Chihwaseon,
co-winner (along with Paul Thomas Anderson’s superior Punch-Drunk Love) of the prize for best director at this year’s
Cannes Film Festival, is a rather conventional artist’s biopic that’s
occasionally blessed with an astute sense of physical movement and natural
spectacle. The film opens with a pre-title sequence that shows a close-up of a
brush as it paints a large black spot on a blank canvas. After the painting is
done, the camera zooms into the black space, and the film begins properly. The
implication here seems to be that director Im Kwon-taek is helping us better
understand the film’s subject (late 19th century Korean painter Jang Seung-up)
by taking us inside the paintings that he made. It’s a fine conceit, and the
visual expression of the film’s intended journey makes you hopeful about
things, but the ultimate treatment is a bit too superficial to feel truly
satisfying.
It doesn’t help much that Chihwaseon feels compelled to touch upon the many events in the
artist’s life, yet still come in under two hours long. We watch him grow from
destitute and abused child, to clueless bumpkin student, to drunken lout, to
respected artist, to wizened sage, as the film moves on, but we rarely come to
understand what’s led to any of those stages. The average length of each scene
is probably under a minute long, and while that keeps things from ever feeling
at all boring and ensures a procession of attractive and varying scenery moves
across the screen, it is also a bit exhausting by the time over a hundred of
them have flitted by. It’s as if the movie never moves out of the expositional
phase along its journey and as a result we never feel as if we’re spending
time with the protagonist. Too much incident sinks the film, especially when the
characters are preaching about the need to slow down and be more
observant on a regular basis. The moments where we get to see the artist at work
are fascinating, and I wish there were more of them, or at least longer ones,
similar to Rivette’s La Belle Noiseuse.
As a chronicle of part of a nation’s history, however, Chihwaseon
is more effective. Even though it fails to give adequate insight into the psyche
of its protagonist, it does an excellent job of conveying Korea’s political
status at the time and his place in that shifting environment. Sandwiched
between the powerhouses of China and Japan, it consistently shifts hands
throughout the film, and any uprising that arises from within is quickly claimed
by one of the sides as its own. National identity in such circumstances is hard
to come by, and our understanding of Jang Seung-up’s importance to his
homeland as a distinctly Korean artist is deepened as a result of the backdrop.
Oftentimes throughout the first half of the film, the artist’s mentor explains
the necessity to have no unnecessary strokes when creating a masterpiece.
Frankly, I felt Chihwaseon could stand
to have a few of them. It’s so tightly edited that it sometimes feels
impatient and forced. Several scenes feel downright obligatory. As technically
proficient as most of the individual scenes in the film are though, they don’t
cohere into anything satisfying since there’s so little breathing room.