Slave to your influences - Grindhouse

Just saw this yesterday. I wanted to like it. Reeeaally wanted to, but couldn't. Grindhouse is a 3 hour plus double feature containing Planet Terror, directed by Robert Rodriguez (Sin City) and Death Proof by Quentin Tarrantino (Kill Bill). This is a loving tribute to the drive in films of the 60's and 70's, where z-grade, cheaply made independent films were paired with slightly better B films for an evening's entertainment. The genres ran from sci fi to horror to exploitation, sometimes combining all three. Tarrantino is a noted fan of this era, and has made an effort to collect the original reels of many of the pictures, exhibiting at his home his own curated versions of movie night. Rodriguez has also been a fan, and together they came up with the idea of each making a 90 minute film. Planet Terror stars Rose McGowan as Cherry, an exotic dancer who quits her job, having enough of this lifestyle, and prepares to leave the dingy Texan small town in search for a better life. Unfortunately, fate intervenes. At a nearby military base, a deal for an illegal shipment of chemicals falls apart as the dealer, a rogue scientist, gets double crossed and Lt. Mouldoon (Bruce Willis) takes the shipment. But the scientist shoots one of the canisters, and the green mist escapes, infecting most of the soldiers. It turns them into disfigured zombies, although continued small exposure doses keeps Mouldoon and some of his men from changing. At a local BBQ restaurant, the Bone Shack, Cherry unexpectedly reunites with an old boy friend, El Rey (Freddie Rodriguez), and is not happy to see him. He isn't pleased either -- she ran off with his favorite jacket, and in it an engagement ring that he had planned to give her. Cherry asks Ray if he could drive her out out town, as he was just passing through. As they leave, they are attacked by the first wave of zombies that leave the base. Cherry is assaulted and her leg ripped off. Meanwhile, in the town, people are getting infected. The victims are brought to the hospital, where Dr. William Block (Josh Brolin) and his wife Dakota (Marley Shelton) are tending to the wounded. Their marriage is an unhappy one, rapidly disintegrating, as Dakota is making plans for a tryst with another woman, Tammy. El Ray brings Cherry to the hospital, but not before he is arrested by Sheriff Hague (Michael Biehn), who treats Ray as a threat to the general public, and throws him into jail. The zombies rapidly take over the town. After Tammy's body is brought to the hospital, Dr Block confronts his wife. Is she going back to her cheating ways? He attacks her, injecting her hands with the anesthetics that she uses to treat patients. She escapes and manages to drive using her wrists and a watchband to go home. There she gets her son and goes over to her father's house for refuge. But her dad (Michael Parks) is busy killing his wife, an invalid who has turned into a zombie. Her son kills himself accidentally with the handgun that she gave him to protect them both. Dr. Block, now a zombie himself, tracks her down and attempts to kill her but is offed by her dad. Zombies are everywhere, and they attack the police station, where Sheriff Hague and his men fight a desperate battle against them. In the chaos El Rey escapes, and heads for the hospital where he cuts down a number of zombies to find Cherry. She is safe, hiding under a blanket, wallowing in self pity and fear. El Rey jams a 2 x 4 into the leg stub and forces her to walk, helping her out of the building. They, along with the remaining town survivors, flee to The Bone Shack, where they arm themselves and plan to escape. El Rey is a gun slinger, a fact that Sheriff Hague knew, and they become uneasy allies. Cherry manages to get the truck (with the help of El Rey's shooting) and crashes it into the restaurant. The survivors climb aboard it and a couple other vehicles and escape, heading toward the base. They attack the soldiers -- Cherry gets an upgrade by having her amputated leg augmented with an AK-47 -- and she becomes a one woman killing machine, using her go go talents in the process. El Rey confronts Lt. Muldoon, who has gone completely insane, turning into a zombie, and he and the chemicals are destroyed in a huge explosion. El Rey is killed in the end, but Cherry lives on to deliver the survivors to a coastal area in Mexico, near an ancient Mayan ruin, as they build a new future as idyllic beach bums.

