"Special Star Kim Ji-mi" "Promise of the Flesh(1975)" "Star Lee Jeong-gil Park Jeong-ja" "Performance Park Am,  Cho Jae-seong, Han Se-hoon" "Yoo Choon-soo, Yeo Han-dong Kim Jeong-cheol" "Yoo Choon-soo, Yeo Han-dong Kim Jeong-cheol There they flow" "There they flow" "Lee Yong-ho Ahn Bong-gil Kim Yong-pal Kim Shin-seong There they flow" "Planning Cho Jeong-seok, Kang Beom-gu There they flow" "There they flow" "Production Staffs Kim Jeong-jo,  Processing Manager Lee Cheong-ryong" "Cinematographer:" "Jeong ll-seong Assistant Cinematographer:" "Joo Hong-shik, Choi Chan-kyu,  Ha Jae-young, Lee Tae-gu" "Cinematographer:" "Jeong ll-seong Assistant Cinematographer:" "Joo Hong-shik, Choi Chan-kyu,  Ha Jae-young, Lee Tae-gu The white clouds" "Gaffer Seo Byeong-soo Assistant Gaffer Park Sam-sa,  Jeong Seong-il, Han Myeong-hwan The white clouds" "Assistant Director Kim Yeo-yeon,  Shin Dong-woo, Oh Guang-taek, Kim Yoo-yong The white clouds" "Music Han Sang-gi Theme Song Kim Jeong-ho The white clouds" "Record Lee Jae-woong Effect Shon Hyo-shin There I want to go" "Editor Hyeon Dong-choon Still Hwang Tae-seong There I want to go" "Recording Han-yang Studio Development Korean Natural Color Development Co." "There I want to go" "Producer Lee Woo-seok" "Along with the clouds" "Director Kim Ki-young Along with the clouds" "Along with the clouds" "An ordinary man with a girl takes me to the train station" "In order to understand this man One must be able to understand the life and its complexity" "Once again, I'm heading to Mokpo to see a man who wouldn't be there" "Because it's a promise I made" "The one I want is nowhere near me... only the mediocre ones circle around" "Woman's life is determined with..." "getting married to a certain man." "She gives up her body..." "engages in sexual relations... and bears the child of her mate That's the entire life of womanhood" "Young girls don't have much choice for seeking their male companions" "History doesn't allow this to happen" "We are like the blind when it comes to choosing the man" "A college drop-out... not that special You want something quick?" "Both my parents are ill..." "No need to tell me all that I'll start you from the coffee shop" "Think of protecting your body..." "...until you can handle men" "Or else, you'll be just like the ones in prostitution" "Hey, watch it!" "Hey, watch it!" "What are you doing to the customers?" "Stop giving her hard time and learn to control your temper" "If you want to get a woman give her some compliments" "Soon, she'll be yours" "What the heck is this thing?" "Christ!" "Are you deaf?" "What a smell!" "You smell like a beggar" "Do you ever take a bath?" "Clean up her a bit before using her" "I'm going away for good so I wanted to give you something" "If you don't want it, forget it" "Take this, it's yours" "Bring him a tea..." "and my thanks too" "all right" "Won't take the cheap watch, huh?" "I think you know you'll like this one and what I want from you in return..." "What time is it?" "I don't want to go in there" "Let go of me" "Are you playing with me?" "You got me aroused... now finish it!" "Can't back away now!" "Are you testing my youth?" "What a thief!" "It my fault!" "I apologize!" "Now, that's more like it..." "Hello, this is the operator" "Aren't you going to take a bath?" "Take off your clothes" "Male and female species exist to mate..." "Animals can impregnate in one try" "Humans are weak..." "but I'm the exception" "Please let me go I don't want to be here" "Girls always say 'no, ' when they mean 'yes. '" "Let me see..." "open your mouth" "Come on out!" "What are you doing here?" "Get out!" "I planned it all because you disrespect me lured you in using my friend" "He didn't give you to me back, so I had to pay him a lot of money" "Son of bitch!" "Let me go, I don't want you!" "I was played like a toy so shameful to mention to anyone" "It didn't get any better" "It was a cheating chain" "All the suffering, with my inferiority complex forced me to block my future" "I'd rather think about the man I have to see" "When he bought me lunch in a train I was ecstatic, thrilled" "He was being nice, to a woman..." "who lost everything she cared about" "Why can't I see him again?" "He's responsible for turning me around and doesn't even send me a note I'll try to meet him again today" "He hasn't shown up yet... for the promise we made 3 years ago" "It seems only yesterday..." "I'll expect the unexpected..." "We could be yanked out of this restaurant Good... stop playing with your food" "One more spoonful, ok?" "Tell him something, will you?" "This isn't your house" "What about the other customers?" "I have a favor to ask..." "The nanny quit, so when I work a night shift, the baby is alone at home" "What a poor baby without mom!" "In the morning, there's no one who can feed him some milk" "I'm not a milkmaid" "If I listen to you, I'll change my job" "Women's role is to raise the baby everything else, there's no purpose!" "This way, please" "When I work a night shift, he falls asleep while playing all night" "I would marry anyone who will take care of my child!" "This is no way for a person to live" "Two of us are almost dead" "My baby was extremely ill last night I had to take him to the doctor" "I've been thinking..." "you're the perfect mother for him" "He likes you too, you know With you, I can accomplish anything" "Please be my wife" "If you say no, I'll kill you and then, I'll commit suicide" "Please be my wife!" "Be his mother!" "Welcome!" "How much for this?" "Fifteen-hundred won" "I'll take it" "Thank you" "Here, have another bite" "Is his father away?" "But I'm his father" "Excuse me?" "You mean that burly guy?" "Used to borrow my kid... said he's got someone to be the kid's mother" "Why men lust for women's bodies but dump them like waste?" "How do we women deal with them?" "I can never negotiate with men" "If a man despises me and deceives me," "I'll never forgive him" "I've been missing my dear Oh-dong Island Everything is just what it was" "Nothing's been changed but he is not here for 3 years" "Anything wrong happened to him?" "Did I miss something?" "I should think over again" "At that time, I went to Seoul Station to get in the train" "Eating a pink candy in my mouth I got on the train" " Leave me alone, what're you doing?" " Let me go" " Let me go" " Let me die" "What are you doing?" "Let me go" "Is this yours?" "Hair's all messed up, huh?" "Yawning is weird, isn't it?" "It is contagious so soon." "Do you have a lighter?" "You smoke?" "Your hands show tobacco poisoning" "Are you together?" "What a nice couple." "What are you two doing?" "No words, huh, a dumb and a teacher?" "Ah, this?" "Grandma, what is that dance?" "A fool's dance" "Huh?" "Why does even face muscle suffer as well?" "Is he a murderer or something?" "His eyes say it all" "Shut up!" "I've been to jail, but never killed anyone" "A petty thief?" "Worthless piece of shit!" "Come on, let's go!" "Stop it!" "He's the society's pest, a trash!" "Whenever I see the criminals I want to beat them up" "especially the murderers" "If I commit murder, I'd rather kill myself than be jailed" "Whenever someone's eating something I have hard time resisting" "Jeonju has the best lunch box" "Jeolla province's known for its cuisine" "Oh, it's great." "Have some clam meat" "Such a rude!" "Do you think such a young man like me is a lunchbox vendor?" "I think about my mother when I'm eating" "She said making noise while eating means that person's bound to be poor" "Obviously, no proper manner for you That noise... sounds so pitiful" "It's not that delicious than I expected" "I agree with that" "Would you like a smoke then?" "Got your own?" "I'm surprised!" "Let me have a word with you" "Sure" "You asked who we were" "Also, where you were heading" "To Yeosoo" "Exactly where I'm heading, and what do you do?" "I'm a parole officer, she's the prisoner" "She has no will to live attempted suicide several times already" "Tomorrow, she's back in jail" "She won't survive the remaining 2 years" "What am I supposed to do?" "Show her a woman needs a man that there's a reason to believe in this world" "I don't believe that myself!" "Are you forcing me to tell a lie?" "You're not the person that I expected." "Don't try to be nice to woman for no reason" "What kind of crime did she commit?" "We don't care about that" "I want to ask you something..." "Why do you keep feeding her candies?" "It calms the prisoners down In a confined place such as prison... they'll try to be nice, for a candy" "You're not training a dog here!" "I bought this candy myself Have one and calm yourself down" "You can never trust a youth today" "Disappeared without the notice" "We must catch the 11 pm train Finish your business before that" "I'll at the motel, waiting" "I guess that guy just ripped us off" "I'm sorry I couldn't get you a decent burial" "You've struggled while you're alive" "I must be following your steps I don't think I can make it" "Sorry, mom." "I make you uncomfortable in heaven" "Stop for a second" "Mom, I've come to wed your daughter" "Let's have wedding ceremony now" "Darling, help me out here" "We would like to proclaim our eternal love with gods, seagulls and tidal waves as its witnesses" "Mother, we'll make a bow to you" "Now, it's our turn to bow to each other" "Life sure is strange..." "I got married on the way to collect debts" "I want this feelings to last" "I have to see my friend before he takes off with my money" "Meet me here at six o'clock I'll have your ring by then" "We'll get a room and finish our business" "We are engaged, marry and get pregnant a day" "Your eyes are trained not to trust anyone" "You don't know somewhere in the world there still remains good will" "Human beings are good by nature" "Here's my watch; wear it" "You take a tour in downtown." "Come back here at 6" "It doesn't stop." "It's automatic." "If you wear it, it keep going forever" "Still don't trust me?" "You don't trust me nor a watch, then what would you trust?" "How pitiful!" "There they flow" "The white clouds" "There I want to go" "Along with the clouds" "Where has it gone?" "Long long time and tide" "Waiting in silence" "He's gone" "behind me" "Young-ho" "Long time no see!" "Have a seat!" "All right" "Sit down" "I got laid off..." "didn't even get the severance pay" "You have to pay me back now" "It's your turn to help me out" "If you die for hunger in 20th century, it's not honored at all" "I'm here two hours early" "Feel like I'm in a daze" "I'm not sure what he's trying to do..." "Everything could be a falsity" "He can't be coming and I shouldn't wait for him must be coming... got his watch" "He wants to sleep with me..." "I'll be abandoned again" "I'm too lonesome to ignore him" "He's just an one night stand" "He's on the spur of the moment" "Or he must be a fantasy" "Look for the money!" "Take the money" "I don't want to kill someone to collect what I deserve to get" "Stop that nonsense!" "I'm doing this with my neck out Didn't know you had to rob to payback" "Here, take it!" "He's alive!" "Stab him once more!" "I'm not a murderer!" "You must kill him!" "No way" "Get away!" "Come back here!" "Stop!" "Stop