See this film: “Poetry” (2009)
24 October 2011
Mija lives with contradiction. So do I, and so do you, of course, but in Lee Chang-dong’s Poetry, it seems so stark. This 66-yr-old grandmother (played by beloved Korean actor Yoon Jeong-hee) has an almost whimsical lightness, as when she announces she’s going to take a poetry class at the cultural center. “I do have a poet’s vein,” she says. “I do like flowers and say odd things.” Yet her life also looks pretty bleak from our perspective, from the grim apartment she shares with her sullen teenaged grandson (Lee Da-wit) to her part-time job working as a maid and caregiver for an old man who seems to have suffered a stroke. This movie is a small masterpiece that reminds me of exactly why I watch film: to find unexpectedly searching, overwhelming films that haunt me for days afterward.
Poetry is such a perfect central conceit for the film, for the class sends Mija into an eager new determination to see the world with fresh eyes. When her teacher explains, “Up till now, you haven’t seen an apple for real,” she gazes up at him with naïve awe. “To really know what an apple is, to be interested in it, to understand it,” he explains, “that is really seeing it.” This is exactly Mija’s view of poetry: lovely words about lovely things. But as she struggles to complete her sole assignment for the class — to write a single poem — her world begins to change, and she finds herself forced to see the ugliest things.
Mija may seem a bit foggy-headed in her innocent cheeriness, but we realize soon enough that everyone around her works is even more expert at overlooking their own pain as well as the tragedies of others. When she learns that she has the early stages of Alzheimer’s, she won’t tell her daughter, who lives in another city and seems to have very little to do with her son Wook. Instead, Mija cheerfully explains on the phone that the doctor told her to write more poetry, and then proceeds to boast a little about how close she is to her daughter, what good friends they are. But when she does broach something more serious — the fact that Wook is driving up her electricity bills to unmanageable levels — her daughter seems to brush over and ignore Mija’s precarious financial situation. Mija’s almost comical attempts to sing away her worries at a karaoke bar or gaze into the soul of a tree or a piece of fallen fruit in search of poetic inspiration appears, after all, to be perfectly in keeping with the head-in-the-sand approach to life taken by all around her.
There is one thing that cracks her surface dottiness: learning that not only is her grandson Wook a typically self-centered teenage douchebag, but he’s also a member of a group of boys responsible for a shocking series of crimes. It’s so shocking, in fact, that Mija’s first response is to repress the information — and you realize by the end of the film that we viewers, too, are weirdly eager to repress it. It’s the most eerie bit of finger-pointing I’ve ever seen a film achieve. The other boys’ fathers invite Mija to a cafe to discuss the problem — and by problem they mean how to bribe the victim’s family so they will not bring in the police to prosecute the boys. These men insist they feel bad about the crimes, but “now’s the time for us to worry about our own boys” — the boys’ futures must be secured. Mija wanders outside in a daze, crouches near a lovely flower, and takes out her notebook to jot down some poetical notes. Yet despite her instincts to repress the information, now when she sees red flowers, she can’t help but take notes about blood and pain.
It’s extraordinary, this film. It’s sending me on a quest to locate all of Lee’s previous films — not an easy task, as it turns out — and confirms my uneducated view that South Korea is one of the very few most creative cinemas in the world right now. It’s also one of the few that regularly features retirement-age women in phenomenally complex and rich parts — witness last year’s Mother, which should have earned its star a best-actress Oscar. There’s also a feminist vision at the center of this film that I can’t delve into without spoiling crucial parts of the plot; and I can’t help but see a potent political fable in Poetry, one that worries about society’s future in a way that is both transfixing and, ultimately, transcendent. Please see this film, and then tell me how much its elements come to you in dreams and visions. For it has most certainly haunted me in a way no thriller or horror film can.
Mom, you’re scaring me!
22 October 2010
Halloween is a week away, the days are getting shorter, my neighbors all have their scary bling out on their lawns … and I’m in the mood to be scared. Why, I even scared myself putting out the garbage cans in the dark last night. Oh how I love a scary movie — not horror per se, as I have a hard time with lots of blood & guts, but a movie that doesn’t let you blink as you watch that girl walk, slowly, slowly, down the hallway toward that room that she shouldn’t go into. My advice to those of you who agree: watch scary movies about mothers, starting with the fantastic “The Orphanage” (2007) and “Mother” (2009).
