest Korean Critics Association Awards, Bang commented that people on the set felt as if a male and female director joined hands in leading this project, and that's the same feeling you get watching the film. Of course there's no absolutes when it comes to female and male sensibilities, but the fact Bang doesn't paint her film with extremes makes for a better viewing experience: just like excessive machismo can be grating, the sledgehammer 'feminism' of certain female filmmakers can have a similar effect.

Yet, it seems the few female directors who've emerged in Chungmuro in recent years are finding a niche of their own without resorting to such cheap tactics. Take Jung Jae-Eun of 고양이를 부탁해 (Take Care of My Cat) and 태풍태양 (The Aggressives), one of the few directors in Chungmuro who seems to understand the dynamics at play with today's generation, without necessarily taking sides; take Park Chan-Ok of 질투는 나의 힘 (Jealousy is My Middle Name), who's been favorably compared to Hong Sang-Soo, with a little less wit and and a little more... balls? Bang is the same. She's not afraid of showing strength, raw intensity but then she balances that with more tender and touching moments -- an applause to her and Moon Sung-Geun for finally showing a man crying on screen without resorting to the 'I'm fighting desperately to hold my tears' 진짜 사나이 (real man!) mode most male characters in Korean Cinema show. Power and tenderness, male and female, grace and courage, determination to combat the forces scheming against you. Kind of like the Princess Aurora of the anime, but also a little like Bang Eun-Jin the actress and finally the director, if you think about it.

Half the world is women, and something in between 60 and 70% of the country's moviegoing populace is made up of women, so why is it so hard for a female director to emerge in Korean Cinema? Just like everyone else who preceded her, Bang had to show she had the talent to emerge from the rest, she was never given an easy, producer-driven open door to the industry, like most of the first time directors who begin with Summer Horror flicks do nowadays. She had to spend years fighting to climb the totem pole, and find someone who would give her a chance. It all started in the early 70s, when in her primary school years Bang joined a chorus group for KBS, which made her a sort of enfant prodige. By the time she was in high school, Bang was already acting in a theater troupe created in school, which paved the way for her theater debut. She won the best newcomer at the 1992 Seoul Theater Festival, and the Best New Actress prize at the Baeksang Awards in 1993.

Those years in theaters -- along with a few TV Drama appearances -- prepared Bang for her film debut, which came in Im Kwon-Taek's 1994 masterpiece 태백산맥 (The Taebaek Mountains), where she played Kim Gab-Soo's newfound belle de nuit. But although she impressed in her first role, the film which cemented her place in Chungmuro was Park Chul-Soo's delirious satire 301 302 a year after. One of the best black comedies of the 90s, the film saw Bang make an incredible transformation in the film, from a slender 45kg newlywed excited about her newfound role as a wife, to an hypersensitive 70kg depressed woman fed up with the patriarchal routines of married life. Her 'transformation' won Kim Sung-Moon the first ever Make-Up Effects prize at the Chunsa Awards, which paved the way for the impressive prosthetics and make-up we see in today's Chungmuro (and which obviously make their appearance in this film too).

Bang continued her collaboration with Park Chul-Soo's glorious answer to Im Kwon-Taek's 축제 (Festival), in the 1996 black comedy 학생부군신위 (Farewell My Darling). Still my favorite of Park's work, the film captured perfectly the festival-like feeling (hence the title of Im's film, dealing with the same subject) of traditional Korean funerals, focusing on several characters coming together at the same venue to celebrate the life which just ended. Although Im's film might be more 'accomplished' in many ways, Park's 'My Darling' oozes 사람냄새 (smell of real people), is much funnier and in many ways also smarter. Her third partnership with Park Chul-Soo came with 1997's 산부인과 (Push! Push!), again reunited with co-star Hwang Shin-Hye, and again threading similar waters -- social satires with a dark comic streak, and a strong touch of feminism.

For many reasons, Bang wasn't too prolific in the late 90s, as she started the road which would lead to 'Princess Aurora' in 1998, working as assistant director on a short film, and eventually directing her own first short, 파출부, 아니다 (Ain't No Maid). More than the striking lead roles she played in the early years of her film career, the late 90s and early 00s saw her feature in interesting cameos and supporting roles. From Kim Ki-Duk's 수취인불명 (Address Unknown) as Yang Dong-Geun's mother, to the underrated 스물넷 (My Beautiful Days), from the excellent 로드무비 (Road Movie) to her hilarious 'crazy lover' in the omnibus 묻지마 패밀리 (No Comment); certainly not roles which helped her climb popularity rankings, but all unique and strangely charming in their own ways. And of course Bang wasn't just resting through those smaller roles, she was preparing for her big splash in the industry, this time as a director.

She acted with him in a few films, and of course their friendship lasted much longer than their partnership on screen, but in the meantime Bang and Myung Gye-Nam tried to bring their working relationship to another level. Known to most fans for his small but often memorable roles in films like 반칙왕 (The Foul King), 성냔팔이 소녀의 재림 (Resurrection of the Little Match Girl) and a Million other films, it's kind of ironic that Myung's best performance and most memorable role came from a collaboration with Bang, in the 2002 drama 'My Beautiful Days', where he played a sort of father figure for Kim Hyun-Sung (who he would later work with in 'Match Girl'), a much gentler and 'normal' role than his usual sneaky, snappy characters. But Myung is also one of the most influential producers in the country, the man behind most of Lee Chang-Dong's works, and the mind behind East Film, which produced this film and many others.