there!" "No!" "Stop, stop!" "Give yourself up, it's not too late" "It is." "I've done this too many times" "To pay mom's hospital bills" "To get laid, to eat" "I'm trying to keep the promise..." "You shouldn't have let me borrow" "I'll be dead soon or later" "I don't want to leave alone" "Are you trying to kill me?" "With the candles on, even at dark He'll see me waiting here" "He's five hours late" "Should I take the train back to prison?" "or commit suicide?" "Even at times like this, I think about him" "Honey!" "Honey!" "Thanks for waiting I apologize I ran into unexpected trouble" "Since we didn't get the chance to get the room" "I'll board the train back to Seoul with you" "and stay with you until 9am Reminds me of Devil in Arabian Nights" "While captured in a little jar, he wishes whoever rescuing him will become a king then later a wealthy man" "and when he wasn't rescued for long that he would kill the one rescuing him" "It's my turn to kill you" "Come on, we don't have much time" "Did you visit the entire region?" "It's my fault... made her wait a long time" "Treated like a shit, even in her home town?" "I'm accompanying her on this train" "She tried to commit suicide at least ten times within last five years" "She's a special prisoner who's lost her will to live" "I let her have a special leave as I asked the head of prison" "I worried about her remained 2 years" "Which crime did she commit?" "Murder" "Didn't say the reason, not even to the judge" "Kill the one night stand" "She was on the newspaper with a mysterious murder case" "Meeting of a couple means a great importance" "When the day breaks, we will be apart" "Will I be able to meet her again?" "If you're lucky?" "It's the reality that once you're separated... you'll never be able to meet again" "I agree..." "I've been a guard for 10 years haven't seen former inmate in an outside world" "Maybe they don't want to" "I've been good to them" "Too work-like, if you ask me" "No way!" "maybe its their inferiority showing" "Prison's getting near..." "thought about the escape" "I can't let down the nice guard" "I must commit suicide, maybe jump off the train" "Have you dated anyone?" "Girls are too expensive for our kinds" "You mean you're a virgin?" "I'm not an used merchandize!" "I want to seat next to a woman..." "Can we switch our seats?" "Where is she going?" "To lavatory... may take some time" "The train for Seoul starts soon at 3:10" "The train for Seoul starts soon at 3:10" "Dropped some money..." "Sorry?" "Careful, she's a man-hater" "I read from a tabloid..." "Girls at the peak of their puberty receive attentions of men and when they're deflowered by several feel hatred toward them Except, when they are past thirties... women desire more sexual contact" "due to the lack of attention given to them I can't forgive such judgment" "Man should be responsible for his woman" "If I ever meet an irresponsible man." "I would act the same way Hyo-Soon did" "Let's run away together." "We'll make the front covers" "Or, let's try to enjoy the time we got" "Have you ever made love in the train?" "It might not be an imagination" "Go back to pre-historic time, become wild animals" "You can say it is physiological function in modern term it can't be stopped by power of men" "I shouldn't be thinking this way..." "I may explode" "A part of my body gets hot, I can't manage it" "Is he armed?" "If you don't cooperate, you'll be an accomplice" "When did he commit the murder?" "Less than two hours ago" "I'm a guard taking back the female convict" "I want to ask you a favor..." "Only someone with humanism can understand" "I've been a detective for 20 years" "Let's hear it" "I dreamed a dream" "Why did you go to Yeosoo?" "I had to get back the money I lent" "Did you get it back?" "Sounds like an interrogation!" "nothing better than not going" "I did, but my friend is in terrible shape" "Though a man is good, why would a man have misfortune?" "The reason humans can't erase their animal instincts is that humans are imperfect" "Who is to blame?" "God?" "There's a cafeteria car..." "Let's have a toast for the last time." "It's on me." "She's too good to be a murderer." "Why is she so miserable?" "Pretty ones suffer the most." "Want too much out of their lives." "Greed creates the downfall." "If deprived of sex for five years" "Just a touch of man will make you dizzy." "Loneliness causes sense of defeat." "Let's not waste any time." "We must become one, reaffirm our attraction to each other." "Doesn't matter where we are." "Whether it's the bathroom or the dump bin let's just look for the empty space." "This here is our honeymoon suite." "We only got three hours." "Make the best out of what we've got!" "Take off!" "Come on, take it off!" "Bound for Seoul, Seoul, Seoul" "'Announcement to the Seoul bound. '" "'This train will be adjourning' 'for the next thirty minutes. '" "There are many empty cars over there." "It's our only chance." "If we miss this thirty minutes we'll never get another chance." "Please leave us alone." "We won't escape." "I promise you." "Don't disappoint her!" "I'll show her the happiness she won't forget." "Going to give her the miracle of life!" "Let them go!" "This is good enough for a suite." "Possibly the only place on earth to create any miracles." "Someone's over there..." "Huh?" "He's only a beggar." "Don't wake him up." "Let him enjoy his sleep." "We cut in." "If we drive him out, it's violating his right" "You're less than the animal!" "Maybe so..." "That's why I'll be as animalistic as possible." "Let's make our love nest now." "Even the insects create a space to mate." "We're insects now?" "I'm burning I must cool myself down." "I'm not a slut!" "I may have been deprived of sex, but" "I don't go around relieving men's sexual needs!" "Trying to trick me again?" "This time, a kid?" "Are you crazy?" "Never look down on male gender!" "Your teasing, I can forgive." "Poking fun at male gender, no way!" "You think I'm a crook?" "I'm still a virgin." "I'm a young man who doesn't know how to deceive a woman or what to deceive," "Spit out that candy, it's for the prisoners." "Our enemy, freedom is to be found between the cracks" "Makes you feel obedient!" "Spit it out!" "Don't move." "Stay still." "The train for Seoul starts soon at 3:10" "Until when we should wait for them?" "It's enough" "A detective with humanity can tolerate farewells" "Seeing is parting, parting is being prisoned." "Execution ground in prison..." "I didn't ask, but want to hear your reason" "Why did you kill a man?" "Stabbed with a knife, scissors or an ax, or shot with a gun?" "How much blood did he shed?" "Women always experience bleeding" "Blood, blood." "I said blood" "I don't know why I kill a man, I don't know" "The prosecutor and jury asked me why I killed the man, but I couldn't answer" "I've been deceived by many men" "They cut out my life with a knife in my body" "I bled so much blood" "My resentmentjust exploded in shock" " Stop!" "Let it go!" " Don't you dare let me die, let go let go" "Go away" "let go, don't touch me" "It dawns now." "We'll never see each other again" "To find a man..." "The whole population in Korea is 35 million, which can line up in 12,200 miles" "It's vague." "To meet and part with a person is vain" "Stop talking!" "I don't trust you" "What's behind this?" "A city of its own..." "Factories, a department store, even heaven's gate." "We still got ten more minutes." "How about a breakfast?" "Thanks for all your troubles with me asking such a difficult favor." "Very meaningful for me as well." "Hope I didn't leave any scars in her heart." "Why does she judge everyone as evil?" "If I had a man like you..." "I'll keep you in my wallet, all to myself." "I'm nothing but a trash can-bound." "You're a young man..." "the future is bright." "How old are you?" "Twenty-three." "Almost my son!" "I'm forty." "She's thirty-six." "Something's wrong here." "Nothing's wrong." "She was held-out of outside life for the last five years." "She's more like twenty-nine then." "Another two years..." "She could be an invalid if something's wrong she may not survive." "We have to bid farewell now." "Bye." "We better not meet again." "I won't forget you both." "Say something..." "I'm a guard I'm bound to feel close to prisoners." "Don't give up your plans." "You're young you can start all over again." "Stop it!" "Once inside" "I give you the orders." "That guy, the police and myself we did many things to help you." "And you're just going to ignore them?" "What did you promise with him at the park?" "He committed murder trying to get money." "Officers were going to arrest him in the train I told them to give you two a chance." "Because of you..." "we all went through hide-and-seek." "That young man, trying to keep the promise didn't even get a chance to escape." "He's going to get the capital punishment!" "Such a young man like him!" "Darling!" "I'm right here." "No!" "Hello!" "I'm here" "Speak to me." "Don't go, please don't go!" "I can't see you!" "Hey!" "Where're you?" "Darling!" "Where're you?" " Darling!" " I'm here" "Honey!" "Honey!" "I'm sorry, it's my fault." "I despised and hated everyone." "From now on, I'll try to trust people regardless of cheat, abuse I may receive." "What's your name?" "Your name!" "I'm Hyo-Soon." "I was on the paper." "Why did I kill that man, you ask?" "I didn't hate him." "I just got fed up, exploded with all the abuse I received." "That's so bad, darling!" "We must meet again." "I'll be out in two years." "Let's meet again at the park bench in Yeosoo." "Yesterday's date, two year's from now." "If not, the following year then." "I'll wait for you again and again." "You have to promise me!" "Promise me you will!" "Darling!" "Wait for me, I'll get you a present" "Wait!" "Honey, don't go!" "My patience is running out." "I gave you enough breaks already." "I'm innocent." "We've got the witness, waiting." "I don't want to go to jail." "I'll rather commit suicide." "No way I'm going to prison!" "Don't go!" "Calm yourself!" "Let me go!" "Honey!" "No!" "Honey!" "Honey!" " Just forget about him!" " Let go of me!" "Darling!" "Forget it!" "Honey!" "Honey!" "No!" "No!" "No!" "No!" "For years, I've been coming to this very spot, waiting for you." "Now, I've decided to let go of the past and go my own way." "You gave me the reason to believe" "My delusion of persecution has gone now" "I no longer suffer from the past." "That ordinary guy says he'll take care of me." "I've realized he's the one for me, too." "Now I know the meaning of life... that is to marry a good man and live a happy life." "Where are you now?" "I don't blame you for not coming" "But I'm worrying about you" "I always worry about you" "There I should go" "Along with the clouds" "Where would they go" "Long long time and tide" "Waiting in silence" "He's gone" "The man who left me behind" "I'll forget him" "Hello, This is Chung Sung-ill." "The film we're watching today is" "(1975), the 20th film of director Kim Ki-young." "in1955, director Kim Ki-young made 32 films overall including an omnibus film titled Woman, Woman, Woman." "So, this film is his 20th film which was made