227 reviews
not only cinema, but art
This film is a good example why cinema is called an art - this is not just another movie, but a real piece of art. The pleasure of seeing it belongs to the aesthetics, and it transcends beyond the action and beyond what only happens on screen, or what the characters say and do.
It is both a simple and complex story - the story of a life, catching all seasons of development of man: innocence of childhood - so quickly lost unfortunately, mistakes of the young age, tragedies of maturity , and wisdom coming with the old age.
The film is filmed at one location of a cut-breathing beauty. Beauty of nature is being maximized by the art of the camera. The soundtrack has little dialog, but the expressiveness of the actors makes the dialog useless. You feel the drama, you do not need to hear the words, and the music says more than words.
There are a lot of symbols in this movie, and I probably lost most of them because they belong to the Budhist culture. There are however many other symbols that speak to the European spectator - the cycles of life, the rhythms of nature, the magic figure 4, like the number of seasons of the year, or like the number of parts in classic symphony, the unity of space as in Greek tragedy, and time - one life instead of one day, all give to this creation a wonderful symmetry and equilibrium.
Worth seeing, this is a film that will make the delight of anybody who believes like I do that cinema is an art.
It is both a simple and complex story - the story of a life, catching all seasons of development of man: innocence of childhood - so quickly lost unfortunately, mistakes of the young age, tragedies of maturity , and wisdom coming with the old age.
The film is filmed at one location of a cut-breathing beauty. Beauty of nature is being maximized by the art of the camera. The soundtrack has little dialog, but the expressiveness of the actors makes the dialog useless. You feel the drama, you do not need to hear the words, and the music says more than words.
There are a lot of symbols in this movie, and I probably lost most of them because they belong to the Budhist culture. There are however many other symbols that speak to the European spectator - the cycles of life, the rhythms of nature, the magic figure 4, like the number of seasons of the year, or like the number of parts in classic symphony, the unity of space as in Greek tragedy, and time - one life instead of one day, all give to this creation a wonderful symmetry and equilibrium.
Worth seeing, this is a film that will make the delight of anybody who believes like I do that cinema is an art.
understated beautiful contemplative
a film of about the cycles of life, about solitude and love, innocence, corruption and redemption. stunning cinematography. lots of allusions and metaphors, as you might expect from Korean cinema. contemplative.
the story appears to centre on the life of buddhist monks living on a floating house, but as the film progresses, one sees that this is a film about the constancy within change and renewal. The female characters are not the most positive roles, representing corruption and temptation, tho also providing the means for renewal.
There are some memorable scenes not least the house in winter and the knife writing scene, this is not for those seeking martial arts action,
personally i found it slipped into one of favourite films list.
the story appears to centre on the life of buddhist monks living on a floating house, but as the film progresses, one sees that this is a film about the constancy within change and renewal. The female characters are not the most positive roles, representing corruption and temptation, tho also providing the means for renewal.
There are some memorable scenes not least the house in winter and the knife writing scene, this is not for those seeking martial arts action,
personally i found it slipped into one of favourite films list.
a Buddhist meditation on life and death, and what surrounds us
I remember when I saw this film on screen last year, I was struck by the rhythm director Kim Ki-Duk used in the film. It's deliberate, too deliberate for most I'd suppose. But like a reading good piece of philosophy, the filmmaker allows the viewer to get as much as they may find in the work. The story is more of a fable than a really conventional narrative- a baby is delivered to the steps of a Buddhist house on a lake, where the boy is raised by a master. He grows up, and falls temptation to the desires of the world. He decides to leave, only to return and find himself again. In the end, as winter comes, things come full circle. Each of the 'seasons' of the film are handled delicately, with the kind of simplicity that may appeal even more to children (the segment of the first 'spring' with the child transcends religion and goes into the basic stance of nature). The scenes of finding lust in 'summer' is not terribly graphic, but it puts the point on what is right and wrong in the customs and traditions of the religion. Then in 'Autumn', there are harsher lessons to be learned, and this also contains the best acting from the old master and the young, angry pupil. And 'Winter' becomes the most meditative of them all, with next to no dialog. Indeed that may be the turn off to most viewers- to say that the film isn't supported by dialog is an under-statement. And its not necessarily documentary realism. What I sensed from the film, and what stuck with me for a few days afterward, was the spiritual attitude behind the style, the confidence that the rhythm had a connection with the subject matter. It's one of the most soulful films to come out of the Eastern world in some time. It's less a traditional drama than a unique experience, for better or worse, really more for the better.
- Quinoa1984
- Aug 23, 2005
- Permalink
SYMBOLISM AND MEANING
At the risk of boring you all senseless here are some observations off the top of my head.
THE HUT Representing the self. All the possessions and shelter needed is on the floating hut. When the young man can no longer live at peace and comfort in the hut then bad things transpire. He never commits lustful acts in the hut. When we seek happiness outside ourselves, we are never truly content.
