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Winner of the Vast Jury Prize in the 2009 Cannes Film Festival and recipient of necessary and box-office acclaim in Asia, I jumped at the chance to gaze Park Chan Wook’s (Oldboy, Sympathy for Lady Vengeance) “THIRST”. The film is a horror-satirical drama that explores the shaded bestial side of humanity that is quite bizarre, even creepy on occasion, but never for one cramped does the film relent in exploring the psyche that comes from alienation and loneliness, while becoming a slave of cherish and lust.
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Sang Hyun (Song Kang-Ho, The Host, Memories of Abolish) is a Catholic priest who volunteers in a local hospital. He provides last rites when principal as well emotional assist to its patients. Father Hyun is well-respected but he secretly suffers from emotions that can be defined as doubt, as he witnesses the sad world around him. Yet, he cherishes life, so he volunteers to remove fragment in an experiment to eradicate the lethal EV virus, which is a threat to every Caucasian and Asian male. Father Hyun becomes stricken with the deadly virus and a blood transfusion is ordered up for him to place his life; in turn he becomes the first survivor of the deadly virus and some folks initiate to regard him as a saint. But soon after his original lease on life, Hyun finds out that the blood he had received is infected and he is now living as a vampire that only the consumption of human blood can stave off the virus.
Father Hyun struggles with his unique found carnal desire for blood, and now also, his faith is assign to the test when a childhood friend’s wife, Tae-Ju (sexy Kim Ok-Vin) comes to him to flee the life she knew all her life. Sang-Hyun is now overwhelmed with his desires of the flesh, as he plunges deep within the world of carnal and sensual desires that brings him in intimate terms with the Seven Deadly Sins…
Buy,Download, Or Stream Thirst! Click Here
Park Chan-Wook is one clever director in creating a modern select on the vampire lore that blends the elements of the Seven Deadly Sins; Gluttony, Sloth, Lust, Greed, Pride, Wrath and Envy. The vampirism as seen by Park’s rendition does have similarities to the established myths about vampires; vulnerability to sunlight, superhuman strength and hurry, with a strong need for human blood–curiously this vampire does not grow fangs. The need for human blood is vital to stave off the virus that somewhat touches on the sin of Gluttony. Lust and Envy is represented through Father Hyun’s desire for Kang-Woo’s (Shin Ha-Kyun) wife. Pride is represented when Hyun allows himself to be seen as a “Saint” at first. Sloth when he gains lesions and when he has to live in a dirty basement. Greed for life as he becomes shrinking of dying and hungry for companionship. Wrath as Hyun is led to slay and he is brought face to face with the consequences of his actions. Vampirism becomes seen as the ultimate root of sinful in the eyes of Father Hyun, but in some ironic manner, it all frees him of his inhibitions.
Song Kang-Ho is one VERY versatile actor. The man has played different roles throughout his career and he is clearly the good man for the role of Father Hyun. Hyun becomes a compelling character as we explore him torn between the need to survive while avoiding the need to ruin. “God feeds even the birds in the sky”, so Hyun resorts to slowly drinking the blood for comatose patients in the hospital (but never killing them) and people who wish to commit suicide. He also tries to overcome his lustful thoughts by hitting his thighs to overcome an erection. Curiously, Hyun becomes more aware of himself when he became a vampire; he realizes exactly who he is as he finds himself leaving the Order. Tae-Ju is one imbalanced woman who is manipulative of any location. She seduces the genuine priest and manipulates him into believing that she is an abused wife; she is a woman torn between her reliance on her husband and the need to be free (as symbolized by her constant running at night) . The sex scenes between Kang-Ho and Ok-Vin are quite erotically creepy at times, and very graphic; comparable to some Japanese pink films.