in 20 years he debuted." "Director Kim Ki-young was born in 1919, so it was made when he was 57 years old." "So to speak,  was made when Kim Ki-young as a director and a human being reached maturity." "A coincidence is that Kim Ki-young remade  of director Lee Man-hee for his 20th films." "isa remakeof  , the masterpiece of Lee Man-hee, and also one of the best Korean films along with  by Yoo, Hyeon-mok in the post-war era, acclaimed by many film critics recently." "Of course, Kim also remade his own films." "So to speak, after directing , he adapted the same story to in1972again, to make it timely." "And again, he directed in1982." "It was unparalleled that Kim produced a remake by other directors." "Moreover, the decision to remake a film which was advanced to the rank of the classical cinema must be hard to make." "It's because that the films are to be compared no matter how well he makes." "In fact,  was produced 4 times." "The first one is the one in 1966 by Lee Man-hee, of course." "Though the second one is not that famous, it is  in 1972 by a Japanese director, Saito Goichi, who got impressed with the original one." "Kim Ki-young might have seen this film since he often come and go to Japan to watch films." "isthethirdremake of ." "And Kim Soo-yong made the 4th  in 1981." "The reason three Korean best directors made these films must be that the original screenplay by Kim Ji-heon was very attractive and insistent for cinema." "According to his interview with Lee Yeon-ho in his lifetime, he explained the film as followings;" "I believe  by Lee Man-hee is a great work of the BW era." "But I was interested in making it a color film with Kim Ki-young's style." "Of course the production company recommended it." "But I have my rule not to permit over 30% of the original work, so I believe this film was totally different with Lee's." "The psychological details and landscapes by Lee were good, but I'd like to metaphysically picture the women's delusion of persecution towards men."" "istheoneof his favorite 11 films, which he chose himself." "It is very unfortunate that we don't have the prints of  by Lee Man-hee, so we cannot compare the film world of Kim Ki-young with that of Lee Man-hee." "Or, it is hard to know how different they made the films." "and have different crews and actors." "The characters by Shin Seong-il and Moon Jeong-sook are played by Lee Jeong-gil and Kim Ji-mi." "wasshotby  Seo Jeong-min with BW films, and  was shot by Jeong ll-seong with color cinemascope size." "The two films were edited by Hyeon Dong-chun, but it may not be that significant according to the concept of editing at that time." "iscomposedwith the plot of flashbacks entirely." "The film has the plot that a woman recomposes her memory in a train to go to Yeo-soo to meet a man." "The sequence is chronological." "Though the scene has already passed, you need to watch the first scene of the film again, if you happened to miss it." "Before she gets in a train as soon as getting off a taxi, she drew a girl away from her." "she seems not to have an interest in a man standing beside her." "According to the voice over narration, she is married to an ordinary man and the girl is not her daughter, but his." "So to speak, the films starts with a scene where a women who lives with a stepdaughter leaves her husband and her so as to openly meet a different man." "It is not a separation, and she will come back home after she meet the man at the tryst place." "So to speak, it is an unpersuasive starting point." "And this scene does little function through the entire film, to the extent that you cannot think of this first scene after watching the whole film." "Nevertheless, the film seems that this kind of starting is important." "It is important to remember this scene in ." "This film starts very absurdly." "And this absurdity is a constant and consistent situation throughout the entire ." "This starting point is a setting up to make the entire film void, when you watch the whole film and come back to the first scene again." "I'll explain about this at the last scene again." "The first episode is the story that the woman loses her virginal purity." "This episode consists of the gazes literally with desires and fetishism." "Because of the scenes established with the gazes, confronts sudden close-ups even though it has the cinemascope screen size." "The close-ups by Kim Ki-young don't aim at magnifying objects or looking closely into figures." "When the camera comes closely towards a figure from a space suddenly with cutting a frame, the observing close-ups appear as if they reveal the inner desires of the figure with escaping from the story current." "So to speak, this kind of close-ups is the gazes that only Kim Ki-young could make." "Thus, there appear the close-ups called externalization of psychology that the camera comes into the internal mind of a figure in the story and comes out again to keep the story instead of merely following the story." "In Kim's films, therefore, it is important to explain the shots to suddenly stop the story." "The woman follows the man to a hotel room." "What is interesting here is the movement of her." "All of a sudden, she gives up escaping after showing her gesture to escape, even though she is fully able to escape from this room." "We need to look into this scene carefully." "The first scene to show her in the room is her reflection on a mirror." "The mirror in this film is used by intent several times." "So to speak, when the film shows a mirror, the figure in a mirror tries to express its desire suddenly." "In a mirror, the figure shows its inner mind, it acts as if the imaginary self is expressed in the mirror." "She tries to go out with her mufflers on, and sees a man taking a shower in the bathroom, when she suddenly gives up escaping." "She decides to leave herself in need by desire instead of order by reason." "To show the moment of her decision is her figure reflected in the mirror." "The man makes a cruel speech to her, instead of a sweet dialogue here." "Or he talks about pregnancy instead of sex." "So it seems that his goal is not having a sex, but having her pregnant." "At this moment, he uses a term, breeding like for animals instead of pregnancy." "Here there's no social responsibility for this man." "So I'd like to rather call him animal-like." "I feel like saying that there're animals and women instead of saying that there're men and women in Kim's film." "The problem is that men and women should co-exist in the same society together." "Here sex is not normally performed, but as the form of raping." "In this sex scene, we can find two kinds of great figurative aesthetics of Kim Ki-young." "One is a psychological application on space." "The space is very simple, in fact." "The room with a bed and a bathroom is all." "In dividing the space into two with translucent glass which connects the two divided spaces," "Kim creates a vague shot to legitimately avoid from censorship for nudity, and at the same time he shows her breaking heart through the translucent glass aesthetically." "Another is his music." "We hear the same bits repetitively without any relation with highlights of the drama or the process of shots, as if the entire situation drives into catastrophe rather than the atmosphere rises to the climax with the music." "It can be said that this sound, in this way, creates a nervous situation rather than producing a certain atmosphere for us." "It touches our mentality of watching with a strong force." "Although the sex looks like almost a form of raping, it is strange that she shows a satisfactory smile while taking a shower." "Kim Ki-young often makes vague the boundary between men and animals in the relationship of desires." "Kim follows a typical drama, and all of a sudden, there's a moment he looks at it from an opposite side." "When you say the psychologica description by Kim Ki-young is uncomfortable or his description is grotesque, our embarrassment comes from the direct expression that he reveals animal aspects to compose him or her in dealing with human beings." "Then, the story goes from the bad to the worse." "When she is raped for the second time continuously at the same place in one episode, director Kim shot her from the bathroom with a slow-motion." "This slow-motion in the bathroom seems to prolong the moment of suffering to the maximum in fact, rather than to be aesthetic." "I guess it is lyricism that Kim Ki-young in  tried to remove from mostofall." "Instead, he deals with estruction of body in this film." "The soul observes how the body is destroyed in the destruction of body." "I believe that the most pivotal filmic attitude of Kim Ki-young's films is observation." "Although this film is shot with the distorted size of cinemascope, it uses no long take with the cinemascope size." "Instead, it uses three particular ways of angles for frames;" "it establishes figures in depth, not in horizontal angle." "Secondly, the camera follows the perspectives to cut the frames" "Thirdly, the film uses a way of the camera following the figure to move." "By the way, in , there is a different feature with that of Kim's previous films." "It is the use of zooms." "It can be said, however, that often using zooms is" "It can be said, however, that often using zooms is a style of the 1970's in fact rather than Kim's style, and in a sense, zoom lens was a trend in the world at that time." "But the reason Kim kept this method in cinemascope might be that it could avoid restriction of process which can be happened in using long takes in order to often use close-ups." "The film comes back to the scene of the train." "So to speak, the position of the woman in a train while she's in the train." "is a fixed point in the whole story of the film." "At the position, we face with the problem of reconstruction of memory." "Here is a problem of economics of process, and at the same time, we ask a question what the goal of her trip is." "At this moment, it is the whistle of train that makes enter and come out of her memory." "Through the sound of whistle, she enters into the time of memory, and comes back to the present." "The sound plays a role to threshold of time." "Actually director Kim is the first cineaste who used sound with self consciousness in Korean cinema." "Even after him, there're few directors who have aesthetic perspective on sound in Korean cinema as Kim Ki-young." "The first flashback is a story about that bait of desire which was dragged into the commercial relationship of fetishism, while the second flashback is about a position of the woman who fails to become a mother." "When dealing with the desire of a woman to possess a position of mother, the film in fact attacks the patriarchal family system." "According to the previous dialogues maybe, with the sex with a man in the first flashback," "According to the dialogue from the man who uses the term breeding instead of pregnancy and says "I never fail,"" "we can guess that she must be pregnant." "And guessing in the second flashback where she doesn't bring up her baby she must have got an abortion." "This abandonment should