Mother

In the prologue the little old woman, wandering through deadwood, stopped on the hill and begins to gently sway, bringing the movement in the dance, relaxed and unhurried rush of emotion. Not clearly only, whether joy, sadness or release. An intriguing observation of audience beginning can be interpreted in different ways, but only events of the next two hours will bring clarity and give an answer that a woman feels, how she came where it is going. A while her son is accused of murder because it is forced to hold an independent investigation, because the police are short-sighted, lazy lawyers, and powerful friends never had. And although at first the characters and circumstances simple, it soon becomes clear that no not be this story is nothing unique. With every turn of the plot, with each new detail, the story becomes more and more difficult and contradictory, characters are revealed otherwise, showing no best quality. Approaching the house of the peddler, mother is very dirty well-maintained shoes. No one clean all angels dirt.

Director PON Joon-Ho offers a controversial history, gradually adding to the story important details, how did before, the movie "memories of murder", a story in which is similar to plot "Mother". But early in its creation, the Director relied on the social problems of the clever detective story and a close connection between the characters. Here prism through which it looks at the picture is the main character. The world around it. — only the scenery, wild and inhospitable, which need to break, they are pale boring, filled with autumn colours. Korean leaves the heroine alone, defenceless in the face of difficulties, forcing bristle and opening in combat the injustice of the hidden potential. Well-meaning elderly woman, if armed with a battering RAM, with the combat cynicism breaks through the crowd of enemies, pushes them, pushes, because knows somewhere ahead of her son. In the range of feelings to him merged and wine the sins of the distant past, and crazy love of responsibility for this is a dependent fool. Difficulties make the mother's love to open up with the other, ugly and even irrational, but truly natural side, inherited from ancestors stored up to the pores somewhere deep in the subconscious. This, however, and not love even: rather animal instinct, the chain of feelings and reactions that mobilizes the human body for entirely, it would seem that achievements. It is the voice of mother nature crying out in that would any began to protect offspring, to kill for it security or not hesitate to die. But Director exploits the postulate of the all-conquering maternal love, he is not trampled on location and goes further, exposing the nerve of the story and the essence of human psychology. He very interesting character and her inner world, which is going through fatal changes, so happy confronts the main character of the next obstacle, tunic long needles in the most vulnerable places, provokes her mental anguish.

In moments of confusion, fear and anger, in the camera seemed to dwell uncontrollably bubbling to the surface consciousness of the mother. The viewer is experiencing difficult times, not from not her eyes, and her thoughts. Confused, shaky visuals, deliberately not trying to concentrate and breathe. Sharp, not focused traffic in the rhythm of the palpitations. The viewer is invited to experience all that is going through heroine: the operator shares it burst out in despair on the border of madness. It often leaves the mother in visual alone, and puts her in the center of the frame, and to the side or even angle, providing space to dominate in the composition. So it gets through tests: small, thrown to curb nobody is needed, contrasting with the empty and indifferent surroundings.

Despite all ruthless ambiguity, when close examination the story is familiar to everyone. It is not Korean or Oriental generally the Saga of a mother's love, unique in his incarnation. It is a universal story that happens everywhere in the world don't depend on the mentality or social structure. Eastern environment and hand Korean Director just make it a unique flavor. But, it is worth noting, the ending for tape in good East. In not him was no morality nor the conclusions or the answers. Only one only catharsis — a significant, odd dance — found. This illogical, clumsy, sincere and a cleansing dance. The rest remains deep in the soul of the unhappy woman, who did everything possible to make her child their freedom.

This motion picture forced me to think not one day. Why? Because a unique directing methods left a lot behind;the scenes for the scenes of the movie, but in the frame of the attention of any thinking viewer. A mother's love for your son does not have boundaries. Inner strength of his mother, her sacrifice permeates without any epic dialogues, no incredibly boring scenes. The very fabric of the film brings this idea! By the way, a detective story complements the charm of the film. Perhaps the most important for me that movie is that the main character is not asks for repentance. And that the mentally retarded son of understand how she sacrificed for him. Transgressing the law of man, they remained in a closed world, which became the protection. From pain and suffering. Cocoon of happiness that inspires madness.

"Between justice and mom choose mother." Camus

Somewhere around 399 years to ad in the burning of knowledge and the prowess of Athens, Socrates peacefully marched in my old robe and worn sandals last of his life the hearing in charges of blasphemy and of corrupting the minds. According to the way he came across the familiar young man at the name Euthyphron going to the judge proud bearing, in order to sue his own father, which, according to him, is a wicked killer. The old philosopher said, "Without a doubt, dead at your father any of home?". At this young man said, "Ridiculous, Socrates, if you think there is a difference, from home whether or dead foreign and don't think you have to care only about that right if killed him killed or no... I say: the pious to prosecute for the court of criminal the perpetrators of the murder be that the offender's father, mother, or who would any other." Such a passionate tirade not might confuse the old dog, so Socrates decided to find out what that it the interviewee understands by the piety, and why it so I am sure that the performance of civic duty is higher than honoring parents: "Say for the sake of Zeus, Euthyphron, you think you are so accurately informed in the divine laws, that do not fear itself to make a wicked thing, pursuing his father at the court?" At this young man, entangled in the contradictions, not been able to answer. Surprisingly, the answer is not found Socrates himself, in again making sure true knowledge can only be available to God.