Death Proof stars Kurt Russell as Stunt Man Mike, a stunt double actor for television. His only pleasure in life is pursuing the young ladies - preferably in his muscle car Chevy Nova, which he uses to hunt down then plow though his victims. We are introduced to three young ladies, out of college and working and living the life. Sidney Potier is Jungle Julia, a dee jay for a local station, who has created a bit of trouble for her friend, Arlene (Vanessa Ferlito) by announcing on her program that whoever calls Arlene "Butterfly," buys her a drink and recites a segment of a Robert Frost poem to her, that she will give him a lap dance. Arlene is horrified. It is Jungle Julia's brithday, and the girls go to the local watering hole and get plastered. A couple of guys try to make a move on them by hitting them up with liquor, but nothing ever comes of it. Arlene notices a black Chevy Nova cruising around town, and that the driver is checking her out. Stunt Man Mike appears at the bar, and talks to a blond woman (Rose McGowan), and offers to drive her home. He asks if she knows the girls over int he corner, and she laughs, saying that she knew Julia from school. He introduces himself to them and looking at Arlene, does the quote. Jungle Julia intervenes, saying that Arlene has already done it, but Stunt Man Mike looks at Arlene and can tell that she is lying. He talks her into doing it (which is never shown, being a "lost reel"). We cut to the girls driving off, driving off to a cabin near a lake. But they never get there. Stunt Man Mike has been following them, and blows by them on the road. He turns around, waiting for them, and then jams on the accelerator, coming at them head on with the headlights off. The collision is textbook car crash, and we see in disturbing detail what happens to the girls in the car, who are all killed. Stunt Man Mike survives -- his car is made for tv and movie stunts, so it is extra armed. We are introduced to another group of ladies, all of whom work for a film crew which is in production in Tennessee. After an excruciatingly long girl talk at a diner, Zoe states that she wants to drive an old classic American muscle car, the one used in Zabriskie Point. And as luck would have it, she has found that car advertised for sale in the local paper. She talks her friends into taking her to the seller and seeing if they could con the person into letting them do a test drive without him present. They do, using an unsuspecting Lee (Mary Elizabeth Winstead) as man bait, while Zoe and her friends Abernathy and Kim drive off. Kim is just tagging along; Abernathy and Zoe are both car junkies, and they are out to do a stunt: the Ship's Mast, where Zoe climbs on the hood of the har while Abernathy drives at full speed, and holds onto two belts that are tied to the doors. They are all having a great time, until Stunt Man Mike comes out of nowhere to mess with them, crashing his Nova into their car, trying to jar Zoe loose. Somehow, Abernathy shakes him off by shooting at Stunt Man Mike, and he flees. After collecting themselves, their thoughts turn to revenge, and armed with a pipe, Zoe climbs back into the car and Abernathy turns the car around to pursue the Nova. Stunt Man Mike is taken by surprise; the cars crash against one another in a long chase sequence. The Nova is knocked out of action, and the girls drag Stunt Man Mike out of the car and beat him to death. The end.

