연기 예술 스캔들 - 조선남녀상열지사 / Acting Art in Untold Scandal

Letter from Roytavan to everybody & Baesister

ก่อนอื่น ผู้เขียนใคร่บอกครอบครัวเบยองจุนและทุกท่านที่แวะเข้ามาอ่าน หัวข้อที่ท่านเห็นในขณะนี้ ผู้เขียนต้องการนำเสนอ .ศิลแกรแสดง.ของ เบยองจุน ก่อนที่เขาจะตัดสินใจแสดงภาพยนตร์เรื่อง กลกามหลังราชวงศ์ "Untold Scandal" ผู้เขียนเชื่อว่าเขาได้พิจารณาอย่างรอบคอบแล้ว
ขณะเดียวกัน บทภาพยนตร์เรื่องนี้ได้เขียนขึ้นภายใต้กรอบเนื้อเรื่องของนวนิยายที่โด่งดังมาแล้วทั่วโลก นั่นคือ "Les Liaisons Divergentes" และที่สำคัญ..ภาพยนตร์เรื่องนี้ไม่ใช่ ภาพยนตร์แนวเรทใด ๆ ทั้งสิ้น หากแต่เป็นภาพยนตร์ยอดเยี่ยมเรื่องหนึ่งที่ได้รับมาแล้วทั่วโลก
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First of all, I want to tell everybody and Baesister. This topic that you see I want to show the art of acting from Mr. Bae yong joon. Before he decision to play in "Untold Scandal" Movie, I belived, he have to be careful for discuss.
Meanwhile, "Untold Scandal" adaption from "Les Liaisons Divergentes" novel that well know in universal.This movie does not nudie film but it was classic film.
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우선, 나는 배 용준의 가족 모두가하고 싶은 말이있어.
이 주제에 배용준 씨가에서 연기의 예술을 보여주고 싶어요.
그가 결정을 재생하기 전에 스캔들 - 조선남녀상열지사 영화,난 믿었어 그 논의에 대한주의해야합니다 배용준.
에서 같은 시간에 스캔들 - 조선 남녀 상열 지사 적용에서 소설 "Les Liaisons Divergentes".
이 소설은 세계에서 유명했다.이 영화는 영화 누드하지 않지만 그게 고전 영화
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まず第一に、私は誰も言ってほしい ペヨンジュンの家族。
このトピックを参照してください、私はペヨンジュンの演技の芸術を披露したい。
彼の決定でプレーする前に "スキャンダル"映画、私は議論を慎重にする必要がありますペヨンジュン依存しています。
同時に、 "スキャンダル" 採用から "Les Liaisons Divergentes " 小説の世界ではよく知っている。
この映画は映画のヌードはありませんが、クラシックな映画だった。
......................

首先，我要告訴大家 和裴勇俊家庭。
這個主題，你看，我要顯示的藝術代理由裴勇俊
裴勇俊的決定中發揮 “ 挑情寶鑑電影 ”電影，我取決於裴勇俊必須小心的討論。
與此同時， “ 挑情寶鑑電影 ” 適應從 "Les Liaisons Divergentes"
小說都知道在世界上。這部電影沒有裸體電影，但它的經典電影。

Best Regards,

Roytavan

韓国映画『スキャンダル』－　李朝文化ルネサンスの予感

映画の中で主人公のチョ・ウォンが美人画や風景画を描いているシーンが屡々登場する。文武両道の風雅な貴公子チョ・ウォンは、ある意味で男子の生き方の理想像を示している。私はこの李朝時代の書画の文化について以前から関心を持っていて、どこかで知識を本源的蓄積する機会はないものかと右往左往しているのだが、今までのところ、残念ながらその機会を得ていない。ブログをご覧の方で助言があればぜひお願いしたい。十五年ほど前に、ＥＴＶの日曜美術館でソウルの国立中央博物館が紹介されたことがあった。ＮＨＫのスタジオで加賀美幸子アナと向き合った館長が実に立派な知識人で、その頃の一般の日本人からは聞かれなくなった美しい知的な日本語で解説されていたのが印象的だった。当時の国立博物館は、あのドームが特徴的な旧朝鮮総督府の建物で、それは１９９５年から９６年にかけての撤去工事によって解体された。

