In “Pavane for a Dead Princess,” you’ll quickly discover that there’s a novel of the same name set in the 1980s. Something I didn’t know before seeing the film, because I’m happy to know nothing about what I’m about to see. But in this case, I think it would have been helpful to read a bit about the book, if not the book itself, to truly grasp the nuances of this film and what it’s trying to tell us. “Pavane” tells the story of Gyeong-Rok, the young son of a superstar who left his mother behind for a life of fame.
At 27, Gyeong-Rok has nothing to his name, but he wants to be a dancer and finds a job in a department store parking lot. There he meets Yo-Han, a man fascinated by Gyeong-Rok. They become friends, but more importantly, Yo-Han helps Gyeong-Rok express his love for Mi-Jeong, a woman who works in the basement of the same store but is disliked by everyone because she's considered, for lack of a better word, "ugly."
Director: Lee Jong-pil
Writer: Lee Jong-pil
Stars: Ko Ah-sung, Moon Sang-min, Byun Yo-han
We've all heard about the terrible beauty standards in Korea. Whether it's having to get eyelid surgery as soon as you're old enough, or having your nose fixed because it's too flat and doesn't fit Western beauty ideals, or completely changing your appearance because you don't look like everyone else, there's an entire industry that thrives in this country and is extremely concerned with appearance. Pavane attempts to denounce these standards, but I only discovered this by reading about the book. To be honest, the film itself doesn't necessarily explore the same themes that the book apparently addresses.
I say "apparently" because I haven't read it, but from the two reviews I read online, I got the impression that the themes are conveyed quite strongly. The film feels like a watered-down version of the book, presented from the perspective of Yo-Han, the friend, rather than the author himself, Gyeong-Rok. Yo-Han is an unreliable narrator; sometimes you believe what he says, and other times, he insists that we realize we could be wrong. I think Yo-Han's perspective is certainly interesting. He's an outside observer who doesn't quite believe that a man like Gyeong-Rok would choose such an unassuming woman as Mi-Jeong. This is where I think the film falls short of its full potential.
I believe the idea is for us to see how difficult it is for a woman like Mi-Jeong to open her heart, because there's always the possibility that Gyeong-Rok is toying with her feelings, trying to hurt her on purpose. But while watching the film, the reasoning doesn't really come across, and half the time I was asking myself, "Why?" about everything that was happening on screen.
The theme that caught my attention the most was the issue of fatherhood, and honestly, we've had so many problems lately that I don't think it bothered me as much as it should have. However, the cast is good. They're what sustains the film and keeps it interesting. Ko Ah-Sung has been in the industry for a very long time; it's a shame we haven't seen her in a couple of years, and I think she's very endearing as Mi-Jeong. I don't think it's easy to play a role like this, even if it means changing your face a bit, adding freckles, unruly hair, and getting a tan.
On the other hand, Moon Sang-Min plays Gyeong-Rok, the man who's in love with her. My first thought was that he looks like Kim Seok-Jin from BTS. I think that should have made me realize that this is the story of an ugly duckling being saved by the prince. Sang-Min is eight years younger than Ah-Sung, but you'd never know it. The actors have incredible natural chemistry, and Korean stories have always had a knack for portraying longing.
However, there's something about making an aesthetically pleasing film that ends up draining some of the real lyrical color from what we're seeing. What I mean by this is that, while I understand that Mi-Jeong isn't someone everyone will appreciate, I didn't fully grasp the gravity of her situation. I just felt like something was missing. But at the heart of the story is Yo-Han, played by Byun Yo-Han. Playing his namesake might have given Yo-Han an edge, because he's undoubtedly the light of this story. The last time I saw him was during Uncle Samsik, where he also met K-pop idol Tiffany.
The film is slow and languid, like most of the romantic comedies we've seen lately in this industry. It's always about young people; luckily, this time they're not in school. The color grading is something special, and I suppose it gives it a vintage feel, but I wouldn't have been able to identify the era it's set in just by looking at it. I don't think much has changed in 40 years. Yes, watching it will remind you of recent romantic comedies about young people, like the infamous "20th Century Girl." But ultimately, it's a different kind of film.
To be honest, I don't think it will be for everyone, and it has a strange surrealism that I can't quite explain. There's something about Pavane that doesn't feel natural, but that's the point. I can't say I didn't enjoy it, but I admit I got a little bored at many points, which ultimately left me a bit confused about my opinion of the film. So I guess I'd give it 3 out of 5 stars.
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