A Tale of Two Sisters

This review is long overdue, since I consider A Tale of Two Sisters to be the single greatest film ever made. I'll put this gem up against any movie in terms of screenplay, cinematography, acting, post-production, editing, directing, or any other aspect of film-making. It's practically perfect in all of them - a true masterpiece in a sea of faux "masterpieces."The structure of this film is easily the most tightly constructed in the history of cinema. I can think of no other film where something vitally important occurs every other minute. Quite literally, Ji-woon Kim seems to have made a movie that practically taunts the viewer to dissect it on the most detailed of levels. A seemingly insignificant object may be shown - a rack of dresses, two diaries, a drop of blood emanating from a floor crack, a bottle of pills, etc. - but upon meticulous inspection turns out to be so much more - a clue that helps to make sense of that particular scene (or perhaps the movie in total), which almost always contributes a stirring reflection upon the psychological concepts that lurk in the background until the viewer's intelligence prompts them to spring to the forefront. Such an event might occur a handful of times during any other movie, but in A Tale of Two Sisters such events occur in such a rapid-fire, relentless fashion that the viewer must watch the film in a perpetual state of alertness, lest they miss something important. In other words, the content level of this film is enough to easily fill a dozen other films. How can anyone in their right mind ask for anything more from a movie than this? It's quite simply the highest, most superlative form of cinema imaginable.The most commonly cited criticism of A Tale of Two Sisters is nicely summarized by Zaphod B Goode on IMDb, who falsely claims that the story is an incoherent, unresolved mess that uses confusion to instill a false sense of intelligence because it does not provide a final set of facts underlying the intriguing questions. He posits that Ji-woon Kim tossed up a dozen possible explanations and left it at that. In reality, however, nothing could be further from the truth. A Tale of Two Sisters provides a series of unassailably objective facts that help the viewer to identify the EXACT occurrences of each and every scene of the film. If our good friend Zaphod had been paying attention, he would have noticed - for example - the series of obvious flashbacks which provide enough factual information to make sense of the film. These flashbacks convincingly contradict Zaphod's assertion of complete subjectivity. The objective elements of A Tale of Two Sisters are so obvious to anyone willing to see them that the mere assertion of a lack of objectivity can only call into question the patience of a viewer who apparently does not want to put forth even the slightest effort whatsoever to see them. Can Ji-woon Kim really be faulted for the impatience of viewers who lack the desire to understand his film? I think not.Please note that I will not insult the intelligence of critics such as Zaphod that cannot "get" A Tale of Two Sisters, because it really has nothing to do with a lack of intelligence as much as a lack of persistence. The movie spells itself out so effectively that the only possible explanation for confusion is a lack of effort on the part of the viewer. Yes, this film does require a rather significant amount of puzzle-solving, but the pieces fit together to create a beautiful picture. You need only put them together. Remember, the screenplay was written by someone with the picture already in mind - he simply separated the pieces and placed them skillfully throughout for the purpose of providing a magnificent cerebral exercise that - when completed - bestows an ultimate form of satisfaction and state of awe.Don't misunderstand me. There are films that seem to start with an incomplete picture and try to create a puzzle that is insoluble by design. Spider Forest (2004), Perfect Blue (1998) and Donnie Darko (2001) are perfect examples of this. A Tale of Two Sisters is not. It's ironic that Zaphod claims Darko to be more masterfully constructed than A Tale of Two Sisters, especially considering that Darko not only provides almost NO objective facts but also a twist ending that is the quintessential deus ex machina cliché that could be dropped at the end of any movie ever made in order to provide the ultimate in faux intelligence. I'm ashamed of myself for mentioning the two films in the same sentence, but the contrast is an important one. Although it does perplex me that Zaphod would cite a movie that crumbles when exposed to even the slightest intellectual effort as a way of criticizing a film that only becomes discernible thru a significant application of intellectual effort. He apparently likes his "intelligent" films in the most superficial form possible. This is evident when he makes 17 consecutive questions in his review that are answered quite convincingly by the film itself. Just read the threads by Opiemar within the IMDb A Tale of Two Sisters Discussion Forum. Anyone who carefully reads those threads and still asserts a lack of an objective solution to this film may as well stop watching intelligent films altogether because the answers are so damned OBVIOUS.Just watch it. It's the greatest film ever made.