三年前にソウルを訪れた折に、景福宮の中にある国立中央博物館に立ち寄ったが、そのとき新しい大規模な建物が建造中であり、私が入った博物館は仮設の応急のもので、そのせいか展示スペースも想像していたより狭く、展示品もきわめて限定的なものだった記憶がある。三国時代の、特に新羅の遺物の展示が充実していたが、その後の高麗から李朝にかけての展示物が少なく、青磁と白磁はよく並べられていたが、お目当ての李朝時代の書画はほとんど点数が揃えられていなかった。台北の故宮博物院のようなものを期待していただけに非常に残念だった印象がある。朝鮮半島の歴史は俗に三千年、李朝だけでも五百年の歴史がある。小中華たるを誇った儒教王国がかく長く続いていたのだから、文人たちが残した書画文物も膨大な数があって然るべきだ。特に壬辰丁酉倭乱以降の二百五十年間は、基本的に平和な文治支配の時代が続いている。





われわれは学校の歴史教育によって、あるいはＮＨＫの『故宮』などによって、中国の歴史と文化については多くの知識を持っている。単なる知識だけでなく尊敬の心を持っている。中国の古典はわれわれ日本の古典でもあり、司馬遷や杜甫や李白はわれわれ日本人にとって偉大な文化的先人である。ところが、その同じ文化的な事情と背景を隣国である韓国も共有している事実を日本人は忘れている。古典を同じうする民族である事実を直視する姿勢が十分ではない。簡単に言えば、日本人はあまりに韓国の歴史と文化について知らなさすぎる。文部省の定めた教育課程において知識を与えられていない。韓国の歴史と文化についての教育が省略され過ぎている。そういう反省的な自覚がそろそろ一般的に確立してもよい時期であるように思われる。手元の山川出版社の『朝鮮史』を開いて、李朝後期の書画文化について書かれている部分を見てみよう。

この本は全体で六百頁のぶ厚い本なのだが、李朝後期の文化については全体で四頁しか触れられておらず、しかも書画については僅かに上の五行だけ。これだけしか書かれていない。さすがに韓国朝鮮の歴史となると内容が多くて、六百頁のボリュームでも個別の領域については驚くほど紙幅が少なく、要約的で簡略的な記述表現になってしまう。これだけでは何も分からない。が、何も分からないのは、単に説明が少ないからだけでなく、こちらに前提の知識なりイメージが何もないからだ。真景山水画というのも知らない。聞いたことがない。画家たちの名前も初めて聞く。絵の表象が全く頭の中にない。青華白磁については何となくイメージが涌いてくる。秋吏体とはどのような書体だろうか。興味深いが悲しいかな知識の前提がない。と言うことで、山川出版社の『朝鮮史』では基本的に用を成さなかった。別の専門書なり図版集を入手する必要がある。

手元にはもう一冊、河出書房新社の『図説・韓国の歴史』（姜徳相・鄭早苗・中山清隆）があるのだが、これを見ても、高麗時代の磁器と李朝前期の朱子学については写真入りで記載されているが、李朝後期の書画や文学については何も書かれていない。落とされている。位置づけが重要視されていないのだ。私は、いずれ李朝時代の書画文化に光が照射される日が来るだろうという予感を持っている。そこは言わば、現状では暗黒大陸のように人の関心を遮蔽されて横たわっている文化的領域であって、必ずこれから世間の注目を浴びて浮上するだろう。誰かがその文芸復興運動（李朝文化ルネサンス）をプロデュースして市場に訴えるに違いない。韓国か、日本か、どちらから先に始まるか分からないが、誰かが仕掛ける。そしてこれは必ず事業としてヒットする。注目を集める。日本各地の美術館で企画展が組まれる。私はそう確信している。




剧情简介：好色浪子与荡妇、贞女的故事

18世纪的朝鲜上流社会充满了腐朽之气，封建礼教摇摇欲坠，男女淫乱之事多有发生。赵元(裴勇俊 饰)即是上流社会的一位花花公子，好色成性，引诱了无数女子，才貌双全的他琴棋书画样样精通，对剑术也颇有心得，加上生性风趣幽默，令许多女子都甘心与他共度“鱼水之欢”。
赵元有一堂姐，名为赵氏夫人(李美淑 饰)，从小熟读四书五经，梦想像男儿一样以才服人，考取功名利禄，却因女儿之身在封建礼教下无从施展。在怨恨和郁闷之下，赵氏夫人开始以玩弄男人为乐，她表面贤良淑德宛如贵妇，内里却淫荡至极，以床第之欢征服男人来寻找生活的乐趣。

