Mother

If you're familiar with Bong Joon-ho's works, then Mother comes without surprise at how he deftly weaves a story about mother's love into a mystery thriller that will keep you guessing every step of the way, with enough emotional firepower to twist a knot in your stomach when the truth gets played out. It's a standard three act structure here where the first hour establishes the strong family bonds between Mother (Kim Hye-Ja) and child Yoon Do-Joon (Won Bin), bordering quite close to being incestuous (but this is glossed over since we're dealing with a man-child here), before they key murder scene beocmes the catalyst for Mother to do some serious investigations work in order to prove her son's innocence, given that the perverted justice system provided that bad after-taste.

I particularly enjoyed the epilogue, which ties in with the inexplicable opening credits which made more sense once you've come full circle at the end. It's the classic mantra of two wrongs never making one right, and how in the protection of loved ones, one will resort to extreme measures that blind common, good sense, and become a "rather you than me" syndrome, which I believe every one of us are capable of if we find ourselves pushed to a corner with no where to run. Bong Joon-Ho is again at his element in unravelling the investigations process, which ties in black comedy with painful, dramatic moments, being evenly paced with heightened tension at appropriate moments.

And kudos of course must go to actress Kim Hye-Ja, who almost single-handedly carried the film on her own, since Won Bin disappears mid-way through. Her single mom, with so much affection for her son, just dazzles and makes it convincing that she's been that single pillar of strength and shelter for her son when he gets up to shenanigans brought about by no good company of his. It's not the first time Do-Joon got himself into a fix, given the strange mannerisms he's been taught to try and jog his memory, and Won Bin showcases his acting chops as the dim-witted boy whose disability gets frequently exploited, coming off as endearing at times, so much so that you're quick to judge and side with him as a victim of circumstances, being at the wrong place at the wrong time.

Mother is definitely recommended stuff, especially if you're a Bong Joon-Ho fan as he delivers yet another powerful film that will leave plenty of post-screening discussion.

As quirky and original as you'd expect from the South Koreans. MOTHER is a lengthy mystery film featuring an unusual storyline about a mother who seeks justice for her unfairly imprisoned son. Along the way, there's all the kind of bizarre supporting characters, atypical incident and genuinely surprising plot twists that you'd expect from a Korean film. This is a movie that keeps you watching throughout despite the slow pacing and lack of action.

The character development is excellent: fully natural, low key throughout, and thoroughly involving. Unsurprisingly, the actors selected to pay the various characters are just right for the part, particularly Hye-ja Kim who we only ever know as 'mother'. She's a unique choice of lead and fits the role perfectly. Won Bin, who made an excellent action hero in THE MAN FROM NOWHERE, is equally excellent here as the slow-witted son and he really gets his teeth into the part.

MOTHER may be a slow burner of a film, but it has a subtle way of truly involving the viewer in the storyline. The tension builds as the climax nears, and then the movie hits you with some moments of quiet devastation that prove a shock to the core. Fans expecting another pulse-pounding thriller like THE YELLOW SEA may be disappointed, but those with open minds will have a ball.

It's too bad that because this film is ostensibly about an old lady it must be considered a "smaller" film in Bong's oeuvre. It's not. It is every bit as brilliant, and as large, as Memories of Murder, in my opinion.

In many ways this is the natural, and equal, follow-up to Memories of Murder. It's every bit the caper film that one was, and, although slightly more somber in tone, the film keeps unraveling in directions you don't expect making it much more a plot driven movie than a character study. Kim Hye-ja is, however, magnificent as the titular (gawd I hate that word but I'm using it anyway) mother. There is a scene in this film where she tells the family of the victim her son didn't do it and her eyes are so electrically charged it made me jump back from the screen. Mother fires on all cylinders. The direction, cinematography, script, and acting are all grade A. It's one of those films where each of the secondary characters steals the show for a brief period. (How 'bout that cop who kicks the apple from Won Bin's mouth?) Bong does a remarkable job of populating the world of this film with real people and manages to give them depth and development in a very short period of time. I confess to having a little trouble tracking the other female characters in the film, but no matter. There is a scene (without spoiling anything here) where Kim Hye-ja asks the other 'retarded' kid if he has a mother and it's one of the most complex and heart-rending scenes in cinematic history. Hyperbole notwithstanding, just freakin' WOW! on that one when you ponder just why she is crying.