deprive her of a chance to become a mother." "The direction of movement in Kim's drama consists of tricks to establish relationship between human beings." "At this moment, the tricks exactly strike human weakness of the other at the same time." "And the weakness makes us, the viewers who observe her, feel bad." "Interestingly, in the second episode of memory, the second flashback, the mirror is also used at a critical moment." "A man comes back to see her again." "When he asks her to make milk for the kid with handing over a key to her, the camera shows her in the mirror first, and then zooms out to show the two." "Then, when she says "Do you think I'm a nanny?" "If I take care or your situation, I would change my job."" "the camera again zooms into her in the mirror again." "The moment of mirror in Kim's films is the one when he shows an inner mind." "He thinks that it is important to see the inner mind at the moment." "Or he thinks that he can see the inside." "Here, we need to think of the first flashback and the second one together." "So to speak, although they have two different stories, we can find that they are moved in the same way." "The same way here is that it is not an issue of form, but it means the same way of observing." "Who does?" "The director Kim Ki-young does." "In Kim's films, there're some shots, absolute positions occupied by Kim Ki-young as a film system, not only by an auteurist explanation." "At this moment, the absolute position means absoluteness in the meaning of observation that he observes, not that he makes the film." "At this scene in the second flashback, it becomes more accurate by seeing his use of music." "When she come to his house to make milk for the kid, the same music here is used as the first flashback when she went to a hotel with a man." "So it means that these two actions are the same." "When the music is heard, so to speak, this episode is a repetition of the first one in fact." "Moreover, she is taken in the trick at this moment." "Finally, the music informs us of her falling into worse situation." "Telling us this important story, moreover," "Kim inserts a latticed frame between him and her like steal barred windows." "What becomes accurate here is that Kim Ki-young is not interested in dramas." "He doesn't play a game with the viewers, which a drama can create." "More exactly speaking," "Kim Ki-young doesn't want the viewers to miss the psychological observation in the present situation while watching the drama." "We need to recall the interview of Kim Ki-young." "Kim said that he wanted to metaphysically picture the delusion of persecution of women towards men, though the psychology and landscapes of Lee Man-hee were great." "Well, what he is interested in, so to speak, is to observe the actions of human beings." "He also wants to see them like in a Pavlovian experiment through small gestures in their actions." "This space is like a kind of cage." "The lattices like iron windows confine these two man and woman." "They also make us observe them at the opposite side of the lattices as if we see animals over the ironed fence." "In the first flashback, their sex is shot as if her body is destroyed through the translucent glass." "It was shot in the way of imagining a picture of a painter, Francis Bacon, while the second sex shows a posture that the two don't face each other." "At this moment, we need to think of the meaning of not facing each other." "In fact, this sex is closer to freedom than sex, in a sense that she should leave herself to fantasy over the transom and that it is closed to a masturbation of her fantasy to get to the position of a mother." "So to speak, she has sex but has already given up communicating with a man through it." "It is not an action of love." "It is a sex with herself only through her own imagination." "It is clearer in the fantasy scene which comes into the sex scene you've just seen, as if we could find it in experimental films all of a sudden." "The scene where the naked two hold big red cloth and run at the beach in wide-angle lens makes us hesitate since it appears abruptly." "We shouldn't miss two things in this sequence." "One is that this vision is not his, but her perspective of fantasy." "The camera follows up along with her perspective, which she imagines with red socks on a clothesline." "Secondly, the core of this sequence is that the red cloth doesn't come near, but it goes away." "During the sex, she finds in her fantasy that she doesn't run towards orgasm, but a certain desire gets dimly away from her." "Of course, we don't know what the red socks on a clothesline exactly indicates." "I've asked director Kim about these scenes." "He answered simply with a smile." ""If I answer that directly, why would I make the film so delicately?" "That's a secret."" "Director Kim didn't often use accurate symbols." "Something seems to indicate something, but there's a moment the meaning isn't delivered to the viewers well." "I have two thoughts." "When he uses this kind of symbols, he uses them in his very private context instead of using a common image or universal meaning links." "Secondly, these symbols could have no meaning." "So to speak, in the context of Hitchcock's films they might play a role of MacGuffin effect." "They don't exactly mean something, but a film doesn't go well without it." "But a place where it doesn't occupy." "Therefore, the place becomes a sort of a black hole." "In the second flashback, the woman takes a role of mother, but she doesn't take the role of wife." "The separation of being a mother and not a wife is her attitude in the second flashback." "And the attempt fails like this." "Kim thinks that the establishment of family system is very inconvenient." "Or he seemed to think the contradiction of Korean society starts from the establishment of family." "When she takes a role of mother without being a wife, it is the family of course which is not established." "It occurs that Kim constantly tries his best not to establish family at hard edge." "In Kim's films, therefore, we face with a dichotomous question if we live as others against the family structure or if we live with others in family." "In the second flashback, the woman finds out the baby is bait." "Then she runs away from the house." "This film, so to speak, gives almost 1/3 of the entire running time to her two flashbacks, and prepares for the third episode." "As it were, from this in a sense, from this scene you're watching now, it is where  and  by Lee Man-hee start at the same scene." "There's a complicating controversy on this." "Above all, until she comes to this position that is, until she comes to this starting point of the story which she meets a man during a short trip for a night and two days to visit her mother's grave while she's in prison" "after being betrayed by many men and murdering a man." "we can ask why on earth Kim Ki-young shows this process." "In fact, it is because the story makes sense even if he cut all these stories." "Although the story is interesting and worth being handled itself, the two previous episodes are the ones we can guess according to the aspect of economics of story." "Maybe Kim thought to make a story specifically is the way of escaping from  of Lee Man-hee rather than inferring her life trace." "Kim might have thought that  by Lee Man-hee was too abstract." "So Kim explained the whole story until then, and specifically to show it." "As it were, he might have thought it would give the film flesh and blood to the film." "In that sense, we can say that meets after the film begins in 27 minutes and 52 seconds at the point of 1/3 of the film." "Or you can say that  goes into  from now on." "I, however, strangely find a cinematic shadow I, however, strangely find a cinematic shadow of the generation of the image era which was made at that time until 1/3 part of the film." "I believe that the way of selecting music, cinematography with wide angle lens, fast zooms, construction of frames are from Kim Ki-young's version since the success of  and Yeong-ja's Heydays, and the advent of new generation." "This is of course my inference, and discussion will be continued in different places." "The core of the latter part where the woman goes to her hometown with a prison officer on the train to visit her mother's grave is that she has almost no dialogue." "There're few scenes without dialogues in Kim's films." "Intentionally showing two women, the film keeps the story without any explanation for the situation of the two." "After the prison officer and the woman appear, the longest silence in  for 4 minutes and 45 seconds continues without any dialogues." "Although there is a short dialogue between the woman who tries to commit suicide in a toilet and the prison officer who tries to stop her, this scene intentionally shows a mirror, so that it still can keep without dialogues" "in the way of making a different frame in a mirror, a mirror moving from a frame to another frame, and returning." "The silence without dialogue might have three meanings." "First, it is a sort of a sign that the story in earnest starts from here." "So it separates the third flashback from the previous two stories, two flashbacks, two episodes." "Second, the silence is a consequence of the events that she has experienced between the second and the third flashbacks." "So to speak, she has almost lost her words." "Losing words means that she never wants to communicate with others." "The silence delivers her pain as weight of time between the second episode on the woman who reaches the point of no communication with others and the third flashback from now on." "In watching this silent woman, anyone would think how much on earth she gets hurt for the while, only to drive her not to speak." "Third, it is the reason of outside of the film." "It is of course a inference." "I felt that it's a kind of affection to show Kim's junior director Lee Man-hee." "Or that it is a sort of courtesy to show to  when he remade it." "Most of criticisms on  talk about the filmic way of speaking through silence and the silence as a merit of Lee's version." "As the filmic grammar of Lee Man-hee, whose way of keeping the story without dialogues established only with filmic expression is one of the aesthetics in ," "Kim Ki-young shows his affection through his own directing for the long time." "When the train bangs, the film comes back to the world of Kim Ki-young." "As a matter of fact, this scene is a trick of sound and action." "The train moves normally, but three actors move their bodies at the same time as if the train bangs, and the sound is inserted into the movement." "It is a very simple trick." "The train's banging inspires the feeling of returning to the world of Kim Ki-young." "It seems that Kim Ki-young has no intention to shoot the intimate process between a man and a woman." "Instead of focusing on the process, he connects two characters as soon as possible." "In a short time but very effectively, when the man yawns, the woman yawns as well as if the two have a kind of telepathy." "Showing their same actions, Kim connects the two." "Then, the film