一个是引诱女人的男人，一个是玩弄男人的女人，赵元和赵氏夫人成为当时朝鲜的第一浪子和第一妖妇，俨然天生一对绝品淫乱男女。实际上，好色的赵元少年时即以堂姐赵夫人为性幻想对象，而赵夫人竟鬼使神差成为赵元的初恋情人。从此，这对“狗男女”一拍即合，一边在床上行淫乱之事，一边密谋爱情游戏。

恰好此时，赵氏夫人的丈夫要迎娶小妾素玉，素玉是个年轻貌美的清纯女孩，赵氏夫人想叫赵元去引诱素玉，在丈夫娶进门之前坏掉她的处女身。但赵元此时却迷上了淑夫人(全度妍 饰)，一个得过皇上“烈女文”褒奖、守节9年的寡妇。

淑夫人是个极守妇道的端庄女子，丈夫死去后至今未嫁，但却最终禁不起赵元的诱惑，压抑了9年的欲望喷涌而出，淑夫人和赵元来了一场轰轰烈烈的激情，从此败坏了自己的名节。淑夫人的弟弟知道了这事，蒙羞之下杀死了赵元，淑夫人竟也随着赵元徇情而死……

关于故事：拉克洛的"危险关系"

《丑闻》改编自法国18世纪小说家拉克洛(Choderlos de Laclos) 用书信形式所写成的小说《危险关系》(Les Liaisons Dangereuses)，原著在1782年出版时因为角色人物影射到贵族社会的某些人而引起不满，还因为故事挑战当时的道德思想而遭到被禁的命运，作者拉克洛也琅珰入狱。拉克洛的小说《危险关系》因为对人性黑暗面的精彩描写，久经考验，成为经典。

1959年，法国导演罗杰·瓦迪姆(Roger Vadim)首先将《危险关系》搬上银幕，场景改为五六十年代的巴黎，由新浪潮电影女神让娜·莫罗(Jeanne Moreau)演出。1985年，英国剧作家克里斯托弗·汉普顿(Christopher Hampton)为英国的皇家莎翁剧团(Royal Shakespeare Company)再次改编拉克洛的这部小说，成为舞台演出的舞台剧，用了原著的法国时代为背景，单在伦敦西部剧院(West End)演出就超过2000场次。

1988年，英国导演斯蒂芬·弗雷斯(Stephen Frears)根据克里斯托弗·汉普顿的剧本，在好莱坞导演了电影版的《危险关系》，由格伦·克劳斯、蜜雪儿·菲弗和约翰·马可维奇演出。讲述在18世纪的法国，富有的寡妇怂恿一名恶名昭彰的浮华浪子去勾引一位年轻貌美的新婚女子。当所有的道德、禁忌完全被打破，游戏的男女主角陷入爱河，种下了悲剧的结果。影片还拿下了1989年的奥斯卡三项大奖：最佳改编剧本、最佳艺术指导、最佳服装设计。

《丑闻》可以说是韩国版的“危险关系”，18世纪的法国变成了朝鲜王朝，而法国贵族则变成了朝鲜时代的花花公子，不变的是男女淫乱谋奸，人心尔虞我诈，演出一幕情爱悲剧。






关于影片：奢侈的古装，奢侈的激情

对于韩国电影来说，拍摄古装戏是一件非常奢侈的事情，除了很难找到具有古代风格的影视城外，服装、道具的花费也非常昂贵。《丑闻》为了再现18世纪朝鲜上流社会的奢侈浮华生活，制作了符合时代的各种装饰物，有的还专门经过精心设计。花费最多的是服饰，从三位男女主角，到配角仆从，影片中几乎每一件衣服都是由人工缝制而成，这笔费用总共花去了20亿韩元(约好几千万人民币)。

凭《情定大饭店》、《冬季恋歌》等韩剧深受影迷欢迎的男星裴勇俊，挑选了本片作为加入影坛的首部作品，饰演朝鲜时代的风流公子，摘下赖于成名的“眼镜”，戴上了高帽子、粘上了胡须披上了假发，立刻从一个戴眼镜的“纯情王子”变成一个好色成性的“花花公子”。裴勇俊甚至为了在拍床戏时展露自己的优美身形，还特意减掉了7公斤的体重，在片中他和两位女主角都有比较激烈的亲密镜头，绝对值得咽下口水等待好戏开场。