THE DOORS The doors by the lakeside and in the hut are symbolic rather than prescriptive. The fact there are no walls means their use is not forced but elected. They represent morality and discipline. Morality is not defined by a higher power but by society and the self. By adopting the constraints the doors engender, self-discipline is attained. As soon as the young man transgresses these self-imposed boundaries, to sneak across to the young woman, then disaster follows.
THE DEAD ANIMALS The Master allows the young boy to let the animals die. He does not become an all powerful father figure, cleaning up after him, but allows him to make mistakes and suffer the consequences. Buddhism does not have a higher power but rather promotes self-awareness.
THE MILLSTONE AND BUDDHA Represent the twin stones of regret for killing the fish and the snake. What you do unto others, you do unto yourself. He has carried that karma around with him all his life until he transcends them both, carrying them to the top of the hill, near heaven. Here he cuts himself free and attains redemption through struggle.
THE MASTER Is a great teacher, but does not lecture. Hardly a word is spoken, but lessons are learned. A good teacher points the way for a student to discover self-evident knowledge for themselves.
THE MOTHER The veil, representing guilt and shame are ultimately the cause of her downfall. Hiding from the outside world can bring about ruin.
THE YOUNG BOY Both at the beginning and the end, represents us. A good life is attained not by the absence of bad thoughts, but rather by their mastery, so they have no hold over us. We choose our behaviour rather than it choose us. The new boy is not born without sin, but rather must walk his own path to divinity. The same actor playing the young boy show the eternal cycle of the human soul.
THE SEASONS The endless cycle of birth, growth and death.
THE HUT Representing the self. All the possessions and shelter needed is on the floating hut. When the young man can no longer live at peace and comfort in the hut then bad things transpire. He never commits lustful acts in the hut. When we seek happiness outside ourselves, we are never truly content.
THE DOORS The doors by the lakeside and in the hut are symbolic rather than prescriptive. The fact there are no walls means their use is not forced but elected. They represent morality and discipline. Morality is not defined by a higher power but by society and the self. By adopting the constraints the doors engender, self-discipline is attained. As soon as the young man transgresses these self-imposed boundaries, to sneak across to the young woman, then disaster follows.
THE DEAD ANIMALS The Master allows the young boy to let the animals die. He does not become an all powerful father figure, cleaning up after him, but allows him to make mistakes and suffer the consequences. Buddhism does not have a higher power but rather promotes self-awareness.
THE MILLSTONE AND BUDDHA Represent the twin stones of regret for killing the fish and the snake. What you do unto others, you do unto yourself. He has carried that karma around with him all his life until he transcends them both, carrying them to the top of the hill, near heaven. Here he cuts himself free and attains redemption through struggle.
THE MASTER Is a great teacher, but does not lecture. Hardly a word is spoken, but lessons are learned. A good teacher points the way for a student to discover self-evident knowledge for themselves.
THE MOTHER The veil, representing guilt and shame are ultimately the cause of her downfall. Hiding from the outside world can bring about ruin.
THE YOUNG BOY Both at the beginning and the end, represents us. A good life is attained not by the absence of bad thoughts, but rather by their mastery, so they have no hold over us. We choose our behaviour rather than it choose us. The new boy is not born without sin, but rather must walk his own path to divinity. The same actor playing the young boy show the eternal cycle of the human soul.
THE SEASONS The endless cycle of birth, growth and death.
- rupertbreheny
- Apr 27, 2004
- Permalink
This is not only a Buddhist idea but one of the facts of life.
Perfect Simplicity
Perfect Simplicity
My review of this film should end with those two words. However, the 10 line minimum requirement that IMDb requires of all reviews belies the differences between my world and the world shown to me in Spring, Summer, Fall, Winter and Spring. I understand why IMDb does not want 1000's of (apparently) useless two-word reviews in their database. However, I would hope that they could make an exception for this film.
Perfect: The film is as close to perfect as a film could get. No shot is presented to us, nor a line of dialog uttered that does not make us ponder and understand at the same time. The film is also beautiful. (Like the previous reviewer, I am a fan of Asian cinema and never tire of the stunning ability of Asian directors to capture beauty on film.) This film exceeds most other Asian films I have seen in the cinematography regard. However, its beauty is surprisingly deceptive. Like most great films, it surpasses the 'cinematography' level of beauty and delves into the beauty of existence through its story. For example, the Old Monk has a different pet during each 'season' of his life. This is not discussed by the characters nor shoved in our face by the director as would have been done if Hollywood had done this film. It is merely background we experience and come to understand. Two days after viewing the film, I am still finding new reflections in my mind that encompass the cinematography, the literal story and the underlying context of the film.