It's a study in contrasts. Planet Terror is an enjoyable romp that, while true to the spirit of the Grindhouse film, betters it in every aspect - story, acting, action. The characters are well realized, notably Rose MacGowan's Cherry, who is in a life crisis and though these wild series of events, becomes a self assured woman with a purpose. Josh Grolin is great as the thermometer chewing Dr. William Block with a chip on his shoulder -- his wife! On the other hand, Death Proof comes across as a conversation piece with moments of action. Sure, the dialogue is very well done -- it has to -- but the build up takes up so much time that it kills the payoff. In other words, it is just like a lot of the other Grindhouse films from the 60's and 70's, and it's a problem for Tarrantino. He loves his influences, but when making his films he never transcends them. Only in Jackie Brown did he do so, and I consider it his best picture, which I am sure will raise eyebrows. A key to his influence here is the t-shirt on one of the ladies, which has a poster of Faster Pussycat! Kill!! Kill!! on it. The nod is not to the film but to the director, Russ Meyer, and Death Proof echoes another film of his from the same time period, Motor Psycho. The innuendos, the visual gags are all from that movie, even if the story is different. The incessant girl talk was painful to sit though; like sitting in on another group's conversation and being forced to listen to it. Which is the point, but Tarrantino has to know that he is giving the finger to his mostly male audience who are expecting another Pulp Fiction exercise. Also, Kurt Russell is woefully used. In the first half of the movie, the interaction between him and his prey is suspenseful and creepy, but it completely vanishes in the second half, where he just shows up, and becomes a cartoon character. Silly. At least for a price of a ticket you can watch one decent shlock movie and then slip out.

Funny and Provocative - I Am an S+M Writer

Again, another long delay. Well, let's get right to it, shall we? I have been seeing a lot of films, especially because of the cold weather on the East Coast. Here we have an excellent film, Ryuichi Hikori's I Am an S+M Writer, a scathing and hilarious look at a battle between the sexes, a husband who writes lurid fiction and his wife, who will not tolerate the means that he goes to get his creative stimulation. The husband, Kurosaki (played by Ren Osugi), is a fiction writer who has only found success by writing sado-masochist fiction. He has an assistant, Kawada (Jun Murakami) who provides creative stimulation by hiring models who are tied up and seduced in front of Kurosaki. They describe in crude detail what is happening, and Kurosaki, in a fire of creativity, writes down the graphic sex. On one particular occasion, Kurosaki's wife (Yoko Hoshi) comes home to find them engaged in the "creative process" -- she wordlessly draws close the sliding doors to the outside around them, and leaves. Later at dinner, she calls him a pervert, and denies him access to sleep together, moving into a different room. One day she brings home a man, an English language professor from the west, and shamelessly flirts with him in front of Kurosaki. He is not amused, but does not show any real anger or jealously. His wife eventually turns to Kawada, seducing him and having sex at a hotel. Kurosaki observes the change in her behavior and sees a glow in her that can only come from making love, and correctly concludes that she is having an affair. Kawada confesses to Kurosaki that it is with him that she is seeing. Kurosaki, after showing a brief display of anger, decides to turn it around and use their affair as material for a novel, and asks Kawada to describe the intercourse in intimate detail. Kurosaki becomes absorbed, writing page after page, until he completes what he feels is his masterwork. He invites his neglected wife, Kawada, and the English professor to a bar where he boasts about his accomplishment. But his wife is no longer interested, and has made plans to leave him. Kawada and the professor fight, leaving Kawada with a bloody nose. In a last ditch attempt to save their marriage, Kurosaki attempts to make love to his wife, but he can not sustain the fervor. His wife eventually leaves him, but not before revealing that she has been an avid reader of erotic fiction, and had hoped that she could have been the one tied up as the model for her husband's musings. She meets Kawada one last time at a hotel for one last, intense tryst. Kurosaki dedicated the novel to her but fails to get it published, having second thoughts.

While it is a portrait of a crumbling marriage, I Am an S+M Writer is a very funny film, being outrageous and yet showing great humor and discretion, without going overboard. Let's face it, there are things that inhabit Japanese culture that are considered decadent or indecent here in the States. Bondage exists, but in Japanese culture and the arts one can find images dealing with women being tied up in various states as a sign of subordination and/or sexual liberation. In the 70's the Japanese film industry was making a lot of money from the Roman Porno genre, softcore sex films that was exploitative and arousing. I have not seen any of those films, but it is clear while watching this film that it is playing around with the master/slave relationship of bondage, feminist reaction and independence, and a basic notion of a creative person losing his sexual potency, finding his only arousal in his work. It is part of why the marriage fell apart -- that Kurosaki and his wife could no longer be a loving couple, and that his work superceded her in his world. Yoko Hoshi does a great job as the author's wife; being a sensible classy woman, while being exquisite and sexually provocative. Hiroki does an excellent job at keeping things on an even keel, a fine directing effort. Recommended!