continually shows the scene the two face each other sitting on the narrow seats in train until they reach Yeo-soo." "In shooting this kind of scene, one of the best ways of shooting these three characters is to fix the frame with long take fixed." "Moreover, this film is a kind of cinemascope." "Kim Ki-young, however, might have a thought that the story doesn't keep without dividing shots or separating cuts." "In spite of a very small space, dividesthescenes with recomposing the frames by almost all possible methods in this small space." "There's a reason for that." "The key of Kim's films is POV shot." "It is due to the point of view shot, more specifically to say, the gaze." "The film should keep the way of interference of someone's gaze even in a fixed shot." "Of course the object of the gaze is a woman." "When the woman leans on the window, the steam on the window falls down." "That looks like tears from her eyes." "Or the window cries for her." "Please remember this scene." "In the third flashback," "Kim uses glass with a mirror." "Here the glass and mirror play subtly different roles, and are used to reveal her inner mind." "Many people firstly point out the dialogue after watching Kim's films." "His dialogue has two particular features." "One is that the content of the dialogue is very explanatory." "So all the viewers can be curious about in the process of the story are handled with the dialogue." "The man often asks her some questions instead of us." "Or he never misses the timing." "The way of explanation shows the tone of typical classical theatrical dialogues here." "Kim Ki-young delivers the dialogue for explanation on stage into his film, and then tell us." "At this moment, Kim's dialogues give us a certain distance from the drama." "We cannot say that is an alienation effect, but Kim constantly blocks the viewers from the psychological line of the drama of the film." "Secondly, most of the dialogues are literary style, so it is strange to hear them." "When you hear the dialogues, they have a suffix called '-handa' like a sentence used in a book." "We think the dialogues are a kind of monologues instead of the dialogue between two characters." "Kim Ki-young, by the way, might have no plan to change the dialogues, because he keeps using this tone of dialogues until he made the last film." "I've asked Kim Ki-young about this dialogue." "I asked "Why do you use this kind of dialogues?"" "He answered." ""All the dialogues in a film are towards the viewers." "It is because a film at the end goes towards the viewers." "The dialogues between the characters have no value in fact." "If the characters are allowed to share their dialogues, a film can be shot as a silent film." "Because the characters can understand each other over the frame." "A film is better without dialogues between characters if possible."" "As this kind of theatrical belief moved to a film," "Kim Ki-young used all the theatrical method for abstract works and shot a film physically and thoroughly." "So Kim always sought for specific expression in his films." "Cinematographing several films of Kim Ki-young and , the cinematographer Jeong ll-seong mentioned to me recalling the late Kim Ki-young at his funeral." ""I've shot the films by Yoo Hyeon-mok, Kim Soo-yong and Kim Ki-young." "The three have different directing for sure." "Yoo always took a serious view of philosophical concepts or literary expressions when he demanded to shoot a scene." "He thought that the atmosphere was more important than the description." "I, as a cinematographer of Kim Soo-yong, should choose only one since Kim Soo-yong demanded too much." "I should shoot with guessing what is the most important thing among his demands" "Kim Ki-young is too specific." "I should just shoot what he wanted." "There's no philosophical explanation nor aesthetic demands." "When an actor needed to cry, he just explained how to cry to the actor, and then asked me what to shoot out of the crying." "So I as a cinematographer came to focus on it." "After finding a goal, he shot only it, which is an animal-like directing." "The thing is that after shooting like that," "Kim Ki-young's films are rather the most abstract, philosophical and aesthetic ones." "It is why I am surprised after I shot his films, watched them at the preview."" "Kim Ki-young practically used the material effect of actors in the casting of actors while shooting ." "Kim Ji-mi began to decline as a star actress when she starred in in1975" "Her beauty with its heyday in the 1960's had passed." "She didn't have many roles to play after her image of a star for the youth had passed, since she was a star, not an actress." "One thing, however, surprising from her is that she endured her scandals even if her partners were abandoned by the masses with a socially accepted idea or their images were destroyed." "Such a trace of wheels in her lifetime strangely creates a magical effect regarding her role in , in which her actions remind us recalling her life." "This is used in a different way for her partner Lee Jeong-gil." "Lee Jeong-gil used to play a good guy or a typical teacher at that time." "The most successful and popular role of Lee Jeong-gil in the 1970's was a teacher who is good and loved by girls in high school in ." "This image makes the woman believe Lee Jeong-gil is her last hope and an momentary existence that a hopeless woman could ever meet." "So to speak, Kim Ki-young thought the popular belief of stars was important in his films." "So, Kim Ki-young directed in a way of making trust between the characters in his film and the actions of their images instead of bringing out their acting." "In a dining car, the prison officer and the man talk." "And the prison officer tells him as follows." "Well, remember the dialogues in the dining car at the former scene." ""Please tell her that a woman should have a man." "And teach her that there exists trust in the world."" "She tells him that the woman will die without these two." "In this film she says," ""She has no will to live."" "It sounds weird actually." "Why these two are so important?" "Why a woman needs a man?" "Why should she believe there exist trust in the world?" "In Kim's film, these two importance has the same meaning." "It is in fact disappointment for human beings." "The thing that a woman should have a man is a thought to make impossible the ontological expression of human beings." "So to speak, it is literally a biological expression." "Second, that she needs to have trust is the same expression that she needs to have fantasy in order to survive in the world, because it supposes that belief in fact is not there." "Belief is needed only for believers, but not for objects." "Combining these two meanings, I can say the followings." "The will to live is to become an animal not to give up a fantasy." "Then you can understand more about why sex is that important in Kim's films" "In the scene we just passed, the scene she sees a fantasy to stab in him with broken bottle, this attitude looks clear." "Her first response to the man who shows a friendly feeling is her intention to kill, not good will." "I use the term, response, not emotion here." "Kim Ki-young is not interested in emotions." "Kim is interested in the action of responses." "The woman thinks of killing him first." "So to speak, whether the other shows friendly feeling or malice, she tries to kill the man who comes closer to her." "At this moment, she doesn't aim at killing him, but she responses according to her protective instincts in fact." "So to speak, the response of a Pavlovian woman is not a reasonable one, but can be explained as an animal-like response obtained by repetitive disciplines with tricks as social trainings." "Then she arrives at Yeo-soo." "A sudden question which occurs the moment she arrives at Yeo-soo is who the heck is this man." "The reason to raise this question is that he calls someone in a telephone booth as soon as they arrive at Yeo-soo." "Who does he call?" "Strangely enough, the film doesn't explain much about this man in fact." "Kim Ki-young doesn't show a feature of the place intentionally after they arrive at Yeo-soon." "So, emptying the space and avoiding any icons to show Yeo-soo, he keeps his film." "Thus, the empty frame and wilderness" "looks like expansion of wider prison rather than offering her a sense of freedom." "After arriving at Yeo-soo, the film draws her away from the prison officer." "The prison officer trusts her and doesn't look after her." "Of course we can ask something here." "Can she trust her?" "The film doesn't answer yes, but" "I'd like to invoke the previous dialogue of the prison officer." "She says that only believers can have a will to live." "That was her dialogue." "It is a natural setting up that the prison office who has said it doesn't look after her." "If she chases after the woman suspiciously, the film destroys the foundation itself." "When the woman is separated from the prison officer, the time from this scene to where she comes back to the train can be read as her fantasy space." "When she is free to have her own space escaping from the observation of the prison officer, and when she is thrown to a space where she doesn't depend on someone's gaze and should establish her own fantasy," "the third test starts from here." "What is interesting is that she goes to her mother's grave." "Of course, she can go there according to the development of the story." "But here the grave plays a double role." "The reason she plays into the hands of the man in the second episode is that she is blind with her desire to possess the position of mother." "Therefore, her visiting her mother's grave" "looks like expressing her regret for herself and for her position of mother at the same time." "Expressing her grief over her mother, she expresses her grief on her failure of desire with the position of being a mother." "So to speak, this scene, in that sense, can be explained as expression of doubled grief." "Here all of a sudden, the man shows up." "Before her mother's grave, he proposes marriage to her." "Now it becomes clear what kind of feature the third episode, the third flashback, the third test has, and what kind of questions it asks." "Now, the test to call her as a wife begins here." "And the woman accepts this test or this game once again." "But at the same time a questions should be asked for the man." "Why the man has a friendly feeling for her?" "We know that the man finds out who she is from the prison officer, and that there is no reason for him to be attracted to her." "This friendly action cannot expect any compensation." "Thus, this action without any compensation is good will entirely." "There's a bet here." "Can good will regain a human attitude for animals?" "Of course  is the world of Kim Ki-young and directing of Kim Ki-young." "And it is Kim Ki-young's style completely." "Nevertheless, there're some parts where I'd like to object." "Maybe it might be a trend of Korean cinema in the middle 1970's." "Strangely enough, the films those days as well as  shows their influences of byClaudeLelouch." "Wide angles, the music with