The film’s takes up a darkly satirical tone that becomes weirder and darker as the film progresses, yet, it also becomes funnier, more bizarre and grittier. There is one very bizarre scene when Hyun and Tae-ju is having sex, with a vision of Tae-ju’s dreary husband sandwiched between them to bring the guilt of the murderous deed into exposition. While the first half of the film brings the weaknesses of the flesh with Hyun’s character, the second half progresses in bringing its consequences. Hyun is overly obsessed with sexy Tae-ju as he would do whatever it takes to be with her, even though he is aware that she is somewhat imbalanced, she is all he has and he turns her; great to his regret later. While Hyun would avoid killing a human for his need, Tae-ju becomes drunk with power, as she doesn’t mind killing at all. It is a testament to Park’s skills as director as the situation revolves around his characters; that somewhat touches upon sure definitions of being a monster as well as how you wield positive abilities, with the definition of being human coming stout circle in the screenplay. I loved the method Father Hyun began to atone for his sins one by one. He also gets rid of his “Saintly” image by letting himself be caught with a woman that led to him becoming scorned.
It is hard for me to win flaws in the script, the metaphors and symbols are executed masterfully; even the supporting characters are principal vehicles in fleshing out the main protagonists. I speak if one wanted to nit-pick, one may say that the paralysis of Tae-ju’s mother-in-law (played by Kim Hae-Sook) felt a exiguous forced to generate some humor. Also, it can be argued that Tae-ju’s character isn’t as well written as Father Hyun’s. Collected, these flaws are very minor as Park Chan-Wook successfully brings us to a world beefy of darkness and very GRIM humor with an atmosphere that resembles a epic and superior cinematography to match. “Thirst” isn’t a comedy, but it is droll in a plan that is both creepy and dark at the same time. The film also has a respectable part of blood and some gore, and yes, quite a edifying number of nudity and sex. (It is also the first mainstream Korean film that features male rotund frontal nudity)
“Thirst” is ultimately a success. Park Chan Wook was able to approach up with a heavenly film that is corpulent of elegy, while exploring the flaws of the human mind, that treats vampirism as a cause for the realization of one’s carnal desires in incorporating a Catholic overtone. I really loved the manner in which Park executed this unusual vampire film that BOLDLY dares to be different. It is not a dread film per se, but its panic elements arrive from the Fears of making the gross decisions.
Definitely lyrical, darkly satirical, often Ironic and so erotically sexy, yet, so engagingly handsome with compelling characters, Park Chan Wook’s “Thirst” is destined to do a titanic cult following.
Highly Recommended! [5 Stars]
See this before Hollywood massacres it with a remake.
Winner of the Gargantuan Jury Prize in the 2009 Cannes Film Festival and recipient of indispensable and box-office acclaim in Asia, I jumped at the chance to explore Park Chan Wook’s (Oldboy, Sympathy for Lady Vengeance) “THIRST”. The film is a horror-satirical drama that explores the dismal bestial side of humanity that is quite bizarre, even creepy on occasion, but never for one exiguous does the film relent in exploring the psyche that comes from alienation and loneliness, while becoming a slave of admire and lust.
Sang Hyun (Song Kang-Ho, The Host, Memories of Execute) is a Catholic priest who volunteers in a local hospital. He provides last rites when well-known as well emotional help to its patients. Father Hyun is well-respected but he secretly suffers from emotions that can be defined as doubt, as he witnesses the shaded world around him. Yet, he cherishes life, so he volunteers to choose fragment in an experiment to eradicate the lethal EV virus, which is a threat to every Caucasian and Asian male. Father Hyun becomes stricken with the deadly virus and a blood transfusion is ordered up for him to place his life; in turn he becomes the first survivor of the deadly virus and some folks commence to regard him as a saint. But soon after his unusual lease on life, Hyun finds out that the blood he had received is infected and he is now living as a vampire that only the consumption of human blood can stave off the virus.
Father Hyun struggles with his recent found carnal desire for blood, and now also, his faith is set aside to the test when a childhood friend’s wife, Tae-Ju (sexy Kim Ok-Vin) comes to him to dash the life she knew all her life. Sang-Hyun is now overwhelmed with his desires of the flesh, as he plunges deep within the world of carnal and sensual desires that brings him in intimate terms with the Seven Deadly Sins…
Park Chan-Wook is one clever director in creating a novel retract on the vampire lore that blends the elements of the Seven Deadly Sins; Gluttony, Sloth, Lust, Greed, Pride, Wrath and Envy. The vampirism as seen by Park’s rendition does have similarities to the established myths about vampires; vulnerability to sunlight, superhuman strength and hurry, with a strong need for human blood–curiously this vampire does not grow fangs. The need for human blood is famous to stave off the virus that somewhat touches on the sin of Gluttony. Lust and Envy is represented through Father Hyun’s desire for Kang-Woo’s (Shin Ha-Kyun) wife. Pride is represented when Hyun allows himself to be seen as a “Saint” at first. Sloth when he gains lesions and when he has to live in a dirty basement. Greed for life as he becomes alarmed of dying and hungry for companionship. Wrath as Hyun is led to destroy and he is brought face to face with the consequences of his actions. Vampirism becomes seen as the ultimate root of sinful in the eyes of Father Hyun, but in some ironic manner, it all frees him of his inhibitions.