Simplicity: This film approaches a level of cinematic Haiku. While I don't recall the entire dialog with any specificity, I am sure you could print the script on one page of paper. The amazing part is that while you are watching the film, you don't notice this. Every shot moves the story along. The simplicity of life as shown by the story is reflected in the simplicity of the film. After the film ended, I had a strong urge to move away from civilization and live or die in peace with nature. I enjoy (and have come to be too dependent upon) modern inventions, so I will stay at home. However, this film will remain in my heart. It does exactly what good story-telling is supposed to do: Take us completely out of our world and put us in another. There is no wonder that this film was selected for so many film festivals.
My review of this film should end with those two words. However, the 10 line minimum requirement that IMDb requires of all reviews belies the differences between my world and the world shown to me in Spring, Summer, Fall, Winter and Spring. I understand why IMDb does not want 1000's of (apparently) useless two-word reviews in their database. However, I would hope that they could make an exception for this film.
Perfect: The film is as close to perfect as a film could get. No shot is presented to us, nor a line of dialog uttered that does not make us ponder and understand at the same time. The film is also beautiful. (Like the previous reviewer, I am a fan of Asian cinema and never tire of the stunning ability of Asian directors to capture beauty on film.) This film exceeds most other Asian films I have seen in the cinematography regard. However, its beauty is surprisingly deceptive. Like most great films, it surpasses the 'cinematography' level of beauty and delves into the beauty of existence through its story. For example, the Old Monk has a different pet during each 'season' of his life. This is not discussed by the characters nor shoved in our face by the director as would have been done if Hollywood had done this film. It is merely background we experience and come to understand. Two days after viewing the film, I am still finding new reflections in my mind that encompass the cinematography, the literal story and the underlying context of the film.
Simplicity: This film approaches a level of cinematic Haiku. While I don't recall the entire dialog with any specificity, I am sure you could print the script on one page of paper. The amazing part is that while you are watching the film, you don't notice this. Every shot moves the story along. The simplicity of life as shown by the story is reflected in the simplicity of the film. After the film ended, I had a strong urge to move away from civilization and live or die in peace with nature. I enjoy (and have come to be too dependent upon) modern inventions, so I will stay at home. However, this film will remain in my heart. It does exactly what good story-telling is supposed to do: Take us completely out of our world and put us in another. There is no wonder that this film was selected for so many film festivals.
I was left speechless by this movie
This film left me speechless, and I still have a hard time putting how I feel about this movie into words. After seeing it the first time in the theater, my friend and I couldn't bring ourselves to say a word to each other...not even in the car on the ride back. The second time I saw it, after purchasing it, another friend and I walked around the campus for half an hour in silence. The third time, a friend and I sat in silence in her room for an hour after the movie was over. This film is that profound, touching, and moving.
Spring, Summer, Fall, Winter...Spring is the most beautiful movie I have ever seen. Visually it is fantastic, though several films surpass it in this aspect. However, the film manages to speak directly to the soul (or...failing to believe in the soul...something deep inside anyone watching it), and this is where it's beauty lies. Parts are so affecting that a painful nostalgia for a place you never knew overwhelms you.
I am sorry I cannot be more helpful...the quality that makes this movie so wonderful is well beyond words for me.
Spring, Summer, Fall, Winter...Spring is the most beautiful movie I have ever seen. Visually it is fantastic, though several films surpass it in this aspect. However, the film manages to speak directly to the soul (or...failing to believe in the soul...something deep inside anyone watching it), and this is where it's beauty lies. Parts are so affecting that a painful nostalgia for a place you never knew overwhelms you.
I am sorry I cannot be more helpful...the quality that makes this movie so wonderful is well beyond words for me.
- alexander-lewis
- Feb 17, 2005
- Permalink
The Diamond Sutra (or the Prajnaparamita Sutra)
After watching the movie a second time, I was determined to find out what the Old Monk had drawn on the deck of the hermitage. The only clue I had was the scene's subtitle: "Prajnaparamita Sutra it helps restore inner peace." Those were the words the Old Monk used to describe the sacred teachings that the Young Monk had to carve out as penance for his crime of passion. When I looked up the Prajnaparamita Sutra on the internet, I found out it was known as the Diamond Sutra of the Buddha.
The Buddha spoke the wise words in a monastery near Sravasti, saying that "this sutra should be called the Diamond that cuts through illusion because it has the capacity to cut through illusions and afflictions and bring us to the shore of liberation." There are 32 sutras or sections, and the 32 sections are also "marks" that are used to meditate on "the Tathagata" which means "the suchness of all things (dharmas)." The meaning of Tathagata is "does not come from anywhere and does not go anywhere." The insight into the truth of the sutras consists in a realization that "the idea of a self is not an idea, and the ideas of a person, a living being, and a life span are not ideas either." A self-realized or awakened "Buddha" is called a Buddha because he/she is free of ideas.
The "Buddha" in the Diamond Sutra is also called the World-Honored One, and his message can be summarized by two axioms: (1) "Someone who looks for me in form or seeks me in sound is on a mistaken path and cannot see the Tathagata." (2) "All composed things are like a dream, a phantom, a drop of dew, a flash of lightning. That is how to meditate on them, that is how to observe them."