Myung commissioned what should have become Bang's debut four years ago, entitled 덜림 (Tremor), which never got past the script writing process. It was just the first of a couple of false starts for Bang, who couldn't get her 첼로 (Cello) greenlighted either. Completely unrelated to the horror film starring Sung Hyun-Ah released last summer, 'Cello' told the story of a stepmother, her daughter and their love for each other. Sounds interesting, yes, but investors didn't think so, especially without big stars attached to the project, a situation which has become all too familiar recently, what with all the trials and tribulations Kim Hae-Gon's 보고싶은 얼굴 (The Face I Miss) and Im Kwon-Taek's 천년학 (Thousand Year Crane) went through. But Bang was ready to throw another card in the mix, a good friend of hers called Kang Woo-Suk, back then still the most powerful figure in Chungmuro. Enter 오로라 공주 (Princess Aurora).

One day Mr. Kang called Bang, telling her he'd send in a promising script which needed a little touching up. With an impressive tagline -- 'Love and Anger are inside the same face' -- the film, which at the beginning was just entitled 입질 (Bait) featured a serial killer on the run, the detective going after her (who happened to be her former husband) and was much more concerned with genre tropes. Bang almost completely rewrote it, reversing the motives of the original, which more or less focused on the fight between this killer and her husband, between conflicts of interests and demons of the past. Bang might have been hesitant at the beginning, giving the failure of her past projects, but the fact veteran Moon Sung-Geun became an important part of the project probably gave her the strength she needed. Director Lee Chang-Dong helped her with a few details, like pushing all the flashback scenes -- explaining in detail why Soon-Jung commits those murders -- at the end, but most importantly painting Oh Sung-Ho as a detective with the intention of entering priesthood.

Of course the first thing you think about when mentioning that might be a search for redemption, which is at the center of Sung-Ho's heavy religious tendencies, but in a way it helped Moon get into the role in a stronger way, after spending a few years off the scene. How? Moon might be a famous actor, at least to the past generation (this new generation of moviegoers associate him with political involvement a lot more than they should), but his father might be even more famous. And his father is none other than the late Reverend Moon Ik-Hwan, one of the most respected Presbyterian pastors in the country, someone who helped translate the Korean version of the Bible in the 70s, and was one of the most outspoken human right activists during the Park Jung-Hee regime. One of his many famous feats was going to North Korea to meet with Kim Il-Sung in the 80s, which in some ways paved the way for the unification movement whose power has grown incredibly over the years. That character then sounded a little easier to relate to for someone like Moon, didn't it?

With Moon on board, Bang just needed her 'Princess Aurora', who at the beginning was a different actress. Before Bang's adaptation, the film was set in a mid-sized city and its heroine was a woman from the countryside, opposed to the Soon-Jung in the final film, spending her days in that cosmopolitan jungle called Seoul, making a living selling luxurious imported cars. It was the Summer of 2004, and Eom was deciding her next movie projects, in a period of 'rest' from her Chungmuro life, in which she produced her 8th Album (which is pretty decent electronica mixed with pop, BTW) and starred in a couple of successful TV Dramas. Although a clear difference between her roles on TV and the big screen existed already, she needed that serious role, something a little darker than what she played in 'Singles' or even before that in Yoo Ha's 결혼은 미친짓이다 (Marriage is a Crazy Thing) to develop her acting skills.

Transformation was the keyword here, as Eom became famous for always changing her image with every new album, and in some ways she felt the urge to do so in her acting career as well. Eom called Bang, saying she was really interested in playing Jung Soon-Jung, so this gave the debut director a very exciting, if conflicting enigma: she now could enjoy the added clout the star power Eom carried with her could give to the film, but then again she didn't know whether Eom would adapt to this kind of darker role. But be it because they found it easier to work together as two women, Bang and Eom connected instantly. Now Bang had her cast, with Moon, Eom and even veteran Choi Jong-Won and longtime friend Jang Hyun-Sung, all she needed was a title for her first project, finally reaching that word she waited for years: green light, carte blanche. Ladies (and gentlemen), start your engines. At first the film's title was simply 그녀의 적 (Her Enemy), just to poke a little fun at Kang Woo-Suk's popular 공공의 적 (Public Enemy) series, but when an assistant director asked her what to do with the Princess Aurora stickers they created, that instantly gave her an idea. Why not call it 오로라 공주 (Princess Aurora), just like the tragic heroine of Matsumoto's space opera?