To Live is Hell - Bohachi, Clan of the Forgotten Eight

This is a twisted jidaigeki film from 1973, directed by Ishii Teruo. A ronin (well played by Tanba Tetsuro) has been terrorizing the countryside with his cruel acts of violence. The local government has sent men out to kill him, but the ronin defeats every man who tries to stop him. After a furiously bloody opening sequence, where blood sprays like geysers and limbs fly free, Tetsuro mentally grows weary of all the violence, and tries to kill himself by drowning, throwing himself off of a bridge and into the cold waters below. But he is rescued, by two lovely prostitutes who are members of a local gang, the Bohachi. The second in command shows the ronin around the premises, explaining their philosophy, which amounts to an anti-code of honor, denying God and spiritualism, showing no loyalty or friendship, embracing our animal instincts. Women are shown being publicly humiliated, tortured and debased as they are inducted into the clan. The ronin is asked if he would consider joining the group, and Tetsuro agrees. Part of his initiation is to help a member collect debts, and they go into town, finding a young woman who has not paid. She is captured and run through the wringer. After being defiled, she is to be sold off at auction to her first customer as a prostitute. The ronin is given 50 ryo for his initial services, which he uses to buy the girl after a frantic auction. But he does nothing to her. Morning comes and finding that he has not taken her, the Bohachi fails him in his initiation test -- apparently, the whole abduction was a set up, a test to see if he could be like them. Even the woman was in on it, herself a prostitute of the clan. He is sent out into the town, where soldiers are waiting. After a brief skirmish, an elderly man interrupts the action -- he is the Chief of the Bohachi clan, and to prevent further violence, he states to the official that the ronin is not only protected by the clan, he has been made a member. The Chief wields considerable political power, so the official has no choice but to leave, taking the soldier with him. Back inside, the Chief explains the local situation: During the construction of the city, there was great outbreaks of violence among the men. An official, reviewing the situation, came up with the idea of bringing thousands of women to the area, so the men could work their aggressions elsewhere. And so prostitution flourished in the city, with hundreds of groups and thousands of freelancers vying for business. The Bohachi, having one of the more successful groups, are seeking total control of the business. The Chief asks the ronin to be their hatchet man, going out to kill every man who engages with a woman of a certain group. The ronin consents, and in short order businesses are closed, men fearing for their lives, and women being assimilated into the Bohachi. Soon the red light district is deserted. They retaliate by attempting to assassinate the ronin; they fail. A government official later breaks up a fight between the two groups, stating that the chancellor will hear both sides and determine the outcome. There is a compromise, and the red light district is reopened, but to conditions that clearly favor the Bohachi. The Chief in return is forced to sacrifice the ronin. The Bohachi prostitutes seduce him with opium and their bodies, but he is more resilient than they thought -- he kills the group of women, and forces the Chief at gunpoint to smoke the opium. It is more than his system can handle, and the Chief is destroyed, tossed into a cell in the lower chambers, where a woman diseased with syphillis awaits. The ronin leaves the compound, and is attacked by the soldiers. The film ends with the ronin still standing, prepared to meet his end, but not before taking as many of them down with him.

This is a wild, visually arresting movie that suffers from a meandering plot. The first half hour is pure exploitation, with plenty of naked flesh and rutting bodies. The final hour runs like a variation of a classic samurai film - the ronin as a catalyst for the bubbling local unrest, though in this case it is taken to nihilistic ends; the Bohachi seeking total power through the destruction of its citizens. There is a lot of shifting moods in the film, and visually, it runs through so many effects, all gorgeous, at times theatrical, with color shifts of spotlight, fade to black, slow motion. I don't know if it all works. It is meant to show that the ronin's life on earth was indeed a living hell, and in that sense it works. I have problems with the Bohachi clan, as they are too one dimensional in their cruelty. They end up acting like any other high powered clan in a samurai film. Ishii's films during this period were of wild creativity, at the expense of story, and this is no exception.