Now I will have to watch the movie a third time and meditate on the 32 marks that the Old Monk draws with the cat's tail on the floor of the ashram. I will also feel the urge to count and see if there are really 32 marks.
The Buddha spoke the wise words in a monastery near Sravasti, saying that "this sutra should be called the Diamond that cuts through illusion because it has the capacity to cut through illusions and afflictions and bring us to the shore of liberation." There are 32 sutras or sections, and the 32 sections are also "marks" that are used to meditate on "the Tathagata" which means "the suchness of all things (dharmas)." The meaning of Tathagata is "does not come from anywhere and does not go anywhere." The insight into the truth of the sutras consists in a realization that "the idea of a self is not an idea, and the ideas of a person, a living being, and a life span are not ideas either." A self-realized or awakened "Buddha" is called a Buddha because he/she is free of ideas.
The "Buddha" in the Diamond Sutra is also called the World-Honored One, and his message can be summarized by two axioms: (1) "Someone who looks for me in form or seeks me in sound is on a mistaken path and cannot see the Tathagata." (2) "All composed things are like a dream, a phantom, a drop of dew, a flash of lightning. That is how to meditate on them, that is how to observe them."
Now I will have to watch the movie a third time and meditate on the 32 marks that the Old Monk draws with the cat's tail on the floor of the ashram. I will also feel the urge to count and see if there are really 32 marks.
Labored and self-conscious
- howard.schumann
- May 15, 2004
- Permalink
A Visual Delight
I'm constantly amazed by the appearance of some seemingly off-the-wall piece of art that when you view it evokes a stunning effect. The simplicity of this film, its low-key action and pace, its visual surrealistic beauty, all interact to create an emotional impression that is long-lasting and thought-provoking. Korea has been somewhat slower to enter the international cinematic world and here is a film with actors whose names stir little or no recognition. For myself, who has enjoyed the Korean films I've seen before, it was a delightful surprise. The film itself is a wonderful tapestry of Korean Buddhist culture, with quiet visual beauty, simple moral themes and human passions put into a simple, homespun perspective. The remarkable natural setting which reflects the wide spectrum of Korea's seasons, which range from hot, sticky humid-fraught summers to icy, cold snow-bound winters, become a metaphor of life with unadorned figures, completely human in form. The old monk becomes a witness to the interplay of human qualities, without judgment yet with a complete and quiet moral presence. The foibles of child cruelty is met with a simple retribution which imparts a lasting lesson. Judgment is always withheld and warnings are given simply. The effect of all of this rings long and lasting, much like the impression of a delicate Korean silk print: simple in design with plain brush strokes and stylized representations of nature-- yet, lasting in impression, often to the point of being unforgettable. I buy few videos and DVDs, preferring to see things I really enjoyed again and again. But, I've ordered this one.
A gentler addition to Kim's compendium of sexual obsession
SPOILER: Spring, Summer, Winter, Autumn
and Spring is something of a self conscious art-house film. Possibly Kim Ki-duk is trying to work off his reputation for making movies replete with violent sexual imagery, but he's not fooling anyone. Spring
contains admittedly in a much more restrained form most of the themes from his earlier works, The Isle and Bad Guy. Onto this, however, is pasted a hefty dose of Buddhist teaching. Or, from another perspective, an interesting juxtaposition of old and new.
Beginning in the Spring of an undefined year close to the present, the film is set on (and I mean, on) an isolated lake. A child acolyte lives out a life of quiet contemplation, punctuated by occasional acts of petty animal cruelty. His master, a monk, observes his young charge with increasing disapproval and orders him to undo his evil or face the consequences in his own life. It soon becomes apparent that he means this in anything but the figurative sense.
Moving through the seasons, Kim explores the "cycle of life"; with his acolyte experiencing youthful love (or lust), anger, violence and finally acceptance, contrition and peace. The film ends with a new acolyte and a new cycle: implying an endless repetition with subtle variation.
Spring is not exactly a subtle film, but it is beautifully done. Kim uses silence like few other filmmakers, matching Kurosawa or Bergman at their best. He punctuates these long slow movements with abrupt changes in tempo such as the arrival of Yeo. The pace quickens and the mood changes. The courtship of the adolescent boy and girl are some of the gentlest scenes in cinema (though culminating in a suitably Kim-like, energetic coupling).
With popular Buddhist and Confucian ideas now so firmly established in cinema (thanks in part to their bastardisation by George Lucas), the ideas in this film aren't exactly going to leave its audience in need of a large glass of perspective and soda (to quote Douglas Adams). Lust leads to possessive urges, which lead to violence; ones violent actions lead on to violence against oneself; peace (and redemption) is found not through approbation, but understanding oneself.