The sound of her high heels capturing the entire room, slowly walking on the pavement covered with stylish mosaic tiles. It's the ladies' room of a luxurious department store, and she's about to commit her first murder. You'd think a whodunit revealing the culprit during the first 5 Minutes of the film would be an instant failure, but 'Princess Aurora' is not your average thriller, and Jung Soon-Jung definitely not your average serial killer. Soon-Jung. What a name. Another of Bang's little ironic touches, meaning 'purity' (純正), her cynical and cruel murders look everything but pure, genuine. They're moved by an uncontrollable force working inside her mind, a place with a huge void left by a loss she will never be able to find again, if not in her memories. Because like she says, 'the only thing remaining after someone dies is the memories they leave in other people's minds'. Those memories are that of her daughter Min-Ah, cruelly raped and killed by a psychopath, left dying near a street, her murderer receiving the long end of the stick thanks to corrupt lawyers, her ordeals starting from the indifference of people, who left this poor child alone in the cold of the night, open to all sorts of dangers. Soon-Jung used to be a normal mother like everyone else, but now her life has become a huge facade, a dark cloud of nothingness and extreme loneliness, selling expensive imported cars and pretending to be a happy, single, career woman. But when her plan begins, we don't expect to sympathize with her, let alone relating to her murdering ways and almost rooting for her in the long run.

Rooting for a killer? That wouldn't be anything new, or did we forget already about a certain Geum-Ja? Just like Prof. Baek in Park Chan-Wook's 친절한 금자씨 (Sympathy For Lady Vengeance), the 'villains' in this film are little more than caricatures, icons to make a bigger point and define the main characters and their actions. We have the evil stepmother, the womanizing pig(s), the dumb pretty girl, and many more evil presences infesting our society. But whereas Park moved those 'pawns' around to present a critique of the meaning of revenge itself and how Geum-Ja reacts to its completion at the end, Bang deals with something entirely different, although some themes are tangential with Park's 2005 shocker. Soon-Jung never looks for atonement, which in some ways might make the film look a little simplistic compared to 'Lady Vengeance'.

But that would be missing the point: yes, the revenge is important, but it's not the key. Revenge is only the means with which Soon-Jung fills that void the loss of her daughter left. But she's not the only one who suffers because of that void, as the failed relationship with her former husband, detective Oh Sung-Ho (Moon Sung-Geun) shows. Perhaps the most important line in the film is what Sung-Ho utters to his colleague looking at hints to find this serial killer. He knows already who's behind those murders, yet in a melancholic way wonders why it all feels 'like someone else's business'. As Soon-Jung ironically reminds him, he used the facade of his priesthood studies to hide the fact he couldn't even take care of his family, he only worried about work and abandoned them when they needed him the most, without even trying to put the culprit behind bars for life.

This strange connection, this conflict of interest, this interplay between Sung-Ho and Soon-Jung feels refreshing, and it's a relief Bang decided to opt for this instead of a cat and mouse run between former lovers who now sit on opposite ends of the spectrum, with a smarmy feminist heroine making fun of her clueless husband. No, Bang's portrayal of the relationship between the two is almost tender in its subtlety. We're dealing with two people who are trying to deal with loneliness, each in their own ways. Their first meeting and the following sex scene (very passive, distant) the best example of that lost, terminated connection between the two. And that of Sung-Ho is a tremendously fascinating character, one of the most interesting Moon has played in his entire career. The initial premise of a detective with the ambition of becoming a pastor could have been risky: if this were a Hollywood film, we might have been dealing with a sanctimonious figure, spitting his sutras at the evils of society and trying to right wrongs through his work -- a sort of 공공의 적 2 (Another Public Enemy) meets Paul Schrader's Hardcore. But Sung-Ho knows all too well his books and religious activities (things he will clearly not continue, although saying why would be too much of a spoiler) are an escapade to avoid thinking about 'that'.

That's why when the flashbacks begin, when you start looking at their relationship as that of a couple reconciling (at least mentally) through the desire to fill that void, then 'Princess Aurora' stops being the thriller it seems to be at the beginning, and becomes a melodrama about parenthood -- or motherhood, since Soon-Jung is the protagonist. A very cruel, emotionally touching one, hence the 'cruel motherhood shinpa' of the beginning. That sex scene and what happens later is crucial, as it both 'wakes up' Sung-Ho from the mental sleep he felt into, and slowly opens him to what's going on inside Soon-Jung's mind. They might have been a failed couple for a variety of reasons, but they had something in common, something strong which would leave a lasting bond forever: little Min-Ah. 'Someone else's business' starts hitting closer to home, and that's when Sung-Ho understands what she's doing, why she's doing it, and who and what caused it.

Most directors' film debut tends to be very personal, possessing a style of its own, governed by its own rules and with characters who lived in the directors' heads for years. Look at Jang Joon-Hwan's 지구를 지켜라 (Save The Green Planet), or the demons of the past blinding the characters in Im Pil-Sung's 남극일기 (Antarctic Journal). But even though Bang mighthave thrown many of her past experiences into this film, 'Princess Aurora' doesn't feel like a debut film. It almost feels like a great director from the past returned to filmmaking after a long hiatus, balancing what made her famous with today's changing trends. Just take two simple scenes, the opening and closing credits, almost hypnotic in their rhythm and visual splendor. Brilliant scenes, orchestrated to perfection by a director who seems to know already what's important, leaving a lasting impression with visuals and emotions first, worrying about genre and the tropes associated with it a little later. The professionalism and artistry Bang shows might have to do with her personality, but one of the reasons why 'Princess Aurora' might have excited Korean critics so much is because it retains that energy of the first timer, but doesn't fall into the pitfalls that enthusiasm can generate on them.