The Spanish know how to make a damn good scary movie; more important, they’ve raised the scary movie to a high art that touches on fairy tales, politics, and history. See Guillermo del Toro’s “The Devil’s Backbone” (2001) if you need any confirmation — it set its scariness in a remote orphanage in the era of the Spanish Civil War to great effect. Juan Antonio Bayona’s “The Orphanage” (“El Orfanato”) is even scarier, and makes great use of three key scary plot elements: the haunted house, the protective mother-heroine, and the fractured fairy-tale fantasy of the child who never grows up. It’s the tale of Laura (Belén Rueda), a woman who left an orphanage as a child only to return as an adult with her young family to the same seaside building, long closed, with the plan to open a home for several developmentally disabled children. Her son, Simón, doesn’t know that he was adopted or that Laura and Carlos are carefully managing his HIV with a drug regimen. What Simón does know is the world of imagination: his imaginary friends follow him everywhere, so Laura isn’t surprised to find him in a cave on the beach, whispering to a new imaginary friend that he should come visit them at their big house nearby.
Things get strange right away. An odd old woman with white hair and coke-bottle glasses shows up, claiming to be a social worker checking in on Simón’s progress — but she seems to have other, shadowy motives. Worse, Simón starts acting strangely. His new imaginary friend has arrived with no fewer than five others, making a small army to distract Simón from his close relationship with Laura. What is she to make of the fact that suddenly, her son has learned that she’s not really his mother and that his daily pills are designed to keep him from dying? How will she make sense of the strange new games Simón plays, games he couldn’t possibly have invented himself?
But if Laura is our heroine in “The Orphanage,” we’re never quite sure what to make of the unnamed Mother (Kim Hye-ja) in Bong Joon-ho’s “Mother,” just released in the U.S. earlier this year. This film takes a David Lynchian perspective from the get-go, so we’re never quite sure whether to sympathize with her or expect her to start stabbing people. She earns such a small amount selling medicinal herbs from her little store that she secretly works as an unlicensed acupuncturist, despite warnings from the people around her that this might land her in jail or with an impossibly high fine. But she’s not overly concerned, because the one thing — the only thing — that occupies all the space on Mother’s frontal lobe is her son, Do-joon (Won Bin), a mentally handicapped young man who still sleeps with her every night, hand cupped on her breast. Because Do-joon is so simple, so suggestible, and surrounded by youths who alternately torment him and lead him into trouble, his mother’s attention is always distracted, watching him out the door, waiting for him to come home, picking him up at the police station.
No wonder that when Do-joon is arrested on suspicion of murdering a teenaged girl in town, every unalloyed maternal instinct in Mother’s body drives her to prove he’s innocent. It’s enough to unbalance her already fragile life when she sees how easily the police convince her son to confess. She snaps into overdrive to find the real killer — hunting down leads, finding new evidence, interrogating suspects — but all of it with such a sense of mypoic, frantic determination that we start to realize that this film is perched directly in-between murder mystery and horror. “Mother” is an emotional thriller of the very best and most original kind, as the only convention it draws on is our belief in a mother’s love for her child — even as it twists and turns the positive connotations of mother-love to tweak our anxieties about such primal emotions. Best of all, Kim Hye-ja’s performance is riveting, one of the best I’ve seen all year. She plays this role as sympathetic, unknowable, and terrifying with such rapid-fire alternation that you don’t want to blink lest you miss the changing expressions on her face. This is the woman who should win the Academy Award for best actress this year — and for that matter, the film’s screenwriters and director should be right up there with the top films, too.
I say indulge yourselves. Turn out all the lights in the house, pour yourself a cup of tea, snuggle up on the sofa under a blanket, and pop in the DVD for a night of wide-eyed pleasure, mixed with a few gasps and “oh no!”s. Halloween comes but once a year; this is a great way to celebrate.