300, Asian style - Battle of Wits

This movie is a pleasant surprise, given the mixed output of made in China epics of the past several years. Hero certainly stands out from the pack, while Seven Swords, the Promise, and others show plenty of gorgeous visuals but skimp on plot. Battle of Wits succeeds because its story is based on a classic scenario -- an oppressed group who, against all odds (and with the help of an outsider) defeat mightier invading forces. It is 4th century China, B.C. In one of the many attempts to unify a great country, the nation Zhao is on a campaign to conquer their neighbors, one of which is the city state of Liang. HK superstar actor Andy Lau stars as Ge Li, a member of the Mo-Tsu tribe, who are known for great military strategies, especially in defence. He is sent to Liang as a last ditch effort to save the city from the Zhao army. After proving his skills and worth as a leader, Ge Li is given temporary command of the Liang defences. To the Zhao army, Liang is a pit stop in the pursuit to a larger goal. However, they are rebuffed several times by the city, and many casualties are incurred. The Zhao army retreats, as they are called back to the main forces who are engaged against a much larger enemy. The city of Liang celebrates, and Ge Li is revered as their savior. However, not everyone is happy. The ruler of Liang and his court are jealous of Ge Li, and immediately plot to out him from the city. Ge Li also has developed a relationship with female cavalry captain Yi Yue (Fan Bing Bing), who is set to be bethrothed to the Liang ruler's son, also a fine soldier. Ge Li and the son had a disagreement early on, but after the battle the son grew to admire his rival. Yi Yue falls madly in love with Ge Li. Charges are trumped up against Ge Li, and he is exiled from the city. The soldiers attempt to assassinate him by flinging arrows at him and his supporters, but they fail. He is rescued by an African man who once served the Zhao army. Innocent people who supported Ge Li are killed, even Yi Yue is thrown into prison and sentenced to death for supporting him. On top of this, a thousand soldiers from the Zhao army are left behind to make one last surprise attack against the city. Their movements are detected by Ge Li and a band of men who remained loyal to him, including the ruler's son. The city is invaded,finally overrun by the army, and amid the chaos, Ge Li and his men manage to rally the troops and defeat the enemy. He searches for Yi Yue, who is trapped in her prison cell, which is being flooded by water that was seeping into the cells. But she is dead. He leaves the city, what is left of it, to continue to help others.

Yes, it is a pot boiler. An enjoyable one. A lot of comments have been made about the acting; while Andy Lau and Agn Sungki (the general) and others did well, there were a lot of thumbs down for the supporting cast, especially Fan Bing Bing and Nicky Wu. Perhaps so. But the whole movie felt like a blend of an epic and an old fashioned action adventure film, like the classic Hollywood films of the 30's and 40's. The story provides a lot of unique twists, and the battle scenes are well handled. I don't think they were aiming for the same lofty heights as House of Flying Daggers, yet this film provides more entertainment than that film. Recommended.

