Forever the Moment (우리 생애 최고의 순간, Yim Soon-rye, 2008)

forever the moment posterSports is one of society’s acceptable obsessions. Devotion to a football team, intense knowledge of baseball stats, and idolatry of athletes is not only respected, it is often required for any kind cultural fluency in the society in which one lives. Sportsmen and women, however, can become a disposable commodity. This is after all why the pay for sports stars is so high – the career is temporary. A brief moment in the spotlight can earn a top athlete a multitude of promotional contracts and role model status to hundreds of sporty kids, but when the music stops everyone loses interest. The heroes of Yim Soon-rye’s Forever the Moment (우리 생애 최고의 순간, Woori Saengae Chwegoui Soongan) achieved their 15 seconds of fame when the Korean women’s handball team won a couple of gold medals in the ‘90s before the sport returned to relative obscurity. Despite being gold medal winners, the women are in a precarious position, left without professional team contracts and lacking the necessary qualifications and experience to find well paid work outside of the sports world.

Yim frames her story around the 2004 Olympic Games in which the Korean women’s handball team came back from a disastrous slump to reach the final only to go home with silver after a penalty shootout defeat to Denmark. Mi-sook (Moon So-ri) was part of the gold medal winning 1992 team and is now a wife and mother. Her financial circumstances, however, are strained. When the supermarket handball team she’s been playing for is disbanded, Mi-sook counts herself lucky to get a job on the shop floor. Her husband (Sung Ji-ru), formerly a top male handball player, has been conned out of all his money by an unscrupulous business partner and is currently on the run from debt collectors leaving her a virtual single parent and desperate for money.

Money is the reason she eventually decides to come back to the Korean Women’s Olympic handball team. Mi-sook’s one time rival, Hye-kyeong (Kim Jung-eun), has been parachuted in to coach the Korean Olympic hopefuls after a successful run coaching in Japan. The team is in a sorry state – filled with inexperienced youngsters, it will need serious work to even qualify for the upcoming games let alone reach the podium. Hye-kyeong decides to get some of her old medal winning team-mates back to bring some strength to the ranks even if they’re all a little past their prime. Despite her best efforts, Hye-kyeong is soon sidelined for male coach (and old flame) Ahn Pil-seung (Uhm Tae-woong) who decides to junk the “Korean method” which uses speed as a weapon against the taller European challengers, and embark on a “science-based” European training regimen.

Yim deliberately moves away from the classic sports movie formula, eschewing the training montage and including only one lengthy match at the film’s climax. Forever the Moment prefers to concentrate on the internal struggles of its scrappy, underdog team the best hopes of which are middle-aged women with children whom society often writes off. Hye-kyeong is an earnest, driven woman who’s made a successful life for herself as a sports professional after her court life has come to a natural end, but she still loses out because she got divorced – the bigwigs are nervous about the proposition of a “divorced” woman occupying a “public” position, something that would hardly come up if she were a man. Made “acting coach”, Hye-kyeong is given hardly any time at all to prove herself before the experiment of “allowing” a woman to coach women is ruled unsuccessful and a man with little experience given full budgetary backing to replace her.

Hye-kyeong’s battles with Ahn may eventually take on the expected romantic dimension but it’s the relationships between the other players which become the film’s spine. Mi-sook has always made a point of distancing herself from handball, regarding it simply as a paycheck rather than a vocation – something which seems all the more relevant thanks to her ongoing troubles with her absent husband who is rapidly sinking into a breakdown over his humiliation and inability to support his wife and child. Struggling through adversity and working hard to achieve a physical goal, the teammates discover new strengths, growing as people and as athletes in their quest to be ready for the all important Athens games.

Forever the Moment is another in the long line of Korean films which celebrate the achievements Koreans can make when they come together and work hard to achieve their goal. As in real life, the Korean Women’s Olympic Handball Team are robbed of their final victory by circumstance and accident, but coming second becomes a victory in itself because of everything it took to get there. Less a sports movie than a subversive comment on the way women are often cast aside or underestimated, Forever the Moment is a tribute to the power of hard work and team spirit which becomes its own reward even when one falls short of the goal.


