100 Essential Films that Deserve More Attention - 5. Peppermint Candy

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to escape from the monotony of everyday life, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

Peppermint Candy 

Director - Lee Chang-Dong
Country - South Korea
Year - 1999

Runtime - 129 Minutes

Previously Published by The Big Picture Magazine

At the turn of the 20th Century, the Lumiere brothers' short film Arrival of a Train at the Station defined the technological advancements of the era, and terrified audiences who believed the train would fly out of the screen having seen nothing like it ever before. Over a hundred years later, at the turn of the 21st Century, the arrival of a train in Lee Chang-dong's Peppermint Candy is used to signify so much more than wonder and awe, being a key part of his storytelling process, and this shows not just how far cinema has travelled, but also that true auteurs do not forget its humble beginnings.

Peppermint Candy is that rarest of film, a devastatingly real human drama relayed in an innovative form of storytelling that is both masterful and timeless in its execution. As a train passes through a pitch black tunnel into the ever growing burst of daylight at the end, so begins our journey with Kim Yongho; a middle aged Korean whose life has passed him by almost as fast as the speeding carriages that traverse the screen. Told in reverse chronological order, Peppermint Candy begins in the Spring of 1999, just moments before Yangho makes a final decision to take his own life on the train tracks situated where he met his first love, and works its way back over the course of 20 years to unravel the reasons that have led this desperate man to suicide.

Used as a framing device between time shifts, the train shots were filmed from the back of a moving carriage and then reversed in order to emphasise the journey backwards through the defining moments of Yangho’s life. Chang-Dong’s choice to painstakingly sift through hours of footage to pick the most evocative and beautiful shots certainly shows; falling blossom from a tree rises back to the branches it once left, a passing jogger appears to run backwards in slow motion, and a family appear to linger cautiously watching the train pass by. These natural scenes indicate Yangho may finally be at peace with himself but the audience are still invited to take a trip back into Korea’s troubled past to see how seemingly insignificant actions can lead to consequences capable of driving a man to despair.

In a strange turn of events, moments from certain points in Yangho’s life mirror those which come later on, or vice versa, signifying the repercussions of simple acts and ironic twists of fate that cannot be avoided in everyone's passage through life. We see the reasons why Yangho's marriage and working life fail, and ultimately the destructive act which leads to the loss of his innocence and plagues his existence until the very end.

Many classic love stories involve train journeys, with romances blossoming from chance encounters or a last minute decision to catch a different train, but unlike the hopefulness of these meetings in films such as Before Sunrise and Eternal Sunshine of the Spotless Mind, the appearance of trains in Peppermint Candy reflect moments of weakness in Yangho’s life. At various points throughout the film our protagonist is seen betraying his wife, destroying a gift from his first love and standing by whilst his friends tackle an assailant, all of which are accompanied by the passing of a train in the background, which acts as a constant reminder of Yangho’s inevitable fate.

Much akin to Gaspar Noe’s Irreversible, which used a similar narrative twist as a plot device, Peppermint Candy’s closing scenes are moments of serene beauty as Yangho experiences a fleeting glimpse of young love. This seemingly peaceful end to the film is marred by the bittersweet knowledge of events to come; just as Yangho regrets the paths which he chose as a young adult, a mature audience will certainly relate to the loss of innocence and sense of regret that befalls not just our protagonist but everyone as time passes by.

By encapsulating certain periods in recent South Korean history, Chang-dong ensured that his film would resonate with a domestic audience and although some of his references may be lost on international audiences this is unlikely to detract from the overall experience. It is no surprise that such an articulate and politically aware director went on to become South Korea's minister of Culture and Tourism back in 2003, but it was also a relief when he returned to film-making as he continues to deliver both beautiful and powerful dramas, even if his later outings do not reach the near perfection of his overlooked masterpiece.

As the Lumiere brothers were shooting footage of a train's arrival back in 1896 they would have had no idea just how immersive and powerful the medium of film would continue to be into the next two centuries and beyond.

If you take the time to watch Peppermint Candy then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here

Blu-Ray Review - That Obscure Object of Desire

That Obscure Object of Desire is a mesmerising film about love, obsession, and the lengths to which people will go to seek what they truly desire. Adapted from the novel 'Le Femme et le Pantin' by Pierre Louys which was written in 1898, Bunuel's film isn't the first to tackle the subject matter but is undoubtedly the best. The title translates to 'The woman and the puppet' and those who have previously seen Bunuel's film will agree that this would be just as fitting a title as his chosen adage.

Following a strangely hypnotising opening sequence against a backdrop of palm trees and exotic music we are introduced to a mature gentleman who soaks a beautiful young lady from a stationary train with a bucket of water. After returning to his carriage the shocked onlookers seated beside him cannot hold back their curiosity and probe for the motive behind his actions. The story is then told through a series of flashbacks as we discover the connection between Mathieu and Conchita, the lady he soaked, and the build up to this bizarre event.