I can't quite dispel the notion that The Isle, with its sly humour and darker plot is a better film, or that Spring is, if not completely then at least partially, up the bottom of its own artiness. That said, it is a very, very pretty film. Its story is intelligent, if not awe-inspiring, and it is a delightful change of pace from most modern cinema. Most of all, it is probably one of Kim's most accessible films, and I shall certainly be watching it again if only to see Oh Yeong-su practising his calligraphic art with the tail of a live cat. 7/10.
Beginning in the Spring of an undefined year close to the present, the film is set on (and I mean, on) an isolated lake. A child acolyte lives out a life of quiet contemplation, punctuated by occasional acts of petty animal cruelty. His master, a monk, observes his young charge with increasing disapproval and orders him to undo his evil or face the consequences in his own life. It soon becomes apparent that he means this in anything but the figurative sense.
Moving through the seasons, Kim explores the "cycle of life"; with his acolyte experiencing youthful love (or lust), anger, violence and finally acceptance, contrition and peace. The film ends with a new acolyte and a new cycle: implying an endless repetition with subtle variation.
Spring is not exactly a subtle film, but it is beautifully done. Kim uses silence like few other filmmakers, matching Kurosawa or Bergman at their best. He punctuates these long slow movements with abrupt changes in tempo such as the arrival of Yeo. The pace quickens and the mood changes. The courtship of the adolescent boy and girl are some of the gentlest scenes in cinema (though culminating in a suitably Kim-like, energetic coupling).
With popular Buddhist and Confucian ideas now so firmly established in cinema (thanks in part to their bastardisation by George Lucas), the ideas in this film aren't exactly going to leave its audience in need of a large glass of perspective and soda (to quote Douglas Adams). Lust leads to possessive urges, which lead to violence; ones violent actions lead on to violence against oneself; peace (and redemption) is found not through approbation, but understanding oneself.
I can't quite dispel the notion that The Isle, with its sly humour and darker plot is a better film, or that Spring is, if not completely then at least partially, up the bottom of its own artiness. That said, it is a very, very pretty film. Its story is intelligent, if not awe-inspiring, and it is a delightful change of pace from most modern cinema. Most of all, it is probably one of Kim's most accessible films, and I shall certainly be watching it again if only to see Oh Yeong-su practising his calligraphic art with the tail of a live cat. 7/10.
What you see is what you get - a simple but very effective piece of film-making
Gave it 10/10 first time, only 6/10 second time
Beautiful cinematography, unsatisfying story
When she finds peace in her soul, her body will return to health.
The circle of life is everlasting. We, as busy humans, sometimes miss the opportunity to see it in full effect. The modern day conveniences of life and the hustle and bustle of work sometimes fog our eyes to the constantly moving world. Thankfully we have films like Spring, Summer, Fall, Winter
and Spring, to help guide us back to our roots. Through each season, director Ki-duk Kim shows us the journey of one young boy as he learns life through the hands and mind of an older monk. Through events that are beyond his control, this young boy learns about love, lust, jealousy, hatred, and eventually rage. He makes choices that ultimately effect his life causing turmoil and distress, yet somehow continually finds his way back to the floating house on the lake where his journey began. It is during his final visit home he learns of his final journey in life. As a new soul is handed to him, he embarks on a final journey using his master's lesson, to pay homage to the life he has lead.
When I watched this film the first story that came to mind was that told by Trina Paulus in 'Hope for the Flowers'. It is the story of two caterpillars that embark on a journey into butterflies. Along the way they experience a full range of emotions that are attached to life and death. In the end, they become two of the most beautiful creatures in the world. This is how I viewed this entire film. I felt as if I was watching a young caterpillar (the young boy) experience life and journey along the path to become the beautiful butterfly. The beauty of the scenes and the simplicity of this story not drenched in words only kept this image vibrant. The spiritual themes of this film are present, but not bold. They are not hitting you in the face and forcing you to understand, but instead showing you and demonstrating the power of those willing to believe. This is a quiet film that leaves much up to our imagination. We never leave the valley that surrounds the lake, we never know what year is currently going on outside of the forest, and we are meant to understand that this story could take place anytime. Kim gives us themes that can be used to express any period of time and is especially poignant in today's terror filled world.
I loved everything about this film. From the simplicity of the opening doors to introduce each scene to the stunning and hypnotic ending that makes you believe in the human spirit. If you walk away with anything from this film, I hope it is hope. Hope for everything on this planet, and especially a hope for our fellow man. Mistakes are made to learn by. Take these errors and accept them to move closer to the world you have always dreamed about. Be that young boy that is able to transform into the man he desires.
See this movie, and feel a warmth like no other. This is quite possibly one of the best films of the year. Amazing!