Original trailer (English subtitles)

The Prison (프리즌, Na Hyun, 2017)

prison poster bigPrison can be a paradise if you’re doing it right, at least if you’re a top gangster in the movies. Na Hyun’s The Prison (프리즌) paints an interesting picture of incarceration and the way it links into his nation’s infinitely corrupt power structures. When investigators wonder why a crime spree suddenly came to an end, one of the frequently offered explanations is that the perpetrator was most likely arrested for another crime but what if you could turn this obviously solid alibi to your advantage and get those already behind bars to do your dirty work for you?

Disgraced policeman Song Yoo-gun (Kim Rae-Won) has wound up imprisoned alongside several of the men he himself helped put away. Like many cops who suddenly find themselves on the other side of the bars, Yoo-gun’s life is not easy. Badly beaten, tortured, and threatened with amputation Yoo-gun eventually starts fighting back and seizes the most likely path to prison survival – allying himself with the inside’s big guy, Jung Ik-ho (Han Suk-Kyu). Ik-ho, a notorious gangster famous for eating the eyeballs of his enemies, is the one who’s really in charge around here, not least because he’s the one running the gang of prison based hitmen trotted out to take care of the bad guys’ hit list.

What starts out as an intriguing idea quickly descends into predictability as Yoo-gun and Ik-ho face off against each other, finding common ground and camaraderie but ultimately existing on the plains of good and evil. Yoo-gun has his own reasons for landing himself in prison but his policeman’s heart still loves truth and justice even if he’s forced to become a prisoner whilst in prison. While he goes along with Ik-ho’s crimes, joining in the violence and intimidation he practices, he also wants to take Ik-ho down even if it means becoming him in the process.

While the interplay between the two men forms the central axis of the film as they develop an odd kind of grudging friendship which may still end on the point of a knife at any moment, Na tries his best to recreate the world of the grim ‘80s action thriller. Technically speaking, The Prison is set in the ‘90s (not that viewers outside of Korea would notice aside from the external lack of mobile phones, computers, internet etc) but wants to be the kind of tough, bruisy, fight heavy action movie they don’t make any more in which a righteous hero defeats a large-scale conspiracy by jump kicking hoodlums. He almost succeeds in this aim, but never quite manages to anchor the ongoing background conspiracy elements with the intense pugilism of the prison environment.

Yoo-gun and Ik-ho are obviously a special case but aside from their efforts, prison life in Korea is not too bad – the guards are OK, the warden is ineffectual, and the inmates are running the show. Nevertheless the prison is the centre of the conspiracy as elite bad guys take advantage of put upon poor ones who’ve found themselves thrown inside thanks to ongoing social inequality, trading cushy conditions to guys who’re never getting out in return for committing state sponsored crimes. Needless to say, someone is trying to expose the conspiracy which would be very bad news for everyone but rubbing them out might prove counter productive in the extreme.

Na lets the in-house shenanigans drag on far too long, pitching fight after fight but failing to make any of his punches land with the satisfaction they seem to expect. Flirting with the interplay between Yoo-gun and Ik-ho in wondering how far Yoo-gun is prepared to go or whether he is destined to become his criminal mentor rather than destroy him, Na never fully engages with the central idea preferring to focus on the action at the expense of character, psychology, or the corruption which underlines the rest of the film. Nevertheless The Prison does have the requisite levels of high-octane fights and impressive set pieces including the fiery if predictable prison riot finale. Life behind bars isn’t all it’s cracked up to be after all, the corrupt elites of Korea will have to actually pay people to off their enemies. Predictable and poorly paced, The Prison is best when it sticks to throwing punches but might be more fun if it placed them a little better.


The Prison was screened at the 19th Udine Far East Film Festival.

International trailer (English subtitles)