This thing is incredibly polished, from the look of the film, aided by DP Choi Young-Hwan of 혈의 누 (Blood Rain) fame, the splendid sound design and especially a fantastic soundtrack from Jung Jae-Hyung. Jung is quite a particular case, as he's only a 'part time' music director, and is more famous for his musical career, first with the group Basis then going solo. Mixing dark ambient pop, electronica, tango, a sound structure similar to films like 분홍신 (The Red Shoes) and 얼굴없는 미녀 (Hypnotized), this is one of the most impressive soundtracks of recent memory. The final song, which Jung sang himself alongside Rollercoaster lead singer Jo Won-Seon, fits to perfection with the images, creating a strangely mysterious vibe, between the thriller and melodrama.

Eom Jung-Hwa's performance is excellent, transforming herself once again in a vortex of emotion, from the scary intensity of her killing ways, to the playful irreverence of her games against her 'predators', to the almost disarming display of emotions in the film's climax. But personally the real winner is Moon Sung-Geun's performance. I felt Moon fell into a sort of mannerism with his role in Hong Sang-Soo's 오!수정 (Virgin Stripped Bare By Her Bachelors), playing similarly cynical and cold characters in two consecutive films, but his Sung-Ho here feels like a huge u-turn in his career. His mix of melancholic nothingness and his gradual opening in the second half marks one of the most hard hitting performances of the year, and is his best work since Lee Chang-Dong's 초록 물고기 (Green Fish). But then again if the film works the way it does, it's all thanks to Bang Eun-Jin. Debuting with a film like this, set up like a big project with a burdensome cast, marketed by a major in a way which partially betrayed the intentions of the film, wasn't going to be easy for anyone, let alone a female director in Chungmuro. But she did it, scoring decently with the public (almost a Million tickets), and impressively well with the majority of Korean critics. 'Princess Aurora' is a very accomplished debut, something which allowed Bang to enter Chungmuro with a bang, and makes me crave for more. It took many years to get here, but we have a potentially impressive directing career in the making. Director Bang Eun-Jin. I like the sound of that already...

===========================
DVD SPECS
===========================

2 Disc Limited Edition

Cinema Service
Release Date: 02/14/2006

DVD - Korean Version (English, Korean Subtitles)
OST

Aspect Ratio: Anamorphic Widescreen 2.35:1
Region Code: Region 3
Format: NTSC
DVD Format: DVD-9 (Single Side, Dual Layer)
Audio: Korean DTS, Korean Dolby Digital 5.1, 2 Commentary Tracks (2.0 Each)

Official Website
Theatrical Trailer (Streaming, 300k, Windows Media)

============================
AUDIO, VIDEO, SUBTITLES
============================

The transfer is excellent, taking full advantage of the DI and color correction showing very vivid colours during certain scenes, that 'colder' tone for most of the rest of the film. There's no issues whatsoever with the print, and skin tones are incredibly natural. Audio is also top notch, especially the Dts track, which might not compare to recent action films, but is quite active and sophisticated, using the excellent sound designs and one of the best soundtracks of recent memory full force. Subtitles are good, if a little basic in translation and detail. The only problem is that sometimes, mostly in the second half of the film, the subtitles start acting like a newspaper editor. Example? 'She said no [about that issue]'. I don't know if they forgot to turn off certain things while encoding subtitles, or if they just wanted to play cute, but it's definitely distracting. Otherwise, no major problem, no spelling or grammar mistakes, and although they lose most of the dark irony (I hesitate to call it comedy) of some of the dialogue, these subs do a good job.

============================
EXTRA FEATURES - DISC 1
============================
NOTE: SPOILERS

Audio Commentary with Director Bang Eun-Jin, Eom Jung-Hwa, Moon Sung-Geun, Kwon Oh-Joong
As this marks a first for Kwon Oh-Joong and Moon Sung-Geun (who usually watches his films only once, but ended up doing it twice for this film), there's a few silences here and there, but it's nothing too long. A good commentary, with some funny anecdotes and good interplay between the four. Mixes infos about the shoot with the four reflecting on their roles, and it's definitely interesting. Here's some highlights:

