“Love doesn’t care whether it is night or day. ”
The Shadowless Pagoda (무영탑) 1957
‘The Shadowless Pagoda (무영탑)’ is an evocative melodrama that graced the silver screen in 1957, helmed by the illustrious director Shin Sang-ok. Showcasing his wife and constant collaborator Choi Eun-hee, who captivated audiences with her portrayal of the spirited Lady Guseul. Opposite her, Kwak Geon portrays Asadal, a masterful stonemason renowned for his exquisite craftsmanship. The narrative draws inspiration from the stirring novel “Muyeontap,” penned by Hyun Jin-geon and first published in 1937. This tale, steeped in rich legend, was inspired by a story Hyun encountered during a visit to the historic city of Gyeongju, but weaving in the character of Lady Guseul to create more intrigue and drama.
Set against the breathtaking backdrop of the Bulguksa temple, the saga unfolds as King Gyeongdeok and a fleet of high-ranking officials gather to marvel at the completed Dabotap pagoda. Here, Asadal commands admiration for his unparalleled stone-carving skills—a precious gift from his esteemed father-in-law. Amid the reverberations of admiration, Lady Guseul, accompanied by her regal father, Minister Yujong, encounters Asadal and is immediately ensnared by a profound and overwhelming affection. Eager to see him again, she returns to the temple, accompanied only by her loyal maid. Upon her arrival, however, she stumbles upon Asadal, collapsed from fatigue, his desperate attempts to finish the second pagoda quickly to return home to his wife, Asanyeo (Han Eun-jin), who is attending to her ailing father.
As Lady Guseul tends to the weary stonemason, nurturing him back to health, her love for him blooms, even as she grapples with societal expectations and the relentless advances of competing suitors. The film intricately weaves a rich tapestry of historical melodrama infused with themes of treachery, deceit, and the hushed whispers of gossip, echoing timeless tragedies reminiscent of Shakespeare’s most poignant works. A gallery of scheming characters emerges, including the vindictive Geum-seong and his corrupt father, Chief Geum, who starkly contrast with the more honourable spirit embodied by Gyeong-shin.
Visually, ‘The Shadowless Pagoda’ would have mesmerised audiences with its opulent costumes, alongside stunning set designs that reflect the grandeur of the bygone Joseon dynasty. The weather, too, plays a significant role, acting as an emotional harbinger that mirrors the drama unfolding before our eyes.
While ‘The Shadowless Pagoda’ critiques the notion of free love through Lady Guseul’s unwavering affection for Asadal, it simultaneously portrays the unholy and lascivious behaviour exhibited by various characters, including a morally bankrupt monk. The narrative is imbued with rich Buddhist imagery, particularly as the story reaches its heart-wrenching conclusion.
In summary, ‘The Shadowless Pagoda’ is a compelling testament to the fusion of literary artistry and gripping melodrama. Its rich historical backdrop generates profound intrigue; however, there are moments when the pacing lags, rendering parts of the tale somewhat drawn out. Shin’s subsequent film, ‘The Flower in Hell’, similarly embodies high stakes and emotional turbulence but achieves a tighter narrative flow that propels the drama forward with a greater sense of urgency.