A question of love and identity - Time

Time, directed by Kim Ki Duk, is a fascinating look at relationships, between our loved ones and ourselves, and the value of identity. Ji-woo (Jung-woo Ha) and Seh-hee (Ji-Yeon Park) are lovers who have been together for some time, to the point that their relationship hovers between bliss and stagnancy. Seh-hee notices that Ji-woo has started to eye other women, and becomes incredibly jealous -- his assisting a couple of women with a car situation across the street from where he and Seh-hee were having coffee causes Seh-hee to break out in a very public display of anger, embarrassing Ji-woo and forcing them to leave the coffee shop. Seh-hee, fighting low self esteem and wanting to keep her lover, comes across a local plastic surgery clinic and decides that she needs a change. The doctor, incredulous, tries to dissuade her, as she is a naturally pretty woman -- even going so far as to show her graphic films of an operation to scare her out of doing it. But she insists. And the surgery is done, and Seh-hee suddenly disappears from Ji-woo's life. Stunned at her sudden disappearance, he looks everywhere for her, but she is gone. He misses her, and tries in a series of awkward and unsuccessful dates to try to move on. Then one day, at the coffee shop, he notices the waitress who is serving him, and finds her oddly familiar. The woman is See-hee (Sung Hyun-ah), who takes notice of him as well, and soon they are dating. Eventually they become lovers, however, their relationship is not an easy one. They fight, again very public displays of anger, reconcile, and fight again. See-hee is Seh-hee, however, she is no longer happy with her new face and the identity she thought would reinvigorate her life and relationship. Ji-woo feels restless as well, and he one day disappears, to have his face changed. See-hee is distraught. She goes to their old haunting ground, a surreal public sculpture garden made of figures and couples and lovers that are sculpture, public benches, etc. One day while visiting she sees a familiar man, wearing a mask. She is certain it is Ji-woo, but he refuses to acknoledge his old self, hinting only to come here after the required six months for the face to heal and he will reveal himself. They end up meeting at the coffee shop, Ji-woo a different man. But this identity shapeshifting has made See-hee upset and uncomfortable, and at the end of the movie she goes back to the clinic to have herself changed to as unrecognizable as possible. Once again, they are separated.

Kim Ki Duk is a creative and inventive storyteller who is unafraid to tackle hard questions about modern human condition, and as such, he is not a popular director in South Korea, but he has certainly gained attention here in the States. Familiar films to American indie movie buffs would be 3-Iron, Spring, Summer, Fall or Winter, or Samaria. Here he takes on plastic surgery and people's disatisfaction with themselves, but he takes it to an extreme level. Watching this film, I thought of Kobo Abe's The Face of Another, the book and the classic 60's Japanese film that detailed the life of a husband who had facial surgery, and given a new face, becomes deluded into thinking he has a new identity, and tried to live outside the norm of society, even trying to seduce his own wife. Here we have a couple who try to reinvent themselves as a means to reinvigorate their relationship and themselves. It is frightening logic. Recommended!

Subdued yet intelligent horror - Diary

Diary is the Pang Brothers' latest feature, and it is good one. Starring Charlene Choi as Winnie, who lives alone and is apparently suffering from a sudden breakup with her boyfriend, Seth (Shawn Yue). She records her thoughts and events in her diary, but it only serves as a painful reminder of their relationship. A friend, Yvonne (played by Isabella Leong), tries to help her, but Winnie is wallowing in self pity and misery. One day, Winnie sees Seth on the street and calls out to him. It is not Seth -- the man introduces himself as Ray, who looks remarkably like Seth. They have a dinner date, and Winnie reveals that her former boyfriend had died from cancer several years before. Showing pity for her, Ray grows closer to her, and they eventually spend the night together. But Winnie is showing signs of self delusion -- calling her new boyfriend Seth, talking about things that Ray and her never shared. Most disturbing of all, she goes to the market to buying fish, and gives the vendor grief about the change, only to return several minutes later to buy the same fish again. Yvonne is an uncertain influence on her, neither encouraging or dissuading her from dealing with the situation. One evening, as Ray and Winnie are having dinner, it becomes clear to Ray that Winnie is an unstable person, and is cold and distant to her. She becomes upset and has a screaming fit. Suddenly, unexpectedly, veils of her reality are lifted. Ray is tied to the chair, while Winnie recalls all the events that led to this point -- their nights spent together were of her living a fantasy relationship while Ray was bound and gagged. Then she snaps, and kills Ray. A neighbor, complaining of the smell, calls the police, and Winnie is found and taken to headquarters. Finding her diary, the detectives find that it is written in the future, telling of events that never happened. They break open a false brick wall to find another dining room table with a doll tied to the chair. In the diary Winnie reveals that Yvonne had planted the idea of murder in her head, and they bring Yvonne in, along with her boyfriend. Another veil is lifted -- Yvonne is actually Winnie, and Winnie is Yvonne, and the boyfriend is indeed Seth. Seth admitted to being Winnie's ex boyfriend, but now he was married to Yvonne. Winnie, completely delusional, recalls the past events which reveal her nutty state.

