If you skip Hong Sang-soo's last work - which is actually very easy to do, because this film is not closely related to the previous film - and go straight to "On the Beach at Night" (hereinafter referred to as "Alone"), It can be regarded as a sequel to Hong Zai's last film "This Time is Right, Then Wrong" (hereafter "This Time, Then"). The same leading role continues the story line, except that the identity of the heroine has changed slightly, from an art worker to a movie actor, but it is also under the category of art.
"Alone" has changed the narrative angle, from the main point of view of the male side of "Now then" to the point of view of the female side.
The film is divided into two parts, one short and one long. The beginning of the second part is all about reminding you of "Then and Then".
The first visual impression is that people become depressed and serious.
The characters in this movie don't have "This Time and Then", they are either outspoken or confessed under questioning. Compared with the cunning and banter of "This Time and That", and the Hong-style self-deprecation of the wretched man who is grinding and chirping, "Alone" appears serious. When people are serious and serious, they don't get into skills very much, and their minds are spent on expressing their hearts directly. Hong's iconic structural magic did not appear this time. It's almost straightforward, except for the meaning of the airborne man in black with a blurry face, which may be slightly disappointing to audiences who are used to Hong's movies. Oh, there is no more unlocking mechanism.
People should be solemn and serious, returning to the original and returning to the truth, but also a heart.
The story line—not so much a story line as a love line—is very simple. An actress falls in love with a married director and is in a difficult situation. She travels to Germany to clarify her thoughts and how to choose this relationship. The first part is in the deserted Hamburg, Germany, and the second part is in Gangneung, South Korea. The heroine talks, drinks, and talks about life and love with different friends. Ah, it's a typical (no) plot that tests patience. People who can't stand the movie can pass it.
Those who accept this form keep watching. The heroine had a conversation with a female friend in Hamburg, returned to Gangneung with her old friends, including possible ex-boyfriends, reminisced about old times and drank, discussed the qualifications for love, and had a tit-for-tat questioning with the director who fell in love in her dream, and confession. This time, Mr. Hong did not innovate in structure, but adopted a method of progressive dialogue. In the four main conversation scenes, the female protagonist's words were more intense and revealing each time. Simply put: I love, I am qualified, even if it is difficult, no regrets.
There are many golden lines in the dialogue, for example, beautiful scenery makes people more lonely; for example, (the children's song) looks simple at first, but it actually has deep meaning when played; for example, I want to die gracefully.
How is Kim Min Hee's interpretation of the heroine? Very competent, delicate and explosive, there is no doubt that the director has contributed a lot. One thing Mr. Hong has done is to write the heroine who seems to be weak but has a strong heart. I remember reading an article about how American movies are divided into movies that win the best male and female lead awards, and movies that win the best movie. Those who focus on character building are the former category, such as "Milk" for Sean Penn and "Iron Lady" for Aunt May. So it's no surprise that "Alone" won Kim Min-hee for Best Actress in Berlin - this is indeed a character-centric film.
The supporting actors are also delightful. Familiar cast members such as Zheng Zaiyong and Quan Haixiao, one is a vague former love that has passed away and is content with life, and the other is a typical straight man, and they all cooperated just right; and Xu Yonghuan and Song Xuanmei played Yuan Yuan respectively. The cold-feeling girlfriend who went to Germany and the beauty who left Seoul and returned to Gangneung are good friends, especially Xu Yonghuan, who left a deep impression on me in just a few short paragraphs. Their different views on love and life set off the heroine's maverick and decisiveness.
At the beginning of Hong's films, there are always iconic handwritten subtitles and soundtracks, short piano passages, and short themes. This time I used a string piece, a Schubert piece from the second part of String Quintet D956 in C major, Adagio. I think it's very appropriate to say the heroine's heart in one song.
Compared with the other films of director Hong, this is not a top-notch work, maybe three and a half stars. Its significance lies in frankness, in seeking truth, in excellent character building. From another dimension, the special time of its creation brings about the intertextuality between film and life. That is not the dimension I want to talk about. I just say let the film belong to the film.
If you like the style of Hong Sang Soo's work, or appreciate this cast, then the movie is worth watching.
2017.04.15
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