a certain distance from the story, the characters thrown into the landscapes, the process like a sketch and so on." "Strangely,  had a big influence on the Korean films in the 1970s." "The Korean films accepted it, as if they found a new film grammar from it." "Moreover,  consists of flashbacks during a train trip." "In a sense, I guess that Kim Ki-young wanted to remake his own  rather than remade ." "It might be inserted into the film for some part." "This is only my inference until now." "And they finally reach the bench, the most important property in this film." "Maybe both  and  have the story with this bench as a vertex." "Because this trip from Seoul Station to the bench in Yeo-soo is a story returning to the bench at the same time." "This bench doesn't have a special meaning for these two." "It is a place they happen to arrive after the wedding in front of her mother's grave." "When they arrive here," "Kim Ki-young leads the story in his peculiar way." "He leads the two on the bench to the forest below it." "like animals." "Then, he brings them to upwards, and shoots them over the barbed wire entanglements on purpose." "So to speak, the two look like being captured in a cage." "Doesn't it look like the scene in the room with the latticed window when the man and the woman met in the second flashback?" "From now on, these two begin to enter into a kind of test." "Defining a human being, the man calls human animal with goodwill." "This can be meant that an animal with goodwill can be called human." "Next, he unties his watch as a mark of promise and put it on her wrist." "Something must be occurring to you." "The action to put the watch on her wrist is an exact repetition of temptation, when a man tried to seduce her at the first flashback." "Here, we can push the meaning of this action." "According to her voice over narration, she says that she's lost her purity by the man who gave the watch." "So to speak, in the first episode, the first flashback, there is a meaning of the first physical love." "After the first sex like a rape was over in the first flashback, remember her satisfactory smile on her face." "When she receives a watch from this man in the third flashback, she doesn't refuse it." "Through this repetitious action, she has a desire to come to naught of her entire time." "So to speak, she wants to go back where she was." "In fact, isn't this film about coming back to the place of this bench?" "She has a fantasy to restart from the beginning, where she started." "She shows her hope to restart at the moment of the first purity now" "The bait of the third test is hope." "So she doesn't refuse his kiss." "More exactly, she doesn't imagine she'd kill the man when he kisses her as we saw on the train." "She shows her protective instinct of his proposal, so doesn't resist like beasts" "Or she gives up her resistance." "It's because she wants to have hope." "Then he leaves her to meet his friend with his promise to come back." "This scene is short, but shot very interestingly." "She sees his taking off." "In this third flashback, please recall the fact that there're a few point-of-view shots of her." "So to speak, this scene is a shot for expecting, which means he'd wait for her at this fixed place." "Then she's shopping around shops as if she prepares for her new wedding." "She picks new clothes and wears lipstick at a cosmetic shop." "She has a face like a new bride who really prepares for her wedding." "Putting on lipstick, she sees her face in the mirror again." "When all of these three episodes, three flashbacks show her desire she always sees the mirror, which you should remember." "The mirror shows her whenever she throws herself into a new desire in each flashback as if she confesses inside of her mind." "Or she stands up in front of the mirror." "When she have dreams on her new wedding, he meets his friend to receive his money back." "For the while, she comes back to the bench 2 hours before the promise." "She wears lipstick on the bench looking at the mirror." "The camera focuses the sea out and focuses on the mirror to show her face." "Now, please look carefully into the scene from now on." "I came here two hours ahead of the time." "I feel like playing a joke." "A young man suddenly comes to my mind to make something up." "Everything could be a fantasy." "He can't be coming and I don't have faith to wait for him." "No, he'll come for sure." "This watch can be the evidence." "He said we'd have a bridal room." "He tries to deceive me again." "I'll be dumped again." "She pulls out a mirror to wear lipstick." "First, only in this scene, she is willing to pull out a mirror to see herself with her own intention." "So to speak, this is the only scene where she faces her own desire" "It shows, therefore, the third expectation on hope depends on her free will." "Second, I'll mention about the form of this film." "On the bench she pulls out the mirror wearing lipstick again." "The camera divides the shots, faces her with the setting of the sea, and looks into the face of her image in the mirror." "In the previous scene, this shot division doesn't make sense for logical editing." "Because the sea is behind the bench and she sits with her back against the sea." "It doesn't make sense that in the next shot, she stands up to face the sea and wears lipstick." "It is unreasonable editing in any angle in fact." "This style of breaking shots is Kim Ki-young's editing." "Kim uses the way of connecting shots and shots rather than dividing scenes into shots." "And if an image permits in a shot, he doesn't care about the logic between the shots." "It is why his films created surrealistic impressions strangely, even though he makes a realist film." "While she's waiting, he becomes involved in a murder case as he tries to get his money back." "Anyone who faces a murder of a taxi driver must be embarrassed." "Why?" "Because this scene is too abrupt." "The taxi drive runs away with stabbed, and his friend kills himself all of a sudden." "The difference between  and  is clear at this scene." "In , the man was on the way of running away after he's committed a crime, before the film starts." "It is a story that during his evasion, he meets a woman who is out of prison for a while." "So to speak, it was a story that both in confined time in common with their contrary positions meet each other." "In , the man is an accidental lover in the train after the half of the story passes." "But the situation changes when he faces with an event in the middle of the film." "Because Lee Man-hee was interested in psychological description, an incident has begun before the film starts." "He follows psychological description according to the result and omits the incident itself." "On the contrary, Kim cared about the responses of an incident, so it was important for him to shot incidents." "He thought it's important to present the process of the response of the woman at this moment, as he exhibits the two flashbacks before the third flashback in ." "The two incidents of taxi robbery and suicide of his friend come to connect together." "These two incidents become the level of the incident of her promise, which she waits for him at the bench." "The man, therefore, is forced into a situation, where he can't escape even if he must." "Lee Man-hee thought there'd be psychological vision in shooting the world above all, while Kim Ki-young believed that there'd be the inside only when the characters' actions in incidents are shot." "A film scholar Kim So-young called Lee's films moody." "That is, the films have mood." "In Kim's films, there is no mood, but incident instead." "In , there is no mood at all." "Kim puts a man and a woman into a critical situation and starts to observe them." "The woman waits for him blindly." "She might think she's cheated once again or might give up, but she's just waiting." "An expectation of hope or a desire to become a wife maybe makes her wait." "What is waiting for him with her here is a lighthouse." "The lighthouse sheds light on the world here, playing a role of the light of hope." "Let's think of it." "As a theatric artist, when Kim shot a film, he brings economics of a place in the composition of mise-en-scene." "When deciding this place," "Kim actually mobilizes almost every element." "In addition to the landscape at a high place, the sea, and independency or isolation of a remote place wire entanglements, this film has the light of the lighthouse, almost every element around this place is used at necessary moment." "So to speak, while Kim economically uses this kind of place during his directing and at the same time, the physical features of the properties or place play a symbolic index of psychology in terms of the way of application as well as its economics of place." "These symbolic functions sometimes are surplus." "This surplus brings expansion of meaning which Kim's films contain." "So I want to say," "Kim doesn't know moderation in film directing." "We often see some directors who show off aesthetics of space." "But Kim is a person who becomes satisfied with exhausting what he can apply in the space." "So he sometimes makes his entire space banquet of symbols." "Nevertheless," "Kim Ji-mi starring the woman has almost no dialogues." "There is her voice over narration, but she doesn't speak herself." "It is hard for an actor to express himself or herself without dialogues." "That is, the actress Kim Ji-mi bears only with her body gestures." "Of course, her gestures must have come from Kim's theatrical directing." "Despite, she shows her best acting in this film." "Kim Ji-mi is the actor" "Kim Ki-young made debut in  in 1957." "She acts with absolute confidence in the director who made her debut." "She not only follows his direction for acting, but delivers thoroughly the psychological condition of the woman with facial expressions and small gestures in ." "Though she starred in many films, she shows one of her best acting in this film which she could ever show." "Moreover, the competitive spirit with Moon, Jeong-sook in  by Lee Man-hee, who showed her inner acting, might have influenced her." "As many people work on a film, an exterior element of a film text could influence this way, which can have a magical effect." "Then the film comes back to the train again." "Here the woman, the prison officer and the man sit on the opposite side of the frame which we've seen at the former part where they went down to Yeo-soo in train during the daytime." "In this scene, by the way, an instant and strange feeling occurs." "The thing is that the man and the woman come back to the starting point as if nothing happened during the daytime." "So to speak, the story starts again from the beginning." "According to the voice over narration, the woman still doesn't give up suicide." "She should make a decision between two." "Escaping or killing herself." "She doesn't care about the new relationship with the man at all." "When she comes back to the train, she never turns her eyes on him." "As the man seeks the officer's understanding and sit beside her she even moves to the seat beside the officer." "The man