Forget (500) days of summer, That Obscure Object of Desire is the ultimate 'anti-romance', with the relationship that develops between our protagonists causing nothing but endless problems for the completely besotted Mathieu thanks to the devilish designs of  the beautiful but manipulative Conchita. Set against the backdrop of a series of terrorist attacks, Bunuel's film tackles politics alongside the love story and is one of those films that poses numerous philosophical questions but can also be enjoyed without reading too much into the deeper meanings.

Bunuel's masterstroke of using two actresses to play Conchita was apparently conceived accidentally, when the original actress scheduled to play Conchita (Maria Schneider) left the production. Carole Bouquet took on the role of the more timid and reserved side of Conchita's personality, with Angelina Molina showcasing her more promiscuous side. These performances combine with Fernando Rey's fantastic portrayal of a man with a rabid desire for that which he cannot have to elevate That Obscure Object of Desire to a near masterpiece that is well deserving of the lavish treatment of a Blu-ray release.

The Blu-Ray transfer is gorgeous to behold with the vivid colours bringing life to Bunuel's perfectly framed shots and the crisp sound transporting you to a host of exotic locations throughout the film. Interviews with cast members and an accompanying booklet are welcome additions to what is an excellent restoration and if you are a first-time viewer I guarantee that you will want to delve further into the film's history when the credits begin to roll.

Luis Bunuel's final film is a fitting end to an incredible career that still feels remarkably fresh despite first being released over 35 years ago. Fans of the director and newcomers alike are likely to be entranced by this intelligent and thought-provoking film, with the impressive transfer and a generous amount of extras making this disc a great addition to any collection.

4/5

If you like this you will enjoy these:
Before Sunrise
Brief Encounter
Blue is the Warmest Colour
(500) Days of Summer

Blu-Ray Review - Weekend

2011 was an excellent year for British films with a number of hidden gems that may have passed you by, here is a look at the Blu-Ray release for one such film, Andrew Haigh's Weekend.

It seems almost disrespectful and crass to use the most obvious comparison out there as Weekend is an accomplished film that stands alone but there really is no easier way to explain the storyline than as Before Sunrise meets Brokeback Mountain. Those unfamiliar with Before Sunrise first of all need to go and watch it, it's incredible, but will need to know that the storyline takes a look at the brief romance that develops between two strangers over the course of a very short space of time. Weekend is very similar in this respect apart from the Brokeback Mountain element, which everyone will be aware of even if they haven't seen the film, as both of the characters here are young gay males who strike up a very close friendship after a drunken encounter.

Those who have read my reviews over the past few months here at Front Room Cinema will be well aware that due to my tastes I am more inclined to enjoy horrors and disturbing movies than a romance but I like to think that I can appreciate a good film when I see one regardless of genre. Although Weekend is not a film I would head out of my way to see I was taken aback by how impressive it was for a small budget character study and I have already recommended it to a number of friends. If you have a penchant for Richard Linklater films you will undoubtedly enjoy this dialogue heavy drama that explores the rich tapestry of lives within the gay community.

There are a handful of scenes that I did find a tad too uncomfortable due to their explicit nature, and it was during these moments that I found myself thinking about social acceptance and the controversy surrounding sexuality that still exists in modern society. This is a thought provoking screenplay that does push the bar in terms of what we see on screen but it is always in fitting with the story and everything that has been included in the film is there for a purpose.

Both of the main actors, Tom Cullen and Chris New, are fantastic as Russell and Glen respectively, the two strangers who forge a strong connection and begin to uncover secrets relating to their past. Russell is far more reserved about his sexuality and appears uncomfortable in certain situations whereas Glen is a cocksure individual - no pun intended - who is open and proud when it comes to his interest in men. These contradicting personalities heighten the drama as their different outlooks on life lead to deep conversations which expose their vulnerabilities and make the couple realise they may have found something worth holding on to.

British film-making is going from strength to strength and it is great to see so many new talents emerging; Andrew Haigh showcases the skills of a director far beyond his years and is certainly one to watch out for in the future. His unique and at times provocative vision of the bond that can grow between two males deserves to be seen by a wider audience, trust me, you will be doing yourself a favour if you add this to your watch list.

The people responsible for putting the extras together have been very generous with both the quality and quantity of features and as someone who enjoys watching trailers for other films I was amazed at the amount included on the disc. Here is a full list of the extra features:

Cast and Crew Interview
Quinnford + Scout picture gallery with commentary
Weekend UK Premier at LFF
Interview with Director and Casts
Interview with Director and Producer
English subtitles for the Hard of Hearing

Weekend is a revealing yet remarkably intimate drama that makes no compromises and delivers a powerful storyline that will stay with you for a long time.

7/10

Weekend is out on Blu-Ray and DVD on Monday 19th March courtesy of Peccadillo Pictures