Magnificently recreated from a Korean folktale, A Tale of Two Sisters, produced by Sir Laosson Dara for iPictures and Tartan Asia Extreme (2003), impresses thoughtful filmgoers with its dazzling imagery, complex plot twists, and seeming incongruities, which are wedded to a full complement of visceral shocks and shudders.Su-Yueng's (Geun-yeong Mun) older sister, Su-mi (Su-jeong Lim), recently institutionalized, cannot recall the upheaval that destroyed her family at its country lakehouse, frustrating her psychiatrist. Prescription in hand, the girls' father, Dr. Mu-hyeon (Kap-su Kim) chauffeurs the brooding remnant home, journeying through tropical thickets, lush river valleys, and verdant mountains. Tall thistles rhythmically willow to the film's counter-intuitive score, an enchanting composition by Byung-woo Lee.Among the spate of psychological thrillers in the J- and K-horror tradition that have made their way to our shores from half a world away, this award-winning film is a masterpiece--thanks, in part, to the brilliant performances of actresses, Su-jeong Lim (Su-mi) and Jung-ah Yum (Eun-ju), the writing and direction of Ji-woon Kim, cinematography and art direction of Mo-gae Lee and Geun-hyeon Jo, and the imaginative film editing of Hyeon-mi Lee, The film's relevance derives from Kim's intrepid statements about the social and psychological tolls victims' pay in broken families, which is as much a potent issue overseas as it is in America. Kim et al., dramatically segue them into a top-tier, compelling and suspenseful horror-mystery.The sisters saunter out of their father's car upon arrival and sensuously reorient themselves to their surroundings, warming to the sun. The chords of piano crescendo to the intensifying strains of guitar, violin, viola, and cello, as the pair rush out a pier adjoining a nearby wharf, seat themselves at its precipice, and broadcast their arrival by dipping their toes into cool, placid waters, generating eddies and ripples.Throughout life, but particularly in childhood, each of us develops a sense of identity from the way we believe significant others perceive and judge us, as if they were reflecting pools. Charles Horton Cooley labeled this phenomenon, "the looking glass self" or "empathic introspection." For shattered minds, ridden by guilt and regret, the currents of distressed consciousness distort what we internalize from others, even if it comforts us. Preternatural angels and demons, real and imagined, mirror our self-perceptions. For aeons, they have stalked us, appearing in our cave art, dreams, nightmares, and hallucinations. Perhaps the wellsprings of "multiple personality disorder" (IDC-9) or "dissociative identity disorder" (DSM-IV-TR), the most dangerous of these entities may be the poltergeists summoned by traumatized adolescent girls through "recurrent spontaneous psychokinesis," as researched by Nandor Fodor. This was the theory advanced by novelist, Brent Monahan, and director, Courtney Solomon, as the source of the Bell Witch, in their interpretation of actual events that included a death on a 19th Century Tennessee farm in "An American Haunting" (Lionsgate, 2005). They dare us to face our most vexing secrets lest they remain forever cloaked behind ochre walls, painted veils, bedroom wardrobes, or concealed beneath bathroom and kitchen fixtures. They keep vigilance over our troubled souls from the muted corners of mind and matter, agitating us to become who or what we will--or confront what will become of us.Under a glowering full moon, nighttime tells a different tale of two sisters, and their fractured world. Within a restless house of haunted mirrors and broken glass reside painful memories of an absent mother. Su-mi recollects her from old photos and personal effects retrieved from flowered boxes that her mum once ribboned with love. She shares them with Su-yueng--to the angst of their stepmother. Eun-ju (Jung-ah Yum) is an icy albeit beautiful nurse whom the sisters' aloof and self-absorbed father met at work, and later married, after she tended to their mother. Su-mi despises her, and Eun-ju returns the favor in spades.In a notable scene, Eun-ju shrieks with laughter amid the pairs' uncle and aunt, who have been invited by Mu-hyeon to what should have been a quiet, candlelight dinner. With Mozart's Violin Concerto #5, providing the background music, she recounts an old tale about their neighbor, a farmer, otherwise uninteresting, who uncharacteristically stripped-off his clothing whenever it rained while plowing his fields, often in full view of travelers who might be motoring along an abutting highway. After prodding her guests to remember the amusing story, Eun-ju sours in disgust at their professed ignorance and confusion. Su-mi's aunt drops to the floor, lapsing into an epileptic seizure, which nearly chokes her to death, but successfully kills the evening. On their return trip, the sisters' aunt tells their uncle that while she lie convulsing on the floor she spotted a ghostly girl hiding underneath the kitchen sink. A similar entity entered the bedrooms of Su-mi and her sister the previous night. There is a fascinating bond that ties Su-mi, Su-yueng, and Eun-Ju to the metaphysical wraith. The latter's gripping role, as a silent storyteller, though brief, will chill filmgoers with the details that underlie the devastating family history, shown in fleeting fragments and flashback. Suffice it to say that what we see of ourselves, as mirrored in others, often is re-visited when we become their reflecting pools.An "American" adaptation of A Tale of Two Sisters, starring Arielle Kebbel and Emily Browning, along with David Straihairn, Elizabeth Banks, and Maya Massar recently concluded filming in Bowen Island, British Columbia, Canada. Shot by British directors, Charles and Thomas Guard, the picture is scheduled for release later in 2008--all the best. The world keeps spinning.