- The four open joking that Kwon Oh-Joong was watching the film for the first time, as he's weak of heart. He didn't even watch the film at the press screening, apparently. Moon feels sorry Choi Jong-Won couldn't come, as he always has interesting things to say. They talk a little about the choice of music in the opening scene at the department store, and then as we move into the first murder scene (inside the toilet), the discussion gets a lot more intensive. Eom jokes that a lot of people were asking her where that place was, but it was actually a set. The kid really had a hard time, as she had to shoot almost an entire day, and Yoo Hye-Jung hit her really hard, and that was the first time she ever experienced something like that. The production team actually had someone following her around, calming her down and constantly telling her it was just a movie, not to create any psychological shock.
- Bang admitted she made it hard for Eom, as she kept changing the dialogue on the set, and that gave her even more stress. Moon adds that playing this character, he realized what kind of life detectives lead, and how hard it can be. He talked with detectives before for other films, but looking at all the material on the desk (they used a real police station), he was pretty shocked at how many murders happen in real life. Bang added that working in a real police station might seem easier at first, but it actually gets harder.
- Commenting about Hyun Young's performance, Bang said even though she couldn't attend the screening because of her busy schedule, she was really thankful for all the hard work she went through in the film. She always tried really hard, practicing her lines every chance she got, and the same could be said for veteran Kim Yong-Geon, who had a small role, but not very easy to shoot. Eom was really nervous shooting that scene where she bides farewell to Hyun Young and Kim Yong-Geon inside the car, as it was her first day of shooting. She says one of the best thing about shooting films is how you tend to get progressively more comfortable as the shoot progresses, which at the end helps the final product.
- Talking about the casting for the child actor (Lee Ji-Soo), Bang comments that since Eom has an unique face, she needed a kid with something special, not just like all the other child actors, so they looked at several different casting choices before deciding to go with Lee. Bang comments that she cut around 20 Minutes to get to the current running time, and Moon adds that even though some potentially good scenes were left out, this helped tighten up the film's rhythm. The four joke that Bang used many of her friends in the film, like Park Gwang-Jung and Lee Dae-Yeon. But more than just filling the film with familiar faces, Bang thinks those little roles with a couple of lines are really important, because they can often ruin a film if done wrong. So she needed people she could trust in delivering an instant impact to the viewer, and worked hard to make those scenes have a certain effect in the big picture.
- About the sex scene between Eom and Moon inside the apartment (which is brilliantly shot and scored), the two said it was really hot and uncomfortable to shoot. Kwon joked about Moon wearing too much during and after that scene, but with his usual aplomb, Moon said it was just because he's not like Lee Jung-Jae, so one has to have a little consideration for the viewer too. But seriously, Bang comments how despite the little time they share on screen, the chemistry between Eom and Moon really helped the film. They look really like two people who shared something in common, and when the film gets to that point when they have to convey a certain emotional connection, it works really well. Eom always wanted to work with Moon, so she was really happy this opportunity came to her. About the scene when Moon sneaks in Eom's apartment, the way the editing and cinematography are used, they wanted to make a little homage to legendary cinematographer, the late great Yoo Young-Gil, in films like 아름다운 청년 전태일 (A Single Spark), which starred Moon.
- The four joke about the Yanbian dialect used by Eom for the role, and people really liked her style for this part of her character. Bang tried not to go overboard in the storyboard design process, so she just tried to give a few nuances. Moon comments jokingly that the car he used was one of the assistant directors' cars, and they ruined it pretty badly. This reminded him of when he shot Kang Woo-Suk's 1991 film 스무살까지만 살고 싶어요 (I Only Want To Live Up To My Twenties), when Kang didn't even have a car, so they had to borrow one. This was even before Cinema Service was created, and Kang would later go on to become one of the industry's most influential figures. Bang fought a lot with the editing team regarding the murder in the taxi, as she wanted that yellowish tone from the victim's point of view, but not everyone agreed.
- Finally, Bang comments that she used a little undercranking for Eom's swimming scene, but the whole scene was hard to shoot for her, and they even used to different swimming pools. Bang added herself what became one of the most famous lines of the film (that 'why does this feel like someone else's business?' line Moon uses with Kwon Oh-Joong in the archive), and she liked the entire scene, as it sort of defined Moon's character a little better. Moving to the lawyer's apartment, the music we hear is actually not the soundtrack, but it comes from the game Kill Zone, which was screening on the big display. Bang felt it matched perfectly the mood of the scene, so they got Sony's permission, and used it. Eom felt really strange shooting her fight with Jang Hyun-Sung, as when she was hit she had a sort of mental block for a few seconds. At first they tried doing it without hitting, but it didn't work, so they finally decided that Jang would slap her for real.

Audio Commentary with Director Bang Eun-Jin, PD Nam Jong-Woo, DP Choi Young-Hwan, Art Director Jeon Soo-Ah
I rarely enjoy this kind of commentaries, but the fact it's not too exciting despite featuring four people made it even a little boring. Still, a lot of information about the shooting style is revealed, although after a while it feels a little redundant. Here's a few highlights:

- They start talking about the title sequence, which Bang wanted to emphasize particularly. Since everyone knew Eom Jung-Hwa and associated a certain image with her, she wanted to create a different feeling about her character, something you couldn't clearly define by looking at her. Actually the original plan used to be a little different, with Scene 1 and 2 preceding the title sequence, but then they decided to add the credits before those scenes. They discussed about using a 'murder preparation' scene and other options, but decided to go with the department store opening. For the toilet, the first murder scene, there were many red parts, so they added a little white, and some mosaic tiles to the design, and in some ways these first 4-5 Minutes of the film featured the cruelest scenes. About the shoot at the police station, Bang wanted a really familiar feeling, not just in production design but also atmosphere, so they used a real police station. The only problem was that since it was real, they had to wrap up everything in 24 hours, and even answer incoming calls, as nobody else was there.
- The DP actually asked Eom to shoot the scenes with the kid herself, self-camera style, but since she shot them too 'professionally', DP Choi jokes that he had to go back and shoot them like a mother would. They note that most of the film's first half had day scenes, while the second half was mostly shot at night. And probably the hardest scene of them all was the one with Eom Jung-Hwa and Kim Yong-Geon speeding on the Porsche. First it was really hard to match the outside background (streets and the like), but then the traffic kept bothering them, so they shot more film on that day than any other. They were about to cut it all, but it eventually survived at the end. Even the music was hard, as Jung Jae-Hyung tried several different pieces which didn't fit, and found one just at the last minute, adding a comic touch to the powerful score.
- Finally, Bang comments a little about the sex scene between Moon and Eom, and why it might have felt a little 'cold'. She wanted to show deep down they were lonely people, even thought they might still have shared a little of the connection they had in the past. So shooting the scene that way, feeling a little distant, continued this theme of loneliness. They talk again about the Yoo Young-Gil homage, and joke that the Art Director must have felt a little sad about all those dark scenes inside. The DP wanted to end that scene after they catch Eom's character with a slow motion, but since they were going to meet later at the hospital, she thought it would been a little redundant.