Grade: **** out of ****
When I watched this film the first story that came to mind was that told by Trina Paulus in 'Hope for the Flowers'. It is the story of two caterpillars that embark on a journey into butterflies. Along the way they experience a full range of emotions that are attached to life and death. In the end, they become two of the most beautiful creatures in the world. This is how I viewed this entire film. I felt as if I was watching a young caterpillar (the young boy) experience life and journey along the path to become the beautiful butterfly. The beauty of the scenes and the simplicity of this story not drenched in words only kept this image vibrant. The spiritual themes of this film are present, but not bold. They are not hitting you in the face and forcing you to understand, but instead showing you and demonstrating the power of those willing to believe. This is a quiet film that leaves much up to our imagination. We never leave the valley that surrounds the lake, we never know what year is currently going on outside of the forest, and we are meant to understand that this story could take place anytime. Kim gives us themes that can be used to express any period of time and is especially poignant in today's terror filled world.
I loved everything about this film. From the simplicity of the opening doors to introduce each scene to the stunning and hypnotic ending that makes you believe in the human spirit. If you walk away with anything from this film, I hope it is hope. Hope for everything on this planet, and especially a hope for our fellow man. Mistakes are made to learn by. Take these errors and accept them to move closer to the world you have always dreamed about. Be that young boy that is able to transform into the man he desires.
See this movie, and feel a warmth like no other. This is quite possibly one of the best films of the year. Amazing!
Grade: **** out of ****
- film-critic
- Sep 12, 2004
- Permalink
Like Buddhism, this film is best seen with a clear mind and no particular expectations
- planktonrules
- Oct 23, 2006
- Permalink
The five seasons
This is a hypnotic film to watch. The beauty of it lays in the simplicity in which it has been told. Director Ki-duk Kim's images feel like paintings by great masters.
This story about Karma and Buddist beliefs could have used a bit of trimming to make it more appealing, since at times it is too static. This is a film to stay away for those interested in fast action or special effects. No one is going to find them here. What the viewer will get is a feeling of well being and inner peace. The director seems to be teaching us a lesson in how anyone can achieve nirvana through self examination, meditation and doing good no matter to whom. Also, how cruelty, be it against a harmless animal, or a human being, will haunt those who transgress throughout life.
The acting blends in with the serene beauty of the temple in the middle of the lake, as we watch one season following another, as seen by the amazing cinematography by Dong-hyeon Baek.
This story about Karma and Buddist beliefs could have used a bit of trimming to make it more appealing, since at times it is too static. This is a film to stay away for those interested in fast action or special effects. No one is going to find them here. What the viewer will get is a feeling of well being and inner peace. The director seems to be teaching us a lesson in how anyone can achieve nirvana through self examination, meditation and doing good no matter to whom. Also, how cruelty, be it against a harmless animal, or a human being, will haunt those who transgress throughout life.
The acting blends in with the serene beauty of the temple in the middle of the lake, as we watch one season following another, as seen by the amazing cinematography by Dong-hyeon Baek.
Masterpice
- yeldarbitibayev
- Apr 25, 2020
- Permalink
Compelling and poetic
In a Korean temple floating on top of a lake, a Buddhist monk teaches a young apprentice through the years. The movie is in five sections. The first one has the apprentice as a boy. In the second one, he's a young man who lusts for a sick girl brought in by her mother for help. Each season brings a new chapter.
This is a very compelling story. It's simple, heart-wrenching and also life-affirming. The dialog is sparse and it completely fits the movie. It is poetry. Everybody who likes movies that is a little different should give this a try. This is one of those foreign art film that is completely watchable.
This is a very compelling story. It's simple, heart-wrenching and also life-affirming. The dialog is sparse and it completely fits the movie. It is poetry. Everybody who likes movies that is a little different should give this a try. This is one of those foreign art film that is completely watchable.
- SnoopyStyle
- Nov 4, 2014
- Permalink
Not that simple
I was not as impressed with this movie as most people here seem to be; I found it slightly dull and not very constructive in its message. Still, it is a beautiful piece of film-making, and it has enough developments to keep your attention despite the simplicity of the setting and the scarcity of characters and dialog.
As a symbolic tale, I didn't think it was simple at all. It was about the attempt - the failed attempt - to attain peace and serenity. It showed that no matter how lofty your ideals and no matter how much you isolate yourself from the world, the human condition remains the same. Life on the remote lake ultimately mimicked all the chaos, anguish and meaningless pain and death of the outside world. The monk's faraway place of worship became a lie; an escape; a retreat from the madness that had infected the monk himself as much as everyone else in modern society. A place for atoning for past sins, rather than living some virtuous pious life. A form of therapy rather than a noble pursuit in its own right. A self-inflicted prison, almost.
So the film-maker did not endorse any kind of romantic view of the monastic life style; he did not say it was an improvement over an ordinary life style. He said that Buddha may soothe, but he can't heal. While I'm not religious, I do believe that high ideals are capable of changing things for the better, so I'm not sure I can agree, on the symbol plane, with the film-maker's message.
7 out of 10.