I wasn't sure where Bong was going to end up going as a film maker. Barking Dogs Never Bite was a reasonable debut. Memories of Murder, a masterpiece. But was it a lucky shot? I'm glad I don't have to consider the dismal Antarctic Journal a Bong film if I don't want to. The Host was lots-o-fun, but that's the one that worried me. Maybe he was going to start making blockbuster type films. But now, after recently seeing his contribution to Tokyo!, and now Mother, I have every reason to believe he is going to kick my butt with interesting film for a long time.

After a night of drinking, Do Joon (Bin Won), an intellectually-challenged young man, encouraged by his reckless buddy Jin-tae (Ku-jin), attempts to pick up a young high school girl Ah-jung walking home alone. Shockingly, the next day, Do Joon is arrested for the girl's murder as his mother looks on helplessly. Seen at the Vancouver Film Festival, Bong Joon-ho's Mother is an intelligent, suspenseful, and darkly comic revelation of the lengths to which an overbearing but deeply loving mother will go to pursue justice for her son who, she believes, has been wrongly convicted of murder.

Though there is an evocative score by Lee Byeong-woo, the film's use of ambient sounds such as the slashing of Hye-ja's herb chopper and the rustling of leaves add to an ominous mood, though it often clashes with the absurdist events seen on screen. Set in a small Korean town, the elderly mother, played by Korean TV star Kim Hye-ja in one of the most nuanced and emotive performances of the year, makes a living by selling herbal medicine and providing illegal acupuncture treatments. Convinced of her son's innocence, she will stop at nothing, even violence, to find the real killer. She learns details about the dead girl's personal life and talks to alternative suspects, even though even she is not fully prepared for the twists and turns that her investigation will take.

The film opens with a shot of a lone elderly woman walking in a vast expanse of open field, reminiscent of the opening shot in Shunji Iwai's All About Lily Chou Chou. As she approaches the camera, the background music becomes rhythmic and the woman begins a strange, almost provocative dance. The scene then shifts to her business where she is keeping a close eye on her 27-year-old son Do-Joon who she feels needs her constant protection. Playing in the street with a dog, the boy is knocked over by a speeding hit and run driver in a Mercedes-Benz.

Uninjured, Do-Joon and Jin-tae chase the car to a golf course where the two attack the drivers of the Benz with sticks while collecting numerous golf balls, later to be used in evidence in court. On the fateful night, after Do-Joon is thrown out of a bar for being drunk, he pursues Ah-Jung home and the next day is arrested for murder, although details of what happened are murky. Bong shows the police procedural as in Memories of Murder to be on the lackadaisical side and conveys the impression that everyone involved is only out for their self-interest, including police, lawyers, friends, junk dealers, and schoolgirls.

Reminiscent of the quirky, offbeat films of Alfred Hitchcock, Mother is an intense, witty, and engaging psychological thriller with enigmatic characters that do not just populate the screen but are vitally alive. In one outstanding scene that will etch itself forever in your memory, Hye-ja attends the funeral of the girl her son is alleged to have murdered. Although besieged by distraught family members who think her son is a murderer, she has the fortitude to look them in the eye and proclaim "my son could never do something like that". Although "barking dogs don't bite", this woman is one "mutha" of an exception.

Bong manages to capture some of the poignancy of motherhood in his film Mother, which concerns an elderly single mother (played by Hye-ja Kim) and her son Yoon Do-joon (played by Bin Won). Do-joon is mentally disabled, he has a low intelligence and seems to have problems with his memory. His mother is absolutely devoted to her son. Bong throws light on that extraordinary capacity of some women to totally subjugate their own lives to those of their children, who live for the pep that they get seeing often unappreciative family members troughing their way through their latest offering.

Do-joon is framed up fairly early on by the police for a murder that they can't really be bothered to investigate thoroughly. So mum is on the case, you'd better believe it! This involves for example bringing in drinks for all the members of the detective bureau on a visit to the precinct. There's a lot of tragedy in the movie, but it's offset by a comedy that is at times is almost outrageous in it's manipulativeness, Bong's really being directly provocative at times (though not in a salacious sense)! There's a grand surreal scene at one point where he convinces you that a very minor character is going to perform a deeply uncanny suicide, and then something totally banal happens instead. One of my favourite scenes is a scene on a golf course where a shot dollys across to some action taking place in sugar-white bunkers, which would not be out of place in a Fellini movie.

Bong was playing with my emotions throughout, he set up affiliations between me and other characters only to subvert them or rebuild them later, he builds scenes to emotional explosiveness just for the sake of it. The film leaves you emotionally confused at times, Bong's smashing all the buttons on the telephone, and so you don't really know what number is being dialled. The effect is deliberate.

Bottom line I think it's a celebration of motherhood, but it's not sugar-coated, it's really warts and all. Congratulations Mr Bong!