“Sing like you’re Shimcheong. With sadness and despair. ”
Seopyeonje (서편제) 1993
‘Seopyeonje’ (서편제) is a poignant 1993 film crafted by the illustrious and long-serving director Im Kwon-taek, a towering figure in Korean cinema. This cinematic gem draws inspiration from the eponymous novel by Yi Cheong-jun, a writer equally prolific as Im. Both creators endured fascination with art’s profound role in the fabric of life, a theme that resonates deeply in ‘Seopyeonje’, which intricately weaves the art of ‘Pansori’—traditional Korean folk singing—into its narrative landscape.
Starring the remarkable Oh Jung-hae as Song-hwa, the experienced theatre actor Kim Myung-gon as Yu-bong (who also received shared screenwriting credits), and the talented Kim Kyu-chul portraying Dong-ho, the film’s performances are as captivating as its story. Upon its release, ‘Seopyeonje’ achieved monumental success in Korea, becoming the first domestic film to captivate an audience exceeding one million. Its accolades extended beyond national borders, earning the prestigious ‘Honorary Golden Bear’ at the Berlin International Film Festival. Furthermore, the talented trio at the film’s heart received numerous awards for their poignant portrayals. The crew also received many nominations and emerged victorious in several categories at the Grand Bell Awards and the Korean Film Critics Awards.
Set against the backdrop of 1960s Korea, the film opens with a reflective Dong-ho encountering a woman at the “Inn of Music,” where her captivating ‘Pansori’ singing draws him in. Intrigued, he inquires about her musical education. This encounter triggers youthful memories, transporting audiences to Dong-ho’s childhood, where his widowed mother eloped with Yu-bong, a wandering singer. As fate would have it, tragedy strikes when his mother dies, leaving Yu-bong to impart the intricate art of ‘Pansori’ to his two adopted children—Dong-ho on the drum (the role of ‘pansori gosu’) and Song-hwa singing.
Im Kwon-taek infuses the film with a deep concern for the dwindling vitality of traditional Korean culture. In this light, ‘Seopyeonje’ stands as a heartfelt tribute to ‘Pansori’, celebrating its essence and the Korean identity intertwined with it. The pervasive theme of ‘han’—a complex Korean concept embodying sorrow and suffering—casts a poignant shade across the film, transforming it into a subtle yet powerful example of nationalist cinema.
The narrative artfully weaves through various stages of the characters’ lives, employing flashbacks to enrich the storytelling while avoiding a rigidly linear progression. Long takes create a naturalistic shooting style instilling a sense of authenticity, grounding the film in the roots of Korean tradition.
Im thoughtfully critique the rapid modernisation sweeping across Korea. The film nostalgically harkens back to the 1960s, a time of drastic Westernization in the aftermath of the Korean War. Through his lens, modernisation emerges as a formidable threat, showcasing the struggles of traditional Korean artists as they vie for survival against the exhilarating allure of foreign entertainment.
Moreover, Im delves into the theme of ‘han’ through Yu-bong’s chilling methods, deliberately inflicting trauma upon both Dong-ho and especially Song-hwa, all in pursuit of crafting a more authentic and sorrowful ‘Pansori’ experience. This struggle can be viewed as a poignant allegory for the nation’s loss of identity, as Yu-bong desperately clings to the pride of ‘Pansori’ as the world around him relentlessly progresses. His unrelenting pride perpetuates pain for his adopted children, exacerbated further by his reckless spending on alcohol leading to impoverishment.
Ultimately, ‘Seopyeonje’ holds a significant place in the annals of Korean cinema history, not only for its artistic achievements but also for its nationalistic undercurrents. Im Kwon-taek deftly celebrates traditional Korean art, not through an exuberant, propagandistic lens, but rather in a sombre, emotionally resonant manner, characteristic of the broader themes often found in Korean cinema and culture.