============================
EXTRA FEATURES - DISC 2
============================
NOTE: SPOILERS

[PAGE 1]

사건파일 (Case File) [35:41]

An excellent Making Of Doc mixing interviews, behind the scenes and more. Bang really shows a lot of charisma on the set for a first timer, and it's interesting how she tries out every single murder set piece to see how the victim would feel, before going ahead with the scene. Also, to film that scene with the murder at the beauty salon, they didn't even use a prosthetic like I thought: they just had someone move a mannequin of the head while the liquid was poured in. This is lots of fun even without subtitles, and covers most of the crucial scenes. Well produced just like the rest of the extra features, and quite enjoyable.

순정과 그 사람들 (Soon-Jung and those people) [9:29]

An interview with the main cast. Eom Jung-Hwa opens the dances saying that she really had no second thoughts about the film. First the script was really good, and it was a role she never tried before, so she really wanted to do it. Everything about the role was difficult, especially portraying a mother who loses the most important thing in her life, as it's something she never experienced before. She had a really good working relationship with Director Bang, as they talked a lot during rehearsal sessions, about the sentiments to display, and the role itself. She says there's people whose ability to display sentiments might improve with repeated takes, but she's the opposite, so Director Bang understood that and tried to capture the right feeling in a couple of takes. She really feels passionate about this film, and it's something she will not forget easily. Moon Sung-Geun comments too that the script was excellent, and his character was complex, so he felt really intrigued by the film. He saw Bang act in films and theater plays before and he thinks she's great, but he's even happier as she showed she could do well in this profession. Even though half the world is women, in Korea female directors still have a hard time emerging, so her successful debut was even more important. Since it was the first time he acted in 3 years, it felt like starting everything from the beginning once again, and like seeing the light at the end of the tunnel. He'll remember this film as a very successful debut for Bang, and something he really enjoyed taking part in, something which gave him energy. Finally, Kwon Oh-Joong says that even though it wasn't really heavy, this was the first time he played a character who wasn't lightweight, playing a normal character for the first time. And that's why it was even more difficult, as finding the right acting tone was the hardest part. The fact Bang was an actress too made it much easier for him, as talking about difficult parts was less burdensome, knowing on the other side there was someone who went through all that before. Kwon thinks through this film he was able to show himself in a different light, and hopes Bang will continue to do well.

"감독 방은진 ("Director Bang Eun-Jin")" [15:04]

A truly excellent featurette about Bang Eun-Jin's debut as a director. We start with her receiving her Best New Director Award at the Korean Critics Association Awards, and she says a few words, as she's about to cry. She remembers how PD Nam Jong-Woo told her, at the end of the film, that he felt like he was working with two directors, a man and a woman, and that's the strength of Director Bang. Then, moving onto the main interview, Bang beings saying that directing had always been something which intrigued her, ever since acting in 301 302, so it was just natural that one day she'd end up behind the camera. We see clips of the crank in (3/14), where she always seems to ask the actors' opinion before going ahead with another take. Then PD Nam talks about his experiences with her, saying that at first he thought she'd be like other first timers, but she impressed him right from the first day, as they ended the shoot ahead of schedule. This intercutting between Bang's thoughts on other interviewees continues, as Bang says what attracts her the most is the small or big world films are able to capture inside the frame. Lee Joon-Dong of Now Film says she's definitely one of those people who look really strong outside, but hide a soft personality when you get to know them (so that'd be 외강내유). People like Art Director Jeon Soo-Ah and producer Myung Gye-Nam talk about working with her, and Bang talks about how long she struggled to get to this position. She started writing the script in 2002, but she changed it a lot. At first it felt like she was making an art film, but she wanted something a larger audience could see. Of course she wasn't expecting to reach 100% of the audience's taste, but she just wanted the infrastructure of the commercial film to tell the story. It wasn't a matter of small or big film, big or low budget, she just wanted to do things in a way which would have reached a broader spectrum of viewers. Of course many people felt this wasn't really a 'commercial' film, but that's not what she intended. There's this stigma that people who make art films want to distance themselves from tropes of commercials films, and those who dabble in commercial films don't want to look like an art film. She just wanted to find her voice, without worrying about commercial or arthouse, and the chance to do it while reaching enough people to make a strong statement. Although she acted for a long time, she couldn't possibly know everything there is to know about acting, so instead of telling actors what kind of sentiments she wanted, she tried something else. She let the actors find themselves what she wanted, by presenting them with the easiest way to portray those feelings. She didn't really care about success or failure, she wanted to show her personal colour, tempo, style which was inside her mind for so long. Not necessarily 'feminist', but something with a clear identity and style. Closing the clip are a few comments from many actors involved, from Kwon Oh-Joong to Choi Jong-Won, from Kim Yong-Geon to Jang Hyun-Sung, who wish her well for the future. Really nice, although if you've read some of Bang's interviews with Cine21 or Film2.0, she's kind of repeating the same things (which is good!).

