the leading man is my tpye

The greatest movie ever!

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

South Korea is one of the most politically corrupt countries in Asia. However, in spite of this artists continue to make dramas and films set in several genres which, though not overtly political, manage to get the message across that there is an endemic culture of 'the haves will cling to their privileges no matter what' in modern day Korea.This film would certainly have to belong to that genre. As the Chief Eunoch states to the King.....I brought them in (that is, the minstrels) to show you (a mirror) of your Court, however, your lust for a boy (clouded your judgement).At the end of the film one is left with the knowledge that the rule of the Ministers will be no less corrupt than that of the King. And as the fadeout begins we see the simple joy inherent within the brotherhood of the minstrels. Whether that joy and brotherhood can be translated into a new regime has yet to be seen.

The King and the Clown is a movie about a pair of street performers who come to the attention of King Yeonsan of Korea around the start of the 16th century (the Chosun Period).Yeonsan is tired of his ministers who chirp away about the example of his dead father and provide consistently contrary counsel. Yeonsan is both a genuinely sensitive individual and also a deeply disturbed one, whose neuroses are amply watered in the fertile garden of his royalty, and allowed to blossom bloodily. I felt there was some sort of allusion to North Korea here, where the "Supreme Leader" Kim Jong-il is quite literally second-in-command to his dead father, theocrat Kim Il-sung, and certainly does have a twee side.Jang-sang and his partner, the extremely effeminate Gong-gil, are clowns who come to the attention of the king. They put on shows that are sometimes extremely bawdy, or acrobatic, comic, or dramatic. They divert Yeonsan from his concubine Nok-su whose skirt he lives inside (as even the public are aware). I think this is a key point that the movie makes that the diversions of the clowns are more interesting than fondling even the most seductive woman a king can find; sex an inferior version of play that adults have come up with.The King becomes attached to Gong-gil in an apparently non-sexual way, re-entering a childish state. The story touchingly reminded me very much of the biblical one where David plays the harp to soothe King Saul when madness came upon him.The film in many ways is a feel-good one, times are very harsh in the Chosun era, but the performers don't let this get them down, and can find ways to cheer each other up even when times are bad. The "blindmen" scene is the key example of this. The characters perform even when no audience is around, to amuse themselves, and because they seem to feel most alive when living in a form of collective identity. Gong-gil even enjoys the stage of party nights when vomiting starts.The film manages to capture the innocence and virtues of childhood (which the performers have kept intact), for example, and there are times in my life when I have seen this happen, admitting to misdeeds that you have not committed to avoid the collective punishment of your group. Another lovely example would be a puppet show where a love story is enacted by the furtive stroking of one another's hands. The film has a lot of bright colours and looks good, although this may be more down to the often exquisite set design than any particularly beautiful cinematography. One good example of shooting though was in a meadow, which I like to think of as daisy drop.Aspects of the movie that weren't to my taste were the bawdiness, which was a little strong for me (I still have some innocence too, so this is a very subjective point), and the fact that Yeonsan's back story intruded a lot (the intrigue surrounding his mother's death), and was quite hard to follow.The King and the Clown is however an excellent movie, full of values that have almost vanished, and need some reviving.This is for Mollie for the memories at Renato's.

The King and the Clown is an excellent film noteworthy of it's critical acclaims. It showcases the purity of love in a universal light - something that is easily misunderstood in the Western world. It's difficult for me to explain my interpretation of the relationship between the main characters - simply put, they are soul mates and the soul does not discriminate between gender. To say their relationship is not homosexual, is a Western explanation, but most Westerners (especially Americans), will not easily understand this because love to is categorized differently. I think of it as taking the "sentiment and care" felt by loving a child, parent, lover, friend, husband, and wife and eliminating the titles, roles, sexual intimacy, and stripping it to only the "sentiment of sincere care". This is what I mean by purity of love.This film expresses this beautifully.

Throughout the unknown history, The King and the clown (or the jester) seemingly have special relations whether they intend it or not. And it goes without saying the clowns always put themselves in a position on stage where people usually find deep sadness - if not humbleness - and throw their sympathetic applaud. In this movie, this milieu doesn't fade away as though I didn't find any similarity and simultaneousness betwixt and between Korean and any Wesern history. So I momentarily wonder if any two historical/cultural facts with different backgrounds can be juxtaposed. Of course it we think from outside of the box, we'll ambiguously realize there's only one rules controlling under any culture: common sense.Yunsan-kun is the one of the ferocious dictators throughout the Chosun Dynasty. No wonder his characteristic behaviour sometimes led to the horrific incidents draws broad attention; yet he governed the country surprisingly adequate even though his way of making decision seemed rebellious comparing to the social notion at the time. Although the story deals with the chaotic times, which we might have gone through the similar one unwittingly, it introduces "Pan" culture throughout the movie. Pan means simply the stage; where the clowns and acrobats perform. In the movies, along with those three Pan performances I realized how we have become so accustomed not to open up ourselves and let it go as opposed to people arduously enjoyed it.I may have to say the movie doesn't describe the dark history effectively because of too many fictitious characters and artificial scenes; however, it successfully delivers the coarse conversation beautifully between clowns. It is obscene and full of hatred against the discrimination towards them from the noblemen. The social climate was not ready for these kinds of radical protest and thoughts, either. But I believe it was generally amused and accepted only by grass roots. But when it happens on Pan, it was ironically accepted to noblemen. It is a dramatic irony after all.One thing I'm not sure is if the movie sets and garments were really reflected based on the fact - especially the scene when two clowns perform about the death of King's mother, the garments and ambiance look like they borrow them from Chinese opera. I just hoped it properly reflects more about Korean culture whether it intends or not. (I suppose the movie can provide the "Pan" and we only can be an audience.) Still, the movie has a great deal of efforts to embrace it, though. I personally think the script is almost perfect. Of course for those who can understand the text and Korean innermost feelings streaming amongst them.