The Dreamers

When it comes to films about obsessive sexual relationships, too many fall into the 9 1/2 Weeks category - shallow, flashy, soft-core fantasies with choreographed quasi-erotic set pieces complete with Bryan Ferry or Sade soundtrack. Pretty to look at (perhaps), but without any real attempt at exploring the true psychological nature of sexual obsession. At the other end of the spectrum are films like In the Realm of the Senses or Last Tango in Paris -- far more subdued affairs that, while explicit, delve into the effect the relationship has on its participants, and attempt to capture the essence of obsession. Granted, it's quite a challenge for a director -- without a certain something between the actors, there is little hope of succeeding. Both Oshima and Bertolucci were lucky to find talented actors brave enough to take on the roles, and who delivered performances that had no traces of the artifice found in many sexually explicit films. A potential addition to the shortlist of great sexual obsession films is Park Chul-soo's Green Chair. Made in 2003, but shelved until this year, it is based on the true story of a thirty-two year old divorcee who was arrested for having sex with a nineteen year-old (the age of consent in South Korea is twenty.) Park's approach to the material is fairly unorthodox, and what begins as a detailed portrait of love and lust ends up bordering on the surreal. (This should come as little surprise to fans of the director's earlier work, which includes the equally bizarre 301/302 and 7 Reasons Why Beer is Better Than a Lover.) The film opens with Mun-hee's (The Isle's Suh Jung) release from police custody, where she was sentenced to 100 days of community service. Meeting up with her underage lover Hyun (newcomer Shin Ji-ho), they flee the hounding journalists and repair to a motel for a marathon sex session, pausing just long enough for meals in which to fuel up. Bathed in the unflattering light of the somewhat squalid hotel room, the lengthy sequence has a very naturalistic feel to it, and is highly erotic. However, it is here that the dysfunctional and highly fragile nature of their relationship is revealed. Mun-hee goes from being the patient older lover, who instructs and directs the inexperienced Hyun through their encounters, to shouting at him for his suggestions, and insisting that she never wants to see him again. Time is lost during the sequence, and we have no sense of how long they've been holed up in the room. What makes Green Chair so interesting is the triptych-like structure that Park employs. After the purely physical first third, he then dives into the psychological makeup of the relationship. The second-third finds the couple living with Mun-hee's friend Su-jin (Oh Yun-hong), and the emphasis here is on the details and nuances. There are moments of love and happiness, and of insecurity and jealousy; of proud defiance, and of lingering doubt. Moving from comedy to near-tragedy in a heartbeat (and back again), it's a wonderful portrait of three outsiders, and a criticism of a hypocritical society that vilifies a woman simply for having the dominant role in a sexual relationship. The final third (and the film's strongest sequence) is a surrealistic dinner party that is straight out of late-period Bunuel. Celebrating Hyun's passage into adulthood, the couple throws a lavish party that finds an unlikely roster of guests, including parents, an ex-husband, an arresting officer, and a young woman obsessed with Hyun. Everything is laid on the table here, and everybody gets to have their say, especially the loving couple. Beautifully written, and comically absurd, it is a powerhouse ending to a film that already consists of one surprise after another. Though the title is a mystery (not a green chair to be found anywhere -- could it be a euphemism?), Green Chair is a daring, unconventional, sexy, comic-drama that is full of unexpected pleasures. A minor masterpiece of sexual obsession, led by two winning actors that convincingly bring these characters to life. It also happens to be one of the best love stories to hit the screen in quite some time.

Comments

[Peter Nellhaus]

I was wondering if you saw Lies, by Jang Sun Woo?

[Filmbrain]

Yes, I did see Lies, but didn't care much for it. I felt that Jang was more interested in seeing how far he could push the envelope than he was telling a story. From the age difference shock to the S&M, it's really little more than an arty skin-flick.

I can appreciate how the pair represents the antithesis of the Confucian work ethic found in Korea, and how it embraces individuality, but there just wasn't enough substance to keep it interesting.

It's a shame too, for I really like some of Jang's earlier works.

[Adam]

Filmbrain,

I've been told Park chose the title at random, with no intended meaning at all, such as how the Cocteau Twins would choose the titles of their songs. Although, "Green Chair" does provide appropriate allusions to "Green Door."

GREEN CHAIR would be a tough film for the average film-goer, but the people who visit your blog are not average film-goers, so I think they'd find much to chew on it. Similar to Hong (with the caveat that these directors have different foci), watching Park's films in concert with one another brings the most enjoyment, rather than watching them out of that context. The ending you love so much, Filmbrain, is a wonderful revisiting of a similar Greek Chorus scene in PUSH! PUSH!, a film that I really hope he releases on DVD some day.

btw, I could be wrong here, but I did prep for my interview w/ Park and confirmed his filmography (but I don't have access to that file at work), and I don't believe Park did 7 REASONS WHY BEER IS BETTER THAN A LOVER. As you know, w/ the sharing of so few surnames in South Korea, I believe that is another Park Chul-soo than the director who did GREEN CHAIR. But, again, I could be wrong on this.

Adam

[Filmbrain]

I'd be very curious to find out about 7 Reasons Why Beer is Better Than a Lover. I saw this on VHS some years back, and I was told it was the same director as 301/302. Though it wasn't exactly the same style, a fair amount of it took place in room 304 (a tip-off), and had a somewhat similar feel at times.

[phyrephox]

Is this playing in NYC now?

[Filmbrain]

No, Phyrephox, it was only part of the NYAFF.

[Brian]

This was one of my favorite films in the festival and one I pushed hard whenever I had a chance in the few intros I did. The reaction to it (in the Audience Award ballots) was generally quite favorable but not to the extent I liked it. Like you I think it is a minor masterpiece of passion and love exhibited in various ways - thru sex certainly but in other ways as well. What I particularly liked about it though was its very non-judgemental stand - in most films of sexual/taboo love like this it is inevitable that there is a tragic descent at some point - but not here - there is no punishment for their passion and that was perfect for me.

[Filmbrain]

Yes -- that's exactly right Brian. Park's refusal to lay judgement on them is one of the film's stronger points.

Thanks so much for bringing it to the festival.

[nkw88]

7 Reasons Why Beer is Better Than a Lover is
omnibus film which consists of 7 episodes.
Park Chul-Soo directed a short part.

I am not sure why director Park chose the title
of Green Chair. But green chair is usually a
plastic chair in outdoors like sports arena,
or at convenient store rather than any furniture
type chair in a home.

This is just my guess. Their relationship may
not be unacceptable from the perspective of a
normal(?) family's. As green chair belongs to
non familial area, so does their relationship.

[la depressionada]

dear filmperv, this one's right up my alley (no pun intended -- maybe).

in the realm of the senses in revival was the hot date ticket in my fast high school crowd. we just loved it. and last tango, well they should little pubic hair toupees like maria schneider's for modern girls who want to switch off sometimes.

[la_depreessionada]

that should read: they should SELL.

everything is in the wrong place on these foreign keyboards.