단편 - <파출부, 아니다> (Short Film - ) [12:57]
Director: Bang Eun-Jin, Starring: Lee Hye-Eun - DV 6mm, color, 13min

This short aired before on Arirang TV's Cine Lab, so I was already familiar with it, but of course the improved quality doesn't hurt. It's a pretty quirky little short about what seems to be a normal woman doing chores at home, watching Daily Dramas on TV, preparing Kimchi, answering the phone and the like. But then, after taking a shower, she goes upstairs, starts writing strange things and printing them out ('I'm gonna marry too'), throwing them out on the floor. But then again, at the end it turns out she's a... well... look at the title and you could get an idea. Not really great or anything, but worth a laugh, and quite well shot.

'이제 난 알아요...' ('Now I Know...') [7:25]

Music Director Jung Jae-Hyung talks about the music in the film. He comments that when he produces his albums, he's like writing a script for a film, so this time he felt like he was acting, using someone else's script -- although this is not the first time Jung writes Music for film, he hasn't done it in a few years. The most difficult thing was the balancing act he had to pull writing themes for the film, as when he works in an album, there's always a very strong sense of musical continuity in a way, whereas in films you just try to support the different feelings emerging from the various scenes. He tried to give a different touch to every murder scene, from tango to something more percussion based, and so on. This up and down in music styles was a little hard to accept at first, and since his music style had always been strong, he tried to tone that down on certain occasions, like the theme near the end (beautiful). But the thing he struggled with the most was the kid's song (which also is the title of this clip), He kept that 1/2/3 (tah tah tah tahtahtah, like a sort of syncope) feeling in mind, as if a kid was writing the music, when creating the rest of the song. He enjoyed the whole experience, and thinks it will leave good memories in the future. Really nice interview, and we get to see Director Bang and Jo Won-Seon from Rollercoaster in a few scenes.

살인의 색 (The Colour of Murder) [7:43]

A very fascinating featurette about the use of colour in the film, with DP Choi Young-Hwan and Jang Won-Ik from 2L Film. Jang opens talking about the advantages of using DI, to improve the quality of the images and focus, especially when it comes to day scenes (getting rid of excessive light in particular). Choi admits that at first he didn't really want to use DI, because it can't possibly take care of everything, and using analog creates a very unique 'film-like' feeling which DI can often disrupt. He just thought of using DI near the end of the film, when scenes with Ji-Soo and Soon-Jung and all those flashbacks would lead us to the end. But then again, analog couldn't really get the kind of colour he wanted, so he used DI to do things faster. As the two talk about all this, we get to see before/after clips of where the DI was used (impressive what you can do nowadays with this technique. The last scene in the flashback showing the place where they find the girl was shot in the middle of the day, and it looks like six in the morning in the final film). Choi wanted a Black Hawk Down feeling for those flashback scenes, and they tested all the various filters right from the pre-production stages. The colour here is important, as all the climax scenes have a different feeling compared to the rest of the film, much stronger, which is why there's more focus on red and green, and a markedly different use of lighting. We then get to see more DI work on the rest of the film, and Jang notes how by opening the contrast a lot you get closer to a melodrama feel, but as this film had a very strong tone right from the beginning, they decided to go that way. Since nowadays things like these can be done right in the middle of shooting, they didn't have that much to do after the film. Well produced, and without the usual array of technical jargon only videophiles can understand.

단서 (Clues) [4:43]

Lee Ji-Yeon talks about the Princess Aurora sticker design -- which, if you bought the Limited Edition, you will have the opportunity to see first hand. At first she tried many different character designs, and let Director Bang choose the one she liked the most. At the end of the day though, although she tried to change the main design a lot, many people felt it was really similar to the original design of the manhwa character, so she was a little sad about that. As for the character's pose, Bang showed her what she wanted with a couple of photos (which we get to see, and they're pretty hilarious. Bang Eun-Jin as Princess Aurora!), and then she tried to show her several different emotional reactions (happy, sad, scary). Even just shortening the size of her smile would change things dramatically, but the character she created felt a lot similar to Eom's figure, or even the director. Reading the script, her pose and silhouette had to give a certain mysterious feeling combined with familiarity and that 외유내강 (soft outside strong inside) which fits perfectly with Soon-Jung's character. In a way, a character which had to appeal to young children, but something adults could relate to, girl and mother at the same time. She thought the scene with the sticker on the tape fit the most out of all murder scenes, but she was impressed by the one on the feet of the victim. What she liked about the way Soon-Jung's murders took place was that you could feel the sentiment behind those actions, and that helped the viewer understand why she did it in the first place.

[PAGE 2]

뮤직비디오 (Music Video) [4:11]
- Jung Jae-Hyung feat. Jo Won-Seon from Rollercoaster, <꽃이 지다> -
What a badass song! I bought the OST right after watching this Music Video online, and it fits the mood of the film perfectly. Jung Jae-Hyung is none other than the Music Director, and Korean music fans might recognize Jo Won-Seon as the lead singer of acid pop band Rollercoaster (and pretty much one of the two-three best songwriters in the country). They just came out with their 5th album, which is a little more folk than 'acid', but still a great listen. The M/V is very stylish, it feels almost like a Lee Seung-Yeol song (check the Music Video Park Chan-Wook directed in the Oldboy UE or the Wonderful Days OST and you'll know who I'm talking about). One of the best Music Videos in the last few months, although I still prefer that great MV on the 분홍신 (The Red Shoes) DVD. Yes, I like my ambient pop dark.