This is an effective, low key shocker. On the surface, Diary is filmed like another classic Pang Brothers film, the Eye, with dimly lit and greyish green colors, reflecting Winnie's state of mind. Charlene Choi, one half of the Hong Kong singing duo Twins, does a good job of portraying a unstable woman who becomes insane. Isabella Leung provides a small but important supporting role. But this film is all about the directing, of what they want you to see, then lifting the veils of delusion to reveal a more disturbing reality. The pacing starts slow, but by the 55 minute mark the viewer's patience is rewarded by the chain of events that follow. Clocking under 90 minutes, this is one of the better HK horrors to come by in a long time. A well done film. Recommended!

Family planning - Mission Sex Control

Sorry for the long delay. Let's start off with one of the funnier Korean comedies that has been released in a while, Mission Sex Control. Awful title, but it explains the plot of the film: in 1961, the South Korean government became concerned about the population explosion that was occurring (their version of the Baby Boom). They felt that they needed to take measures to curb the growth, so they initiated a family planning program that would make the citizens aware of birth control methods. The other point was to show that people could lead healthier and wealthier lives if they were not so busy having children, which kept them in debt. Hyeon-joo (played by Kim Jeong-eun) is an enthusiastic young woman
who is sent to a local village where it harks back to pre modern times - there is a village chief, but the real power lies with the land owner, who everyone in the town works for by tending to the land. All of them have large families, with no stopping in sight. Helping her to the village is a townsman named Suk-gu (Lee Beom-soo), who is having difficulties making payments to the land owner for rent on his house. There is also a matter of paying for tuition for the kids, and keeping her wife happy. Hyeon-joo introduces herself to the village, and gives a lecture on what the government want to do to help them. But they are horrified at the very idea of birth control - not only is it government interference on personal matters, it goes against the Korean notion of family. Undeterred, she returns, again and again, to the women of the village, to the men, the the village chief, and finally the landlord, all of whom refuse her offer. The only one who becomes receptive to her ideas is Suk-gu, who is now close to defaulting on paying his loans. He wants to end this cycle of debt, and agrees to listen, and manages to convince a few of his friends as well. She teaches them to use condoms, and gives the wives birth control pills. Slowly but surely, she makes progress, but runs into interference from the landowner's son, who sees her as a trouble maker. She gets around this by recommending that Suk-gu be appointed village head, and he does. He is a good leader, and manages to convince the others to fall in line with the family planning, convincing them that they will attain wealth this way. The sudden drop in births in the town catches the goverment's notice, especially the South Korean president. They are made the model town and citizens for conforming to the plan. It has a price though -- Suk-gu, in order to maintain their credibility, kicks out a couple for conceiving. The stress and the intense need to conform to this law drives everyone nuts, and then Suk-gu's wife is pregnant. Convinced that he isn't the father, he beats her and chases her out of the house. Later someone finds a shoe at a cliff known for suicide leaps, and Suk-gu is distraught. Actually, she is hiding at the landowner's house. They are reunited, and they leave the town as they have broken their own rule. Hyeon-joo goes back to the city, quits her job, realizing that there is a happy medium, of carefully planning for children with a loved one, but a couple at best.

Light hearted, silly and fun, this comedy entertains while poking fun at a well intentioned government plan to keep the population under control. The clash between country and city is well defined and delivered. Recommended!