The tag line on the DVD case saying this is the most frightening film since the Ring is misleading as this is not the same type of film at all. It is not a horror film that will scare you even though it has a few really creepy moments they are well spaced out. The film is much more than you standard horror picture the story is complex and even after watching the whole film your not quite sure what has happened.The film is more of a psychological suspense film with horror elements added in to complement the storyThe acting is superb especially the two sisters who have some very touching scenes together and the stepmother who plays a great part and is so much more complex than your usually evil stepmother role. The director does a great job of building and maintaining the tension throughout the film and the reveals and plot twists keeps you guessing right to the end of the film.Overall this is a great psychological thriller / horror movie that will keep you guessing until the end and I would recommend it to anyone who likes films that have great depth and complexity

In this 2003 psychological Korean drama [aka: Rose flower, Red Lotus] teenage girl, Su-mi is being questioned about her admission into the mental institution by a doctor and she responds by turning her head away and the scene cuts to where Su-mi and her sister are returning home, but is the home what it appears to be and what is it about the relationships that seems so strange?From the time the sisters reach the house, it’s obvious that something is slightly ‘off’ but it’s hard to pinpoint it other than some odd comments and looks. Then in the meandering pace of things, you tend to wonder just who in the family is actually sane, but all the while it holds you in suspense as you try to understand what’s actually happening around the creepy house. There are some good plot developments and just as you thin you’ve got it figured, it changes tack and you’re not sure where you’re headed anymore, and the ending is well worth the 115 minute wait.The first disc carries the main film offering play, scene selection, set up [2.0 default, 5.1 or DTS 5.1, English subtitles on/off, commentary with cast & director, commentary with director, DoP and lighting], original trailer and UK exclusive directors interview. Disc 2carries the Bonus Features comprising Creating a tale of two sisters [behind the scenes, design featurette, music score featurette, CGI commentary, creating the poster], deleted scenes with commentary [12 scenes and out-take reel], interviews and stills gallery.For a 15 rating this packs some really scary ‘jump out’ moments, partly due to the atmospheric music and the dark film technique, making it more eerie than the bulk of 18 ratings that simply try to shock. If you like the grudge, the ring and don’t mind subtitles, this is well worth a try. For best results watch it late at night when it’s quiet, in a cold room, with the lights out. The creaky sound effects are superb in 5.1.

One of my favourite Korean films.Unfortunately, this (Blu-Ray) version is a train-wreck:I can see no difference in quality between this and the Region 2 DVD version, which has director/cast commentaries. and interviews with the main characters. This (the Blu-Ray version), has none of the 'extras' that I would expect for an extra £3. Do yourself a favour. Get the DVD: The extras are well worth watching and listening to, and you lose very little (if any) film quality.I have no idea why Palisades Tartan Video (I lent the Tartan Asia Extreme DVD to a friend and never got it back) have stripped the blu-ray of extra content; their Oldboy offering has two commentaries, and much more.

This is, according to me, the best Asian horror movie ever made. (It's a South Korean movie)There are a lot that come very close (Kairo, Cure, Ringu, The Eye, The Grudge) but A Tale of Two Sisters beats them all by having a great story, a super-duper twist you'll never see coming and scenes that are so frightening that they'll even give hardened horror-buffs (like me) a very good case of the creeps. (Even though they are obviously heavily influenced by Ringu and the Grudge)And it's all so beautifully and artistically filmed. Even the wallpaper of the house is gorgeous. The colours in this film are so rich and vibrant, I've never seen its equal in any other film.The ending is perhaps my favourite horror scene ever (where the stepmother hears noises from an upstairs room and goes in to investigate) The visuals and music (those creept violins!!) are enough to scare you into next week. (To me its closest rival is the main character's meeting with the Grim Reaper himself in Kairo)I always loved a good scare (which is so scarce these days, isn't it) but this scene (and the whole film) definitely slaked my thirst the best it ever has been.It's also a very sad movie as well as being scary in the same way The Orphanage was.The story is very dense and convoluted so it may take you two or three viewings to catch all the little twists and meanings. It did me. I understood the main twist upon first viewing, but there were quite a few other scenes and character behaviours that I didn't quite get, but if you watch it again, you will get it.This film is a lot like The Sixth Sense in the sense that the second time you watch it, it's almost like watching a different movie because of what you already know.***SPOILER ALERT*****My other fave scene is where the younger sister finds out she's not real and only a figment of someone else's very disturbed mind and her reaction to this. Lots of screaming. Great scene and some great acting.

Many reviewers have focused on the overt horror nature of the film, and while these aspects are incredibly well executed they pale in the face of the human story involved.The relationship between Su-yeon and Su-mi is so very tender and loving, with Su-mi being protective and caring, whilst Su-yeon is sweet and dependent. Their relationship immediately causes the viewer to empathise with the two girls and their situation.The events involving Su-yeon and her stepmother in this are far more intense and horrifying then the odd moment of shock the actual horror aspects of the story could ever muster. These moments only go to reinforce our compassion and empathy towards the two sisters.All this empathy and compassion is skilfully built up and used to crush us in the final tragic human scene of the story (not the final horror scene which is naff.) Whenever you think back over these girls you can't help but feel deeply sad and moved by their tragic story.It is at its core a simple, tragic and, heart breaking human story about two sisters. The supernatural horror and psychology is just garnish, clever garnish. A sad, sad, sad, story. One worth watching.