本片导演李在容曾执导《婚外初夜》(An Affair，1998年)和《纯爱谱》(Asako in Ruby Shoes，2000年)，这次是他首次拍摄古装电影。不到40岁的李在容，是韩国年青一代导演，拍片不多，但都大胆的突破禁忌，也都有不错的票房。《丑闻》自上周末在韩国上映后，立刻夺得票房冠军宝座，在众多好莱坞电影夹攻下，取得这个成绩非常不错。

关于角色：好色公子、妖妇、贞女

“花花公子和妖妇绑倒贞节女”——《丑闻》把这句广告词打上了宣传海报，显然是把三个主角的情爱关系作为本片的最大卖点，意图勾起观众的欲望掏钱买票一睹为快。好色公子、妖妇与贞节女，原本处于两个极端却受诱惑一步步丧失防线，最后贞女也走入淫荡的行列——角色设置似乎要深挖人的内心，誓要纠出埋藏在最底层的犯罪欲望。

赵元(裴勇俊饰)：官居高位、才华横溢，精通琴棋书画，同时又长得玉树临风、英俊潇洒，谈吐风趣幽默，又有独特见地，同时好色成性，不知引诱了多少女子。虽然和无数女子尽享床第之欢，更与堂姐赵夫人玩起爱情游戏，但他心里依然向往真正的爱情。

赵氏夫人(李美淑饰)：表面上是贵妇人，暗地里却玩弄男人于手掌之中。她从小便冰雪聪明，强烈憎恨重男轻女的朝鲜时代的上流社会，欲通过争夺爱情游戏的主导权来宣泄她的怨愤。在玩弄和淫乱中，赵氏夫人似乎有一种变态倾向，不仅自己以淫乱为乐，还密谋破坏贞节女子的操守。

淑夫人(全度妍饰)：丈夫死后守节了9年，被皇上立了“烈女门”，使自己名誉远扬，家族也倍受美誉。后来陷入花花公子赵元的诱惑之中，深埋在心中的热情终于火山般爆发。

韩影笔记一：情情色色之《丑闻》
《丑闻》：那些渴望爱情的古典脸庞

弃妇独坐船头，忽从怀中摸出一物，那是情人送它的鲜花，早在岁月的历练下成为干花，唯有暗香残留。此时，这片片残花却已成了她唯一的精神寄托。凝视中，悲从心来。回望处，一片蓝色无云天，晴空无限好，只是昔人梦已醒。

这是韩国电影《丑闻》的最后一幕，古典而伤感。这一两年看多了韩国电影人制作的现代爱情甜点，虽然好吃，但开始渐觉乏味，忽然看到这样一部充满古典美的韩国电影，虽然远谈不上是杰作，还是不由地在心里叫了一个好字。

这还是一个爱情故事。但是，因为这件古典的外衣，它与大多搞笑的韩国现代爱情电影相比，就多了一些悲剧色彩。

故事起于爱情，止于爱情。《冬日恋歌》中的寂寞雅皮裴勇俊这一回披上古装，化身为风度翩翩的花花公子赵原，自以为在情场上无往不胜，并且在片中一开始就确立了要征服一个自出嫁即守寡的27岁女子姬燕的心，于是他是否成功如何成功就成了影片的一大悬念；《婚外初夜》中的姐姐李美淑，此刻也口含朱丹，发髻高耸，成了赵原的初恋但是却不得不另嫁他人的赵氏夫人；而纤纤细步，精妙无双，心如止水的姬燕则由在《快乐到死》、《记忆中的风琴》中有精彩演出的全度妍全力演绎。

三位兼具偶像外表与实力演技的明星，将这段古典爱情故事演绎得一波三折，峰回路转，情深处，泪如雨下；情绝处，催人断肠。赵氏夫人的丈夫要娶小妾——一个叫素玉的16岁纯真女孩。赵氏夫人为了报复，则极力鼓动赵原诱惑素玉，让素玉未婚先孕，作为给丈夫纳妾的最好“礼物”。赵原起初无心，因为他的目标不在于斯，但最终还是为了报复素玉的母亲——他曾经的情人——破坏他追求姬燕的行为而诱骗了素玉。