Song Kang-Ho is one VERY versatile actor. The man has played different roles throughout his career and he is clearly the true man for the role of Father Hyun. Hyun becomes a compelling character as we glimpse him torn between the need to survive while avoiding the need to waste. “God feeds even the birds in the sky”, so Hyun resorts to slowly drinking the blood for comatose patients in the hospital (but never killing them) and people who wish to commit suicide. He also tries to overcome his lustful thoughts by hitting his thighs to overcome an erection. Curiously, Hyun becomes more aware of himself when he became a vampire; he realizes exactly who he is as he finds himself leaving the Order. Tae-Ju is one imbalanced woman who is manipulative of any plot. She seduces the fine priest and manipulates him into believing that she is an abused wife; she is a woman torn between her reliance on her husband and the need to be free (as symbolized by her constant running at night) . The sex scenes between Kang-Ho and Ok-Vin are quite erotically creepy at times, and very graphic; comparable to some Japanese pink films.
The film’s takes up a darkly satirical tone that becomes weirder and darker as the film progresses, yet, it also becomes funnier, more bizarre and grittier. There is one very bizarre scene when Hyun and Tae-ju is having sex, with a vision of Tae-ju’s lifeless husband sandwiched between them to bring the guilt of the murderous deed into exposition. While the first half of the film brings the weaknesses of the flesh with Hyun’s character, the second half progresses in bringing its consequences. Hyun is overly obsessed with sexy Tae-ju as he would do whatever it takes to be with her, even though he is aware that she is somewhat imbalanced, she is all he has and he turns her; mighty to his regret later. While Hyun would avoid killing a human for his need, Tae-ju becomes drunk with power, as she doesn’t mind killing at all. It is a testament to Park’s skills as director as the dwelling revolves around his characters; that somewhat touches upon determined definitions of being a monster as well as how you wield distinct abilities, with the definition of being human coming beefy circle in the screenplay. I loved the plan Father Hyun began to atone for his sins one by one. He also gets rid of his “Saintly” image by letting himself be caught with a woman that led to him becoming scorned.
It is hard for me to glean flaws in the script, the metaphors and symbols are executed masterfully; even the supporting characters are important vehicles in fleshing out the main protagonists. I articulate if one wanted to nit-pick, one may say that the paralysis of Tae-ju’s mother-in-law (played by Kim Hae-Sook) felt a exiguous forced to generate some humor. Also, it can be argued that Tae-ju’s character isn’t as well written as Father Hyun’s. Serene, these flaws are very minor as Park Chan-Wook successfully brings us to a world stout of darkness and very GRIM humor with an atmosphere that resembles a story and marvelous cinematography to match. “Thirst” isn’t a comedy, but it is silly in a method that is both creepy and unlit at the same time. The film also has a fine piece of blood and some gore, and yes, quite a kindly number of nudity and sex. (It is also the first mainstream Korean film that features male chunky frontal nudity)
“Thirst” is ultimately a success. Park Chan Wook was able to approach up with a attractive film that is burly of elegy, while exploring the flaws of the human mind, that treats vampirism as a cause for the realization of one’s carnal desires in incorporating a Catholic overtone. I really loved the manner in which Park executed this fresh vampire film that BOLDLY dares to be different. It is not a terror film per se, but its panic elements advance from the Fears of making the irascible decisions.
Definitely lyrical, darkly satirical, often Ironic and so erotically sexy, yet, so engagingly elegant with compelling characters, Park Chan Wook’s “Thirst” is destined to achieve a stout cult following.
Highly Recommended! [5- Stars]
See this before Hollywood massacres it with a remake.
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