is strange as well." "The man called her honey in front of her mother's grave as if they got married." "To the woman who he called honey, suddenly he treats her like before they meet." "They act as if the whole incident our of train never happened as they get on the train." "Kim always thought that a film was a stage." "As a sequence is changed, therefore, it seems like a stage changed." "When a sequence is changed, it is important for us to read the premise of each sequence." "It is hard to follow Kim's films in this part." "Once we miss the premise when it is changed, it's difficult for us to follow the sequence." "The thing is that following the premise is getting harder in his late films." "There're two reasons for that, I guess." "One thing means that Kim Ki-young came to have distance from the contemporary." "It means of loss, when one generation meets a new generation." "Since then, Kim's films lost sympathy from timely issues or made master discourses from an issue and idealized it," "Another is that he started to make his own space or stage abstract as his films lost the contemporary sympathy." "The moment a film makes its stage abstract, it cannot help becoming a stage of idea." "It resulted in blocking the late films of Kim from the mass." "Or it is the reason that his films became a kind of cult." "isthefilmstanding at the turning point." "In that sense,  is a very significant film which plays a role of mediation to connect his two film eras." "Since this film, Kim made his film stage abstract very rapidly and idealized, or produced the films as a schema of idea." "So to speak, when they come back to the train and go back to the prison, the story returns to the beginning, which means she gives up the position of his wife again." "That is, it has a difference with the two former flashbacks;" "she learns how to give up her desire instead of seeking for it." "I've seen director Kim Ki-young twice in his lifetime." "Once I visited his house for an interview of Music  Performing Arts in 1987." "The second meeting was when I invited him as the head of Juries for Seoul Short Film Festival when I was the board member in 1996." "Coincidently director Kim and I were alone waiting for screening of the next film." "At that time, I asked him a wild question." ""How can a filmmaker make a good film?"" "Hearing this stupid question and looking at me silently, he answered," ""It's luck." "Once you make a film, then you'll find out which is good or bad." "If you're unlucky, you should keep waiting." "If you're lucky, you can just make when you didn't expect." "So a director should always be ready."" "I felt impressed with this answer." "Kim Ki-young always thought that it is important to be ready to shoot at the moment of directing right now." "He's always had this attitude in his lifetime." "Many people remember that he was always writing screenplays." "It could mean by that." "Until the end of his life," "Kim Ki-young kept preparing for a new film." "It's not too much to say that the key of  might be the last 30 minutes from now on." "They come back to Seoul by train at 11 p.m." "The way back to Seoul is her way back to the prison." "We now know her past and his situation." "The man is looking at her." "And there's a gaze of the protector, the officer who is looking at them." "And there're gazes of the detectives." "There're multiple gazes entangled around them, so to speak." "What to attract your attention here is the whistle of the train which seems like calling something." "Or it seems to sending a message urgently." "Of course we don't know what the message is exactly." "Our interpretation is open." "Kim Ki-young is sending a message like crying for something." "We should read this train whistle as a psychological sound rather than an auditory sign." "So to speak, when we hear a sound, we should recall that the only ones who want to hear can hear the sound." "When the man and woman change their seats and face each other, the train whistle is heard very often." "However, in the scene where the officer and detectives share their dialogues there's no sound of train whistle." "If this sound is just a auditory sign of the outside, this situation wouldn't make sense." "The train they get in is the same one." "The sound should be heard in different cars in the same train." "When the officer comes back to her seat and asks him why he went to Yeo-soo, the train whistle starts to be heard as if it knows the shots and scene come back." "Now they have dinner in the dinning car." "This could be the last one for them." "The inspectors watch them at the back seats." "This scene looks strange as well." "They seem to observe them rather than watch over them." "They talk about their destiny like a doctor." "First of all, they never look at them in talking." "They turn their backs against them and look at the other side." "If the detectives aren't shot in the same space, they look like ones who talk in a totally different space." "Stranger thing is that the detectives are talking about the woman unrelated, not about the man who they're supposed to catch." "They share their dialogues not looking at her." "Without looking, they share their thoughts after the explanation of the prison officer, as if doctors discuss their clinical demonstrations." "As the story goes, Kim Ki-young continuously reminds the watch over and over with the frames shot by Jeong ll-seong, the cinematographer." "The woman wears the watch without untying it." "So to speak, the watch could be the last hope of her." "Repetitively speaking, the woman's life starts to be broken from this watch." "Then she receives the watch to return to the starting point psychologically." "The man suggests a last sex to her." "The sex is the third one in the film." "The first one is a symbol of the first purity." "The second sex is for her position of mother." "And the third sex is for her position of wife." "This sex means the first sex of the first honeymoon of them." "Something in common of three sexes is that men ask sex without her agreement as if they have the right." "When the man asks her sex, please remember she is reflected on the window of the train, not in the mirror." "While the woman used to always be in a single shot, she is now shown with the man in one frame her." "Since her reflection here is on the window glass, not the mirror, it creates an optical illusion that her inner psychology is transparently shown." "Then they try to have sex in a different train." "So to speak, there seems to be no other way but sex here." "Recalling the words of the officer, it is the way to convince her that a woman needs a man, so that she can recover her trust." "It's sex for her to regain a will to live through these two things." "These two follow the condition to have sex almost like a clinical test of animals." "When they come to this place," "Kim Ki-young doesn't leave this car empty." "He brings a beggar who falls deeply in asleep." "Ignoring the beggar as if he doesn't exist in this space without looking at him, the man tells her to have sex." "When the man tries to have sex, she says no better than beasts" "This dialogue has been heard already." "It is a variation of the dialogue when a man used a metaphor of breeding of animals with sex before sex in the first flashback." "If we have only the situation without any context," "I'd like to ask in return what is the difference between this action and the first flashback." "There is almost the same dialogues as the first sex in the first flashback and the first episode." "Lee Jeong-gil's acting and the character played by Lee comes near to her with vulgar smile instead of kindness with good will to her as if he is seized with desire." "When she cries "you're a beast." "No better than a beast,"" "he answers." ""I try to be a beast by force."" "Then he says," ""my body is hot like fire"" "These dialogues are also a repetition from the scene in front of a hotel at an alley in the first flashback." "Until now, when the third episode appears after the first and second episode and after the first sex and the second one, it is only once that the woman resists him with flapping his cheek" "Regardless his action with goodwill, he also responds violently like the first man." "He answers here." ""Don't look down on a man." "I can stand your nagging, but can't stand ridiculing men." "You can't be right to think that you're deceived by me even if you've been cheated 10 times."" "Hear the following dialogues." "I'm still a virgin." "I don't know how to deceive women and what to deceive." "The dialogue "I'm still a virgin" occurs some thoughts on the meaning of this sex." "So to speak, there're three goals;" "First,  has mockery on melodramas." "Expressing the direct dialogues," "Kim makes a fool of desire of melodramas which is hidden and beaten about the bush in melodramas." "Second, I cannot help saying that this dialogue is very animal like than humane." "Therefore, it makes us feel disgusted when we watch this film instead of feeling identified with it, which is a kind of alienation effect which makes us observe the situation." "The third is important." "When he says he's a virgin, this episode becomes a reversion of the first episode of the woman." "And this is a situation repetitive with the reversion." "She mentions that she's lost her purity after the first sex at the first episode, the first flashback." "She confessed it through her voice over narration." "This time, she faces with her past in front of his purity." "A different expression of same word makes her" "look at her past at the opposite side, and now she hears from him what she couldn't say then." "Through a kiss with spitting her candy, now she comes to have freedom to follow her free desire as she escapes from her inner prison." "We should recall that this space is where they are not observed." "Although there's a beggar, he's asleep." "Is this action of sex of the man and woman animal-like or to be humans?" "This is a question of Kim Ki-young who bets not easily." "Although sex is the same action as the previous two flashbacks in that it is animal-like," "Kim Ki-young thinks that they can become human beings through recovering their free will to follow their desire through trust in their relationship." "It is the reason the beggar runs out of there in stealing a glance at them." "Through the action of the beggar," "Kim Ki-young suggests that the position of observer should be invisible." "So to speak, recalling the time of 1975, when the Emergency action of the Revitalizing Reform government was taken violently with authority, when the whole country became a prison with the anticommunist national policy, and when this film was produced," "Kim Ki-young pushes this film to become a critical text of the time." "The man and woman doesn't care about the beggar's running out." "Why did he run out?" "He becomes afraid of this free action." "In the time of authority, in the society of prevailed observation, ignoring the observing gaze and showing free actions is a kind of resistance." "He becomes afraid of facing this resistance." "Then we, however, face with another