From The Archives of Rex Saigon: Gump goes video CD (1994)

Few among today's digital cognoscenti may remember that the Video CD format—still popular today in Hong Kong and parts of Asia, where few households circa 1993 had VCRs when this low-priced, climate-friendly format made its debut—almost became the successor to VHS. Almost. This ad from Philips appeared in the November 1994 issue of Premiere Magazine, touting the "CD-quality audio" and "digital picture quality" of the then-nascent format. Notice they don't say "VHS-quality" or "laserdisc-quality", since the VCD generally landed somewhere in between those formats—or, just as often, beneath both of them—on the home theatre presentation scale. It may have died a quick and quiet death in North America, but the format's resilience in Hong Kong, in particular, means any fan of the city's cinema who truly wants to wear the badge must indulge the format on a regular basis or risk leaving a considerable segment of Hong Kong's diverse film offerings undiscovered due to its lack of availability on DVD or any other format.

From the Archives of Rex Saigon: LASER DAZE (1991)

From an issue of Entertainment Weekly, dated 1991, an era when optical home entertainment discs were incredibly large, not unlike the egos of people who owned and collected them.

SINGLES (2003; Korea)

R.I.P. Jang Jin-young
1974-2009

D: Kwon Chil-in
W: No Hye-yeong, Park Hun-Su


Uhm Jeong-hwa, Jang Jin-young

SINGLES is an incisive, progressive Korean comedy-drama that leaves many films in its overworked genre looking exactly like the disguised condoning of tradition they really are, but it's nothing like the U.S. television program, SEX AND THE CITY the U.S. DVD distributor has chosen to compare it to, despite the refreshingly liberal attitude taken by the filmmakers towards the sex lives of single people in a culture that pushes way too hard for traditional, culturally-protective dating and marriage.

One can only begin to imagine how entrenched thinkers in Korean society would react to this honest, observant, level-headed look at four late-twenty-somethings for whom life provides obstacles in both career and love that neither regressive-collective cultural thinking nor parents - who barely figure into the plot - can solve. Nan (Jang Jin-young), is a wide-eyed fashion industry drone busted down to Chili's manager by her sexist middle manager. The shift stings, but also points out realities she's not entirely uncomfortable with. Into her world comes Seo-hoon (Kim Ju-hyeok) a decent-fella securities trader who clearly wants to pursue a relationship despite her reservations.

Meanwhile, her best friend Dong Mi (Uhm Jeong-hwa), a web company employee out of work thanks to her own sexist superior, shares a flat with old pal Joon (Lee Beom-soo, in a 180 degree turn from his creepy role in OH! BROTHERS), who's as unsuccessful at removing himself from bad relationships as she is successful at bringing home a long string of bad boyfriends.

That both of these couples should end up together is a given. That the film provides no easy resolutions yet plenty of optimism for these truly modern Korean women is 2003's most pleasant K-cinema surprise: it allows the protagonists an honesty and resolve in deciding their own fates that many recent K-romances seem hell-bent on denying similar characters. Here, marriage to a handsome man and financial success - long the expectations of many young Korean women - are not depicted as an absolute guarantee of security and/or happiness, and turning 30 without being defined is hardly the end of the world, particularly for those who remain adaptable to the changes happening around them, rather than being pressured to fit a mold as their ancestors were. It should hardly surprise, then, that the film resonated so strongly with many young, independent Korean women who viewed it, some reportedly to the point of adopting Jang's distinctive and spunky bobbed hairstyle, as well as elements of her wardrobe!


Jang Jin-young

Fine acting across the board, anchored by Jang's captivating, authentic performance, raises this far above the low-brow antics too often seen in these kinds of films (CRAZY FIRST LOVE immediately comes to mind). Almost needless to say, the production design and cinematography are sterling, with warm and inviting environments (including an absolutely gorgeous Seoul) serving as extensions of the optimism with which these characters face an uncertain, hopeful future. Must-see contemporary Korean cinema, and easily one against which all similar Korean romantic films should be measured.