Solving puzzles not approached nor step and and a half thousand years. Another attempt to get closer to understanding the eternal mysteries of the soul has taken Korean mon Joon Ho, put one of the most acclaimed Asian films of recent time. After the premiere of the picture, the praises of the Director singing together in all parts of the globe, and rightly so, because Korean Director masterfully writes difficult with all points of view the story of spiritual paradoxes.

The film's plot is simple but kind of. A single mother, raised a son with"ethereal beauty" and the IQ level of Forrest Gump, in one day sees her baby taken away by police. He is the chief suspect in about the murder of a schoolgirl, who slept with all the men in the city, with the exception of our hero. The investigation is carried out in a very short time, and giving details to hand down a guilty verdict. Realizing that for justice we need to fight the most valiant mother decides to do its own investigation, in which she will have to decide — whether it is for the sake of the son itself to cross the law.

The narrative structure of the film is identical to the "original scheme" Hitchcock, for which the Maestro has created most of his masterpieces. Joon Ho immaculately copies it, at this delicately playing the whole of the semantic concepts and a variety of artistic attributes sir Alfred, sometimes even deepening and perfecting some of them.

The most interesting Korean Director developing a theme  - called "transfer of guilt". As well as and Hitchcock, wine, "Mother" is a unique and mobile substance, which would be transferred from one character to another. Moreover, in full accordance with the tradition of the Maestro, it breaks into two categories: objective (social, legal) and subjective (existential, religious). In the first dominated by rationality, logic, system, and law. The second is some kind of completely irrational area of existential experiences or mental ideas, directly ascending to God to the higher principles of existence of the soul. It should be noted that described the dichotomy originates in the history of the world, for the contradiction between the actual fault and ontological for the first time revealed exactly Socrates, reflecting his luminous subjectivity of the darkness of the dead of the legal system and proving the first is more important than the second. So the young man, whom he met the court is, of course, a big culprit than father, for the latter made a secular offense, but Euthyphron violated the ancestral laws of the spirit.

Hitchcock following the well-trodden paths, Joon Ho moves smoothly from the typical detective of external relations to a profound "ontological drama", the nucleus of which is the unfathomable mystery of existence. The concept of "guilt" with the deployment of the discourse of the film, becoming more complex and rich, moving from the formal legal in the generic the metaphysical region. The usual thesis of that children should be responsible for the sins of the parents stands up with feet on the head. In  the"Mother", on the contrary, the main character in a symbolic sense, she takes on blame the son for the murder, being at this is forced to break the law as a human and "superhuman", transforming in this way the two previous category. Joon Ho exalt the maternal instinct as something Prosveshenie beyond nichemu court and do whatever any was evaluated. The immortal feeling of love mother to son eludes any conceptual framework and in my heart is forever benevolent, self-sacrificing and fair, if at this violated at least all of the commandments at the same time. Simply put, even doing something illegal, the mother is the mother, whose subjectivity as before, crystal clear.

What is actually this action the role of the son? Introducing a non-standard overtone in the development of the character of the hero, Joon-Ho diversifies the overall situation of new contradictions. Have a half-witted lad is completely absent self-conscious, in connection what it is completely devoid of and predisposition to the crime. The Director writes the image as a kind prosvetova moron, staying in blissful ignorance of the concepts of good and evil. Innocence inherent a priori, because it in the literal meaning is not know that works. But someone, of course, must be held accountable and punished. In as scapegoat, the Director introduces an abstract of a psychopath suffering from the criminal passion for slutty schoolgirl and ready to the murder in the mental sense. For this existential passion for him you have to pay for a misdemeanor.

In the stylistic relation Joon Ho creates a kind of genre cocktail, in which the main detective line is interrupted in the highly coordinated episodes of Comedy, Thriller, drama, erotica and Thriller. At the main emotional background not spreading at the seams, but on the contrary is enriched with new colors, due to the sensitivity and accuracy of the performance. In most cases, the Director tries to avoid the radical seriousness and dilutes too emotional episodes of humor — for example, the social chasm between the characters is reduced to familiarity with all all, the only honest scene, reinforced through voyerismo aspect, followed by the game between two passionate lovers in the city. However, as befits a work of art, high style, for the comic lining hidden the great tragedy of life, the cruelty of the world, indestructible ego and invincible despair. But Jung Ho, felliniesque manner, can and at the peak of tragic to find that the will to life and the joy of life, which once was famous for Gelsomina and Cabiria. If the darkness of existence is opposed to femininity, it is stronger than all other women, of course, mother. Because for love of mother not there are no boundaries neither on the sky nor on the earth.