Lust awakens the desire to possess, which ends in the intent to murder.
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Life is like a snake with its tail in its mouth. It has no beginning and no end. It is always different, yet always the same.
Not too far into this Korean movie, you know that the second spring will repeat the first, only it will be different. Of course.
Bom yeoreum gaeul gyeoul geurigo bom (Spring, Summer, Fall, Winter, and Spring again) is not so much a movie as an observation. You watch the seasons blend one into the other, not just the seasons of the year but the seasons of man’s existence. People come and go; life goes on.
In writer-director Ki-duk Kim’s worldview, all life is sacred. It is akin to Albert Schweitzer’s reverence for life:
Whenever I injure life of any sort, I must be quite clear whether it is necessary. Beyond the unavoidable I must never go, not even with what seems insignificant.
Isaac Bashevis Singer held a similar worldview:
As long as people will shed the blood of innocent creatures there can be no peace, no liberty, no harmony between people. Slaughter and justice cannot dwell together.
No life is too insignificant to Ki-duk Kim. Even a fish, a frog, a snake are sacred. When the old Buddhist monk’s very young acolyte playfully ties stones to each of these creatures, his master forces him to undergo a similar fate. The little boy’s remorse — and subsequent compassion for life — will stay with him as long as he remains in the tiny monastery floating in a lake. My own despair at the death of two of these creatures and my joy at the survival of the third were more intense than I could have predicted. Although I empathized with the little boy’s anguish, I couldn’t help feeling that his punishment more than fit his crime.
Things happen in this movie that cannot be explained rationally. You accept them. Such is life. There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy, Hamlet observes. Arthur C. Clarke, co-author of 2001: A Space Odyssey, puts it this way: Not only is the universe stranger than you imagine, it's stranger than you can imagine.
Not only is there no plot in Spring, Summer…, there is almost no dialogue. Words can create a wall between us and reality; we are sometimes better off without them.
[borrowed from Movie Vault]
No animals were harmed during the making of this motion picture, I'll wager, though there's no such sentence in the end credits, but there's a white cat's tail (live and protesting white cat on the other end :-) used to draw sutras in black ink! For a huge image of this scene, do check OutNow! Image Gallery.
For an interview with the movie director, check Movie Chicks (don't ask...)
American website: Sony Classics
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