这样的情节，听上去就觉得这里面有很多坏人，尤其是赵原和赵氏夫人。自诩风流倜傥堪比西门庆的赵原，起初只把姬燕当作他的一个普通征服目标，他只想打开这个贞女尘封多年的心门，从而证明他的魅力无往不胜，于是得意处嘴角微扬，得手时趾高气扬。于是，当姬燕真的动了心，这个曾经发乎情以为能够止于礼的女子终于还是爱上了赵原时，赵原却狠心说了“不”字。

爱情昏厥了。姬燕这张渴望爱情的脸庞，就这样在赵原的冰冷中一夜憔悴。然而赵原却发现，自己浪荡多年的心，其实在姬燕爱上他的那一刻已经开始了动摇，他其实早已厌倦了那种只是为满足欲望的猎艳生活，他其实同样渴望一份平凡而温暖的爱情。于是，这张渴望爱情的风流脸庞，当他终于下决心去找回幸福时，却被让嫉妒之火烧昏了头脑的赵氏夫人设计害死。

爱情又一次昏厥，只是这一次倒下的不止是一个人。姬燕在收到赵原忏悔信的同时也收到了他的死讯，她该何去何从？赵氏夫人在得到他的死讯时嚎啕大哭却为时已晚。

爱，早就消散了吗？那些渴望爱情的脸庞，就这样互相伤害了吗？这些成年世界的游戏，真的让人感到不可理喻吗？也许是为了与那些成年世界的爱情事件形成对照，影片特地安排了素玉这个角色，这个年方十六新鲜如水的女孩，有着一张对爱情充满渴求的脸庞，却不得不在花季来临之时就要嫁给比她父亲还年长的男人。于是，在赵氏夫人的刻意安排下，她和一位英俊公子仁浩由一见钟情怦然心动到两情相悦互诉衷肠的爱情小段被影片演绎得清新而素雅。这样的爱情，仿佛是不带着丝毫烟火气的，就好像两张精致得仿佛不沾染一点俗世凡尘的脸庞，让我们隐隐品到了爱情的原味。

可惜，这样的爱最终还是在赵原和赵氏夫人的布置下被扼杀了。这张渴望爱情的脸庞，最终还是涂上了脂粉，走入了宿命。字幕淡出时，影片特意加入了几帧素玉出嫁的画面，她那年轻却成熟的脸庞，宛如年轻的赵氏夫人，让我们忽然有些不寒而栗：她，是否就是若干年后的赵氏夫人的青春翻版，因为她的初恋，也和她的婚姻擦肩而过了。那么，那颗报复的心，是否也会像赵氏夫人一样，凶狠而残忍。

阴谋，抛弃，乱伦，杀戮……一道道伤痕，让生活在《丑闻》中的人们生活得远没有他们身上的古装那样长袖飘飘，潇洒自在。不过，幸运的是，我们从这部电影中还是更多地看到了爱情，如素玉仁浩那般清洁如水的爱情，如赵原姬燕那般弄假成真的爱情。即使是被赵原称之为充满“占有欲和毁灭欲”的赵氏夫人，也用那包藏在心口的干花让我们看到了她埋藏心灵深处的爱情。
只是爱情，只有爱情，让我们对这些古典的脸庞投入了更多的爱怜，她们也许有罪，但是可恕。




UCLA Asia Institute :Asia Pacific Arts
[Article]Passion and Pleasure: The Untold Scandals of the Heart By Ada Tseng
http://www.asiaarts.ucla.edu/article.asp?parentid=12953

Untold Scandal is director E J-yong’s seductive retelling of “Dangerous Liasons.” Set in 18th century Korea where secrets and scandals lurk behind the doors of high-class nobility, we learn that forced restraint and suppression can only lead to explosive consequences.

Love. Hate. Jealousy. Passion. Betrayal. Sexual awakening. Director E J-yong's provocative drama, Untold Scandal, shows that a powerful story like Choderlos de Laclo’s novel Dangerous Liasons can transcend any culture differences. The cold viciousness and manipulation behind the seemingly respectable high class society is given an interesting twist when placed in the strict moral confines of Confucian ideals. With exquisite cinematography and gorgeous sets and costumes of 18th century Korea, this elegant film is mesmerizing and painfully gripping at the same time.

