[HanCinema's Film Review] "Country Bumpkin O-bok" + Full Movie

One of the latest releases by the Korean Film Archive, "Country Bumpkin O-bok" was restored in 4K in 2021, but unfortunately, 4 of the 11 reels of the full film are missing. To fill in the gaps, descriptions based on the script and audio track were added. This somewhat faults its viewability, but there is still enough present for a full review to be generated.

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The story, which unfolds into two different timelines and settings, revolves around the titular O-bok, a simpleton working as a servant, with very little prospects in life. O-bok is in love with Soon-i, the daughter of a gambler, who retains, though, a relationship with his boss's son. O-bok's boss, however, is set on not allowing his son to marry such a lowly girl, and to do so, forces Soon-i and O-bok to get married, despite the protests of his son. The marriage is awkward from the beginning, and things take an expected turn towards the worst, with Soon-i abandoning O-bok and her daughter, Sook-hee. Eventually, however, O-bok manages to send his daughter to Seoul to study.

The second part takes place about a decade later, when a grown up Sook-hee is lodging in In-gyeong's house, where she tutors his children. Another lodger, Mr. Kim, has feelings for Sook-hee, but In-gyeong's daughter, Hye-yeong, a rather spoiled girl, flirts with him non-stop, despite the fact that she suspects his feelings. A sick O-bok eventually also lodges in the house, but things soon take a turn towards the rather worse.

Im Won-jik directs a genuine melodrama, where the situation of all the protagonists goes from bad to worse, and the happy moments are few and rather brief. At the same time, however, through this approach, he also makes a socio-philosophical comment, regarding the ways the rich dominated the poor, essentially dictating the ways they live their lives, with disastrous consequences, occasionally even for both parties. Particularly for O-bok, who finds himself constantly dependent on an aristocrat, despite the initial events, and that this history seems to be repeated even for his daughter, emerges as particularly tragic while also cementing this particular comment. Kim Seung-ho-I gives another great performance in the part, particularly in the way he portrays his character's naive nature, which does not even allow him to realize his blights and their repetitive nature.

Im Won-jik's own script, despite the intense melodramatic premises, emerges as one of the most distinct traits of the movie, with the story being captivating from beginning to end, assisted the most by the change from the rural, almost Joseon setting of the first part, to the urban modern one of the second. The two romantic stories that dominate the story are also well-written and quite intriguing, with the villains in the two cases (O-bok's boss in the first and Hye-yeong in the second) working excellently as catalysts of the story. Yang Mi-hee in the latter role is impressive as the rather beautiful, rather spoilt and spiteful woman-child.

Seo Jeong-min's cinematography is also excellent, with the ways he has captured the radically different settings being particularly realistic and, at the same time, artful. The scene where Hye-yeong spies from the balcony especially is excellently framed, in one of the most memorable moments of the film, with the same applying to the marriage one.

Truth be told, the more than 40 minutes missing make the watching of "Country Bumpkin O-bok" somewhat tiresome, particularly since the viewer has to sit through the black screens with just sound in order to realize what is going on with the story. What is saved, though, is quite good, both contextually and technically, essentially deeming the movie one worth watching.

Review by Panos Kotzathanasis

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"Country Bumpkin O-bok" is directed by Im Won-jik, and features Kim Seung-ho-I, Um Aing-ran, Moon Jung-suk, Choi Moo-ryong, Kim Seok-hun, Kim Hee-kap. Release date in Korea: 1961/11/11.