티져 (Teaser Trailer) [1:31]
Fantastic little teaser, pushing all the right buttons. The first 30 seconds are pretty much perfect, with all the characters describing who this mysterious 'Princess Aurora' is, then we slowly get to see Eom's face.

예고편 (Theatrical Trailer) [2:17]
Sells the film right without spoiling too much, but editing could be a lot better. It's just a little too obvious, and makes this look more like a 친절한 금자씨 (Sympathy for Lady Vengeance) clone, when it's pretty clear we're dealing with a different character.

TV Spot [1:02]
Super stylish, and gives a good feeling of how the film is going to be. A little to heavy on the gore and thriller elements perhaps, but pretty nice.

Easter Egg [1:02]
- On Page 1, press 'Right' the first time you load the disc -
This is either a second Teaser Trailer or a very long TV Spot. It starts with a narration from Lee Ji-Soo (the little girl), and then shows some of the murders. Spoils too much, but it's effective in presenting the film as a '지독한 멜로 (cruel melodrama)' more than a thriller.

Easter Egg 2 [1:38]
- On Page 2, highlight the Music Video and press 'Left', it should lead you to an image popping up next to the title -
A little clip with Lee Ji-Soo singing the song of the film, playing with the cast and crew, and other clips from the shoot. What's interesting is that the song was recorded much faster than it turns out in the film, and there might have been some pitch correction as well. Super cute.

========================
OVERALL
========================

I think I showed my true colours more than once when it comes to films like 'Princess Aurora'. Yes, I like films that show strong ambition from the director, and films which defy genre expectations or even completely betray genre itself. What I loved about this film, besides its stylish surface and great soundtrack, is the central relationship between Moon Sung-Geun and Eom Jung-Hwa's characters, how it's a continuous interplay between each other until the end. But it's obvious this is not a film for everybody. Go in expecting a thriller and you'll probably end up with disappointment, as the murders or the investigation behind them is never given THAT much importance (I mean, we know the culprit from the beginning, and the one who's supposed to catch her almost instantly discovers her identity). But behind the slick visuals and great professionalism shown by Director Bang and her talented staff is a hard hitting drama with a fantastic final 20 Minutes (and a perfect finale to boot). Polished, well acted, incredibly well produced. It's no surprise Bang was so praised for it, 'Princess Aurora' is a winner on pretty much all accounts. DVD is one of Cinema Service's best releases in a while, mixing a top notch presentation with very interesting extra features. Too bad for the relatively low key commentaries, otherwise this would be an instant Top 5 of the year material. But if you don't get stuck on genre expectations, go ahead with this. It's a gem.

========================
RATINGS
========================

FILM: 8
VIDEO: 8
AUDIO: 8.5
SUBTITLES: 7.5
EXTRA FEATURES: 8
VALUE FOR MONEY: 8.5
--------------------------------------
OVERALL (Film Rating Counted Twice): 8.07

NEXT:
Memories of Midnight Chapter 2: Song Neung-Han's 넘버 3 (No. 3) - 1997
Korean DVD Roundup Ep. 2 - November 2005~January 2006
말아톤 (Marathon) DIRECTOR'S CUT - 2005
Memories of Midnight Chapter 3: Jang Jin's 간첩 리철진 (The Spy) - 1999
싸움의 기술 (The Art of Fighting) - 2006
Memories of Midnight Chapter 4: Jung Ji-Young's 할리우드키드의 생애 (Life and Death of the Hollywood Kid) - 1994

=========================
PREVIOUS REVIEWS
=========================
listed by Film Rating

10 - 형사 (Duelist) - 2005 Lee Myung-Se Part 1, Part 2
9.5 - 친절한 금자씨 (Sympathy For Lady Vengeance) - 2005 Park Chan-Wook
9.0 - 그때 그사람들 (The President's Last Bang) - 2005 Im Sang-Soo
9.0 - 달콤한 인생 (A Bittersweet Life) - 2005 Kim Ji-Woon
9.0 - 웰컴 투 동막골 (Welcome To Dongmakgol) - 2005 Park Gwang-Hyun
8.5 - 남극일기 (Antarctic Journal) - 2005 Im Pil-Sung
8.5 - 주먹이 운다 (Crying Fist) - 2005 Ryu Seung-Wan
8.0 - 여자, 정혜 (This Charming Girl) - 2005 Lee Yoon-Gi
7.5 - 박수칠 때 떠나라 (Murder, Take One) - 2005 Jang Jin
6.0 - 분홍신 (The Red Shoes) - 2005 Kim Yong-Gyun
5.0 - 외출 (April Snow) - 2005 Hur Jin-Ho

Korean DVD Roundup Ep. 1 - July~October 2005

Memories of Midnight Chapter 1 - Ryu Seung-Wan's 다찌마와 리 (Dajjimawa Lee) - 2000