Lord Cho-won (Bae Yong-jun) is the first son of a ruling provincial family during Korea’s Chosun Dynasty, and he’s built a reputation for his womanizing ways. He takes pride in his conquests, seeing virginal women as challenges for him to seduce and overpower. His partner in crime is cousin Madam Cho (Lee Mi-sook), an impressively empowering woman, tragically born in a time where the only outlet for her intelligence and proficiency is through manipulation and revenge. Madam Cho wants her cousin to deflower and impregnate her husband’s concubine (Lee Soh Yeon), but Cho-won has set his sights higher—on Lady Sook (Jeon Do-yeon), a beautiful follower of the Catholic Church who has defended her chastity for 9 years since her husband died. A high-stake bet is fashioned: If Cho-won can seduce Lady Sook, Madam Cho will give up her body to him, giving him the forbidden love he has always dreamed about but could never have. But, if he loses, he will have to become a priest. She might be joking, but he knows better than to question her.

Untold Scandal definitely has the aspects of remoteness and the chilling guiltless exterior that made Stephen Frear’s 1988 film Dangerous Liasons work, but J-yong’s version is more colorful and lively. There's an extra dose of comedic moments, almost as if the characters aren’t taking themselves too seriously, which makes the hit that much more drastic and unexpected when morality strikes and an uninvited conscience interrupts the comfort of apathy. Bae Yong-jun, known for his work on Korean television, sheds his sweet heartthrob status in this gritty role, and he succeeds at giving the character great depth and layers.

His transformation is so subtle that we’re not sure whether we should believe that there was a transformation. The most interesting moments of the film come from watching Cho-won’s inner struggle, unable to deal with his love, frantically trying to push her away. We see it in his eyes, vulnerability seeping out and his desperate attempt to suppress any humanity. He’s a lost soul, and when he finds love, we’re not sure if he deserves Lady Sook’s emotional leap of faith. But their union is so raw and unexpectedly organic, that we, against any rationality, almost want to believe him. He delicately jerks back and forth across the fine line between evoking sympathy and wrath.

Lee Mi-sook is fabulously heartless as Madam Cho, and Jeon Do-yeon takes a potentially one-dimensional role and makes us understand her inevitable surrender to her suppressed human desires while still believing in her strength as a character. Lee Soh Yeon, as the young naive concubine, provides some comic relief as we're shaking our heads at how ridiculously gullible she is.

Overall, Untold Scandal is a passionate movie that excels in its emotionally excruciating contradictions. J-yong doesn’t shy away from powerfully erotic portrayals of sexuality, which were impressively more provocative and explicit than anything in most American films. But it’s done so tastefully and honestly, which is a testament to J-yong’s vision. At the Q&A session following the showing at the Los Angeles Film Festival, J-yong described his choice to set it in the 18th century in order to parallel the exact time period that the novel takes place in France. J-yong also wanted to reinvent the Korean costume period movie by using classical Baroque music in the background instead of the expected Korean instrumental music. Asked about any difficulties with ratings and censors for the sexually charged scenes, J-yong looked confused and seemed to genuinely think that this would be a PG-13 movie in America. The audience gently informed him otherwise, but I think we were all won over by the true sincerity of his assumption.

Untold Scandal is a huge hit in Korea. It brought in 1.2 million viewers, 5 days after the premiere screening, making it the biggest opening ever for a Korean film. Recently, in June 2004, it won the Golden Goblet at the Shanghai International Film Festival for Best Director, Best Music, and Best Visual and Sound Effects. It’s out on DVD now, with English and Chinese subtitles. Also available is a Limited Special Edition, which includes a booklet of Cho-won’s erotic paintings inside.




Chosun's most infamous Casanova, irresistible temptress and virtuous widow entangled in provocative and dangerous liaisons

The end of the Chosun dynasty-a period when rigid Confucianism clashed with encroaching new beliefs. Lady Cho is a brilliant woman who mastered the classics on her own, and she resents the limited life she must lead as a woman. A devoted wife on the surface, she secretly entertains herself with sexual conquests.

On the other hand, her younger cousin Jo-won is accomplished both as a scholar and in martial arts, but rejects a high government post as if he disdains the hierarchical and patriarchal conventions of the time. He indulges in the pleasures of the flesh with as many women as he can seduce. Lady Cho was his first love, and they become co-conspirators in a high-stakes game of love and intrigue while hiding their true feelings for each other.

One day, Lady Cho asks Jo-won to deflower the innocent young Soh-ok, who is to become her husband's concubine, but his attentions are elsewhere: Lady Sook. Graceful and aloof, Lady Sook lives according to