As a symbolic tale, I didn't think it was simple at all. It was about the attempt - the failed attempt - to attain peace and serenity. It showed that no matter how lofty your ideals and no matter how much you isolate yourself from the world, the human condition remains the same. Life on the remote lake ultimately mimicked all the chaos, anguish and meaningless pain and death of the outside world. The monk's faraway place of worship became a lie; an escape; a retreat from the madness that had infected the monk himself as much as everyone else in modern society. A place for atoning for past sins, rather than living some virtuous pious life. A form of therapy rather than a noble pursuit in its own right. A self-inflicted prison, almost.
So the film-maker did not endorse any kind of romantic view of the monastic life style; he did not say it was an improvement over an ordinary life style. He said that Buddha may soothe, but he can't heal. While I'm not religious, I do believe that high ideals are capable of changing things for the better, so I'm not sure I can agree, on the symbol plane, with the film-maker's message.
7 out of 10.
Fantastic, almost silent, piece of art about human psyche.
I can't accept any negative opinion of this movie. It's not bad, it's great all the way. When it comes to life or destiny of Buddhist monk, this movie is not at all about it (or that is not it's main goal), but instead it tells a story about human psyche, emotions, desires, and guilt. I saw this movie in Belgrade's film festival FEST2004, along with 15 other most prize winning movies of the past year, and it was by far the best one.
If you don't mind the long silences where every frame has it meaning and artistic value you must not miss this movie. And when dialogue appears, it is there with a good reason.
vote: 10+
If you don't mind the long silences where every frame has it meaning and artistic value you must not miss this movie. And when dialogue appears, it is there with a good reason.
vote: 10+
- IvanRadovanovic
- Mar 12, 2004
- Permalink
Row, Row, Row your boat
Greetings again from the darkness. Korean director Ki-Duk Kim also wrote the screenplay and in the post-movie Q&A explained that this is a movie about life. Really it is the proverbial circle of life. The seasonal changes are the perfect backdrop for his vision of the changes in our lives. By far the most interesting portion of the film is during the teen years when the ill female visits. More life is experienced in this 20 minutes of filmmaking than in 2 hours of most. The symbolism of the boat is most appealing, although the buddhist spiritual scenes threw me off course at times. Did enjoy the director's comments on the stones (burdens) we all carry in our life and how at the end, we usually reflect on those times. Definitely worth seeing as a metaphor of the circle of life. Some of the scenery is beautiful and peaceful. By the way, that is the director as the master at the end of the film.
- ferguson-6
- Mar 28, 2004
- Permalink
Kim's Tale of Growth Soars
Spring, Summer, Fall, Winter and Spring is one of those unique films. A film that is beautiful watch and incredibly tough to digest. Without a doubt, this movie requires deep thought, but with careful examination, this movie is definitely one that strikes into the deepest of hearts and souls. The film's chronicle of a young monks journey from an innocent youth, to a troubled adolescence to a reborn adulthood is extremely deep, with all kinds of messages that emphasize the importance of spirituality and the dangers of lust and sexual obsession.
The film technically speaking is beautiful to behold. Korean movies generally come out of the same mold. In other words, they are very colorful and the picture of their films are sharp and vibrant. This is especially true in the widely popular Memories of Murder (Or Salnui Cheouk) and Kim's follow-up film, 3-Iron (Or Bin-Jip). The environment of the forest is especially engaging to the eye and it adds to the isolated atmosphere of the film as well as the isolated personalities of the characters. Techinically speaking, Kim does a fabulous job with this film and the beautiful cinematography is one of the many reasons why Kim is slowly becoming one of the more recognized Asian filmmakers of his generation.
However, cinematography can't do it alone. The theme of the film as well as the development of characters is extremely important in a film. Kim goes with a different approach in this film that most filmmakers aren't bold enough to do: he relies on silence and actions rather than dialog (much like his follow-up film, 3-Iron, in which his main male protagonist doesn't say one word). It sounds eccentric, but the characters do show their personalities well and the theme of the film is also carried out in a way that words could never do. While this further shows Kim's greatness, a great deal of credit goes to the actors as well. Their excellent performances with such a limited script is commendable and a premiere example of a new kind of art form that is developing in film during this century.
Without a doubt, film purists and art-house film lovers will adore this film, but overall, anyone who has an open mind should feel at home with this film. Granted, like his other film, 3-Iron, this movie is not the kind of film that you can sit back with your friends and laugh away with a tub of popcorn. Instead it is a serious film that displays that film is art and a brand of literature, and like those two genres this movie should be studied and analyzed in order to get the most out of this film. Spring, Summer, Fall, Winter and Spring is a pensive film, but for those who put the time in analyzing this film will be rewarded with a message and work of art that is like no other. Kim's latest film, 3-Iron was a study of love and relationships. Spring, Summer, Fall, Winter and Spring is a study of the growth, fall and rebirth of life.
Final Analysis: Excellent! Highly Recommended!