question." "Why do they run away together after sex?" "Why do they come back to restriction of reality again?" "If they'd stay in that train, they could've run away towards the other side?" "The reason they come back is to keep their Promise." "They promised to come back, and keep their words to come back to their positions." "This action of return is very important at this moment." "Animals don't keep their Promise." "Or there's no reason to keep their words." "Because animals follow their instincts." "To promise and to keep a promise is only for human beings." "When the man and the woman come back to their position, they come back after they become human beings from animals." "The action of keeping their promise is no other than realization of trust in ." "To recover trust." "The officer asks him for her to recover her will to live through recovering trust." "So to speak, this action of return is an expression of her regaining her will to live after recovering her trust." "This, however, is not the end of test for them." "When they come back to their dinner table," "I can't but say that, if I allow to say, these three literally shovel into their mouths like animals." "The frame shows the reflection of the man and the woman on the window." "That is, the two-shot of the two." "And this is a shot to show a imaginary married couple." "The woman is now in the position of wife where she wanted." "Then, here occurs a question undone until now." "About the flashback which is mentioned so often in this film but hasn't been shot." "Now, you should explain." "Why did you kill a man?" "That's the question." "Why on earth did the woman kill a man?" "Which man did she kill?" "So to speak, it is a Pandora's box in ." "While they have dinner, he asks the question all of a sudden." "She answers in two ways." "One is the voice over narration." "She had many abortions in the relationship with men." "The abortion must be repetitions of killing babies in her body." "At this moment, her hatred object disappears, and she has committed serial murder incidents in a fantasy of obsessive-compulsive neurosis on the existence of a baby in her to replace the object, as if the abortion is like killing her men." "We need to remember the first scene of the film now." "She must live with a man with a girl." "When a taxi just arrived, a man and a girl follow her." "The voice over narration tells that she is not her daughter." "And she goes to the bench in Yeo-soo to see the man for 3 years as she mentioned." "In the third flashback, she said that there's 2 more years to get released from the prison." "Even if she got pregnant from the sex with the man here, the baby would be 5 years old, but the girl in the first scene looks a lot older than 5 year old girl." "So to speak, that is clear." "She became barren after many abortions." "That means she won't have abortions any more as well." "She pays off her sin by killing babies until now." "When she can't pay off her sin any more, she put the action of murder into practice as she moves the object from the inside to the outside." "The action of killing babies, the abortion is at the same time a repetition of killing a man who got her pregnant." "She didn't know it, so her action moves to a symptom of a mental disease to show a kind of obsession, and transfers to the action of killing men." "On one hand, the woman who answered with the voice over narration repeats stabbing action like a conditional reflex for his question." "Her gesture here looks like an electronic doll rather than delivers a certain intention." "Well then, there's a question left." "She recovers her trust on the way to come back to Seoul now." "An action left is the second request by the officer that a woman needs a man in order to regain her will to live." "It is now the time for the second request." "Kim Ki-young's details are composed in this way." "Instead of creating details to present reality or to convince the scene," "Kim grants a fixed role to mark his observation importantly to show now." "Then, Kim is not the kind of cineaste who thinks that it's unavoidable if the viewers miss what he wants to show now." "He thinks that it should be expressed and delivered in any how." "So, he tried his best to deliver it to the extent that it looks coercive." "The woman and the man come back to the prison, which means it's time to be apart now." "This scene is shot in a way the camera follows three characters in a long take without editing at a long distance, which is exceptional in ." "There's no music." "Please remember that until now, hasnoshot which looks at all the characters in a frame for a long time at a distance like this scene." "In changing shots, the camera contains three characters in a frame as far as possible." "Then the man and the officer are shot in a frame, which becomes an opposite shot of the woman." "The movement looks very graceful." "It looks very simple, but runs in a way that the camera distracts the characters and that converges them again in a frame with the change of camera's position." "After they arrive at the prison, this scene looks strange at two points." "First, this scene has not point-of-view shots since then." "Second looks stranger, however." "I think it looks uncanny." "At the beginning of this scene, he says that they should be apart now." "His words must be towards the woman for sure." "Strangely to say, Kim Ki-young shot this scene as if the man talked to the officer." "Or it looks like the man parting with the officer, not with the woman." "This angle cannot be wrong in this movement." "Kim Ki-young is the director who doesn't make a confusion with the fixed hearing point of the character who listens to the dialogues." "Moreover, as for his talent of directing, wasmade when he was at the peak of his ability." "I think it's very important to explain this." "If I can't explain it, the last scene of parting should be suddenly explained as a melodrama with abandoning all the assumption until now." "If I apply the way of explaining melodramas to , the film must be totally misunderstood." "Until the last moment, Kim Ki-young is fighting with Lee Man-hee." "It seems that Kim Ki-young thought Lee Man-hee promoted  to the abstract level with using very cinematic expressions, but that surrendered to the mood of melodramas." "The woman never answers for the man's request until they part each other." "Or she never accepts the need for a woman." "In this scene, Kim Ki-young shows as if the man says good bye to his lover, the officer, not to the woman." "There's a reason to shoot it this way." "The test of the officer" "looks like a failure here." "Or it is conventional that this way of directing ends a film here generally." "But Kim Ki-young starts to use an almost violent method here." "The officer grabs the woman and tells her all the information." "She listens to her words with broken heart." "Look at this horrible scene, never impressive." "The officer seems to order the woman's response like in the prison." "So to speak, the response of her is not an awakening, but a disciplined attitude." "It's not that she is willing to accept the need for a man." "It's just a response of the officer's request." "She spits her candy out of her mouth, to respond to the officer at this moment." "It should be reconsidered to explain it as an awakening of free action out of breeding." "We should think about the oppressive request of the officer." "I'd like to suggest the different version." "Sucking candy in this film full of observations like clinical test as obsessive can be explained as the woman's regression." "Candy is not for an adult." "When candy is offered by the protector and observer," "In fact, the action of eating candy is no less than a regression to oral stage of a child" "When the woman is asked a new response from the officer who offers her candy, she spits candy." "Spitting candy is not resistance." "This action is rather a transfer from silence to an action of language in order to say her words." "We should remember that the mouth cannot know how to talk with swallowing languages." "All languages should be out from the mouth." "At this moment, if I could be allowed to say this rabid words, the mouth literally discharges excrements." "The mouth to eat and the anus to discharge." "These two organs are connected in fact." "I'd like to recall that she goes to bathroom, whenever she tries to kill herself." "If she just commits suicide, she could've justjump out of the train simply." "She doesn't choose the way until the end." "So to speak, her action of suicide at the bathroom is a failure of discharging action." "There's a famous proposition of psycho analysis." "The difference between human beings and animals is distinct with who to handle their excrements after discharging." "This isn't what I said." "Freud explained that anal stage comes after oral stage." "The woman comes closer to the window calling him honey." "Now she occupies the entire position of wife for him." "She answers for the imperative that a woman needs a man, which is the second request of the film." "We should think that this is the answer for the request of the officer." "The two looks pitiable for the iron gate, but the action of the woman doesn't appeal to the man." "It is a confession of modification for her own attitude." "Then she says her name in this film." "Until the last part of , no one has called name and she hasn't mentioned her name." "Only here she reveals her name." "So, she recovers her self now." "But, let's think of the man." "We're now facing with a question why the man never says his name." "After she uses the term honey in saying her name, the scene is connected with where he is arrested by the detectives." "On this scene, I can't help saying the following even with a schematic limit." "So to speak, the test is ended here." "She recovers her fantasy of trust." "She agrees the supposition that a woman needs a man, and she returns herself to the position of wife." "Then, the ending is now acceptable." "When the film started in the beginning," "I asked you to remember the strange part of starting point." "When she comes to this place, the bench, she is in fact a wife of another man, and a mother of his daughter." "The most embarrassing situation at the last scene is a question what she would do if the man really appears." "Therefore, the last scene could be literally a vain gesture." "The vanity is what she know mostly than anyone." "Since she knew the man never comes, she comes to see him here sitting on the bench." "Or because of that, she is waiting for him, not looking for him everywhere." "isanobservation of Kim Ki-young on the way of life which was a illusionary support in the 1970's." "Now it is a lonely film since the partner hasbeendisappeared." "In watching , I hope  is discovered somewhere like a miracle and to talk about these two films together someday." "I hope that moment to come while watching this last scene expecting it with you sincerely." "I appreciate the Korean Film Archive for inviting me to introduce ." "Thank you for you watching us with me until now." "Chung Sung-ill is now leaving."