Bom Yeoreum Gaeul Gyeoul Geurigo Bom (2003)

 

 

 

 

 

 

Spring, Summer, Fall, Winter... and Spring

봄 여름 가을 겨울 그리고 봄 

Bom Yeoreum Gaeul Gyeoul Geurigo Bom (2003)

 

 

 

Directed by Ki-duk Kim
Writing credits Ki-duk Kim

Genre: Drama
Plot Outline: The life of a Buddhist monk from when he was a child taken in by the temple to his last days as an old man.
User Comments: Season To Taste
User Rating: 8.2/10 (800 votes)

 

Credited cast:
Yeong-su Oh	....	Old Monk (as Young-soo Oh)
Ki-duk Kim	....	Adult Monk
Young-min Kim	....	Young Adult Monk
Jae-kyeong Seo	....	Boy Monk
Yeo-jin Ha	....	The Girl
Jong-ho Kim	....	Child Monk
Jung-young Kim	....	The Girl's Mother
Dae-han Ji	....	Detective Ji
Min Choi	....	Detective Choi
Ji-a Park	....	The Baby's Mother
Min-Young Song	....	The Baby
rest of cast listed alphabetically
Min-young Song	....	The Baby
(more)

Also Known As:
Frühling, Sommer, Herbst, Winter... und Frühling (2003) (Germany)
Spring, Summer, Fall, Winter... and Spring (2003) (International: English title)
MPAA: Rated R for some strong sexuality.
Runtime: 103 min
Country: South Korea / Germany
Language: Korean
Color: Color
Sound Mix: Dolby Digital
Certification: Finland:K-11 / Germany:12 / Hong Kong:III / Netherlands:MG6 / Portugal:M/12 / Sweden:7 / Switzerland:12 (canton of Geneva) / Switzerland:12 (canton of Vaud) / Switzerland:14 (canton of the Grisons) / UK:15 / USA:R

 

 

 

 

 

 

 

 

User Comments:

writers_reign
London, England

Date: 19 June 2004
Summary: Season To Taste

Time and again we are told that film is a visual medium and though I've had cause to argue against that - and will do so again when discussing writer-led movies like those of Mankiewicz - this one proves the point in spades.

 

I'd love to be a fly on the wall if some distribution outlet put this in a can labelled with one of the popcorn and/or computer graphic specials and all the air-heads sat there wondering what the hell became of wallpaper movies.

 

This is, first of all a visually ravishing film that forces you to adapt to its snail-like pace and spoon-feeds the basic lessons of life that parents (but few, alas, parents of TODAY) used to teach with the rusks and baby formula.

 

Time was we got these painless lessons as we stood in Andrew Stone's study along with Mickey Rooney's Andy Hardy and learned only by osmosis what Judge Hardy was really saying.

 

Now we get it in a floating temple in the middle of a lake, surrounded by highly picturesque trees growing right out of the water and tall cliffs enclosing us.

 

Here, in almost total isolation, live Master and Pupil and there are lessons to be learned and learned they are.

 

Given the isolation and the timeless, shapeless garments they wear we could be in any century from the 9th to the 21st but with the arrival of two women, mother and daughter, in modern dress we get an inkling - not to say a look at a very modern bra and a visible panty line - that we are in the present.

 

A later sequence introduces two plain-clothes policemen complete with handguns and mobile phone but somehow none of this is allowed to fracture the MOOD that has been created as methodically as a spider spins a web; the web has been spun around us, the audience and we are happy to bask in its centre. The Matrix it ain't. 9/10

 

 

 

	Kim Ki-Duk / Giant Robot screening at the Laemmle Monica 4 On Thursday, March 18, Giant Robot hosted a screening of Kim Ki-Duk's Spring, Summer, Fall, Winter... and Spring. The award-winning film is Kim's most polished piece so far, couching his recurring sordid themes of murder, corruption, and forgiveness in the most beautiful setting yet--a floating temple in the mountains of Korea. Sony Pictures Classics arranged to have the controversial director attend the Santa Monica screening, and he arrived just in time to answer a few questions from the audience before joining the reception at GR2.   GR: Can you tell us more about the Buddhist elements of the film? KKD: on the question of the meaning of deliverance, I believe the way we are living our lives here today--living in itself--is meaning. Time is too precious to go off into the mountains and to pray all your life. I think living out in the real world, clashing and in conflict with each other, may be a truer path to meaning. I am a Christian. While the film deals with Buddhist themes and elements, I made this film without having studied anything about it at all. Nevertheless, I believe the reason I was able to deliver these ideas was because I am Korean. Before Christianity, Buddhism was the main religion of Korea for 1500 years. Even though one might not be a Buddhist, one can't help but be under the influence of that long-standing culture, so I believe most [Korean] people can imagine and create this kind of film without being a Buddhist. This film is about Korean culture, and about the spirituality of Korean people.   GR: What was the significance of you starring in your own film? KKD: Actually, the reason I starred in the film was because the original actor who was cast for the part could not make it. I felt that as important as individual roles were, the natural backdrop was even more crucial to this film. This film not only starred human beings, but also the trees, the scenery, the boat, the cat, the snakes, the dog. They were all equal parts of the cast. During the winter sequence the most important elements were snow and ice; they were ready and the original actor wasn't, so I felt that anyone can step into that role and not affect the film significantly. The timing also had a role in the decision, as I would have to wait a whole year for another winter. one very important concept was that during the spring, summer, and fall, one needs a boat to reach the temple, but during the winter, one can walk across the ice. In any case, if my presence in the film stood out for anyone, I apologize! GR: Can you tell us something about the location, and whether that was an existing temple? KKD: I designed the temple, and it was painstakingly and lovingly built over three months. It was made as if it were a real temple, not just a set piece. After the filming was finished, it was torn down. If anyone wants to travel over there to see the temple, you might have to float one of your own with your imagination. The temple is no longer there, but the location is still very beautiful. GR: Was the lake pre-existing? KKD: Yes. The reason I was first attracted to this location was because of the 300 year-old trees that were naturally growing out of the waters. I believe this place is unique in Asia in that regard. I imagined building a temple there would have a magical and beautiful quality to it. Since the location was within a national park, we could not build anything permanently. Tearing it down at the end was painful for me and everyone else. Special thanks to Ki Won Yoon, Sony Classics, Sun-Young Moon, KOCCA, and KAC.

 

 

 

 

 

미디어로듣기클릭

01. PIANO CONCERTO - MAIN THEME   
02. VOCALISE   
03. CAN`T FORGET HER   
04. SAD AMORE   
05. FIRST LOVE   
06. ENDLESS SKY   
07. CRYING IN THE WIND   
08. LETTER OF TEARS   
09. CLOUDY DREAM   
10. LONELY DIARY   
11. FAREWELL   
12. DEAD FISH   
13. SADNESS   
14. LONELY PRAYER   
15. LOVE THEME 1   
16. HEAVENLY TEAR   
17. LAST BREATH   
18. FAREWELL - VOCALISE VERSION   
19. MAIN THEME   
20. MERCY   
21. SICK GIRL   
22. FOGGY MOUNTAIN   
23. LOVE THEME - REPRAISE   
24. END CREDIT   
25. MARTIAL ART TRAINING   
26. FRUSTRATION   
27. BONUS TRACK - OASIS LOVE (TECHNO DANCE MIX) 

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