The film technically speaking is beautiful to behold. Korean movies generally come out of the same mold. In other words, they are very colorful and the picture of their films are sharp and vibrant. This is especially true in the widely popular Memories of Murder (Or Salnui Cheouk) and Kim's follow-up film, 3-Iron (Or Bin-Jip). The environment of the forest is especially engaging to the eye and it adds to the isolated atmosphere of the film as well as the isolated personalities of the characters. Techinically speaking, Kim does a fabulous job with this film and the beautiful cinematography is one of the many reasons why Kim is slowly becoming one of the more recognized Asian filmmakers of his generation.
However, cinematography can't do it alone. The theme of the film as well as the development of characters is extremely important in a film. Kim goes with a different approach in this film that most filmmakers aren't bold enough to do: he relies on silence and actions rather than dialog (much like his follow-up film, 3-Iron, in which his main male protagonist doesn't say one word). It sounds eccentric, but the characters do show their personalities well and the theme of the film is also carried out in a way that words could never do. While this further shows Kim's greatness, a great deal of credit goes to the actors as well. Their excellent performances with such a limited script is commendable and a premiere example of a new kind of art form that is developing in film during this century.
Without a doubt, film purists and art-house film lovers will adore this film, but overall, anyone who has an open mind should feel at home with this film. Granted, like his other film, 3-Iron, this movie is not the kind of film that you can sit back with your friends and laugh away with a tub of popcorn. Instead it is a serious film that displays that film is art and a brand of literature, and like those two genres this movie should be studied and analyzed in order to get the most out of this film. Spring, Summer, Fall, Winter and Spring is a pensive film, but for those who put the time in analyzing this film will be rewarded with a message and work of art that is like no other. Kim's latest film, 3-Iron was a study of love and relationships. Spring, Summer, Fall, Winter and Spring is a study of the growth, fall and rebirth of life.
Final Analysis: Excellent! Highly Recommended!
Minimalist yet poetic, beautiful and engaging
A Buddhist monk lives in a temple in the middle of a lake. He is training a child to be a monk. We see the transitions the younger monk goes through as he ages, his discoveries, trials and tribulations, temptations, sins, punishments and atonements.
Minimalist yet poetic, beautiful and engaging. Very basic setting - pretty much everything happens in the temple and around the lake. Plot is reasonably simple and there's hardly any dialogue.
Yet it works.
While simple, the plot is profound and engaging. There is a structure to scenes and the narrative that is quite poetic. Dialogue is not essential here as the actions speak for themselves. The setting is stunningly beautiful, filled with vibrant colour and wonderfully filmed. The cinematography is superb.
On the downside, the structures that make the film so poetic also make it quite predictable. The title also gives away the ending. So while profound, not too powerful, as, from a point, you can see where the movie is going. The final few scenes are actually redundant.
Minimalist yet poetic, beautiful and engaging. Very basic setting - pretty much everything happens in the temple and around the lake. Plot is reasonably simple and there's hardly any dialogue.
Yet it works.
While simple, the plot is profound and engaging. There is a structure to scenes and the narrative that is quite poetic. Dialogue is not essential here as the actions speak for themselves. The setting is stunningly beautiful, filled with vibrant colour and wonderfully filmed. The cinematography is superb.
On the downside, the structures that make the film so poetic also make it quite predictable. The title also gives away the ending. So while profound, not too powerful, as, from a point, you can see where the movie is going. The final few scenes are actually redundant.
Quite Disappointing
The recommendations and visuals would lead you to believe that this is a really thoughtful, unique movie. Indeed the first two chapters "Spring" and "Summer" were promising, leading up to a plot which manages to hold the attention. After this is starts to go downhill and the final third is just awful, with a few very silly scenes.
Also lacking is any kind of subtlety. You expect a quite thoughtful meditation, but really you get a series of really simple dumbed-down messages like "it is bad to hurt animals" or there are consequences to evil acts. The director is not content with making a point once, or obliquely, he has to make the point three or four times each chapter.
This points to a basic lack of editing directorial concision. For instance, the child monk in "Spring" is naughty, mean to three wild animals, a fish, a frog and a snake. The master chastises him an makes him rescue the animals. The whole series of scenes where the child finds each animal in turn and then has to rescue each animal afterwards are needless filler. One animal would have made the point far more clearly and forcefully.
Given the quality of the visuals available and the basic concept of the story a much better movie could have been made.
Also lacking is any kind of subtlety. You expect a quite thoughtful meditation, but really you get a series of really simple dumbed-down messages like "it is bad to hurt animals" or there are consequences to evil acts. The director is not content with making a point once, or obliquely, he has to make the point three or four times each chapter.
This points to a basic lack of editing directorial concision. For instance, the child monk in "Spring" is naughty, mean to three wild animals, a fish, a frog and a snake. The master chastises him an makes him rescue the animals. The whole series of scenes where the child finds each animal in turn and then has to rescue each animal afterwards are needless filler. One animal would have made the point far more clearly and forcefully.
Given the quality of the visuals available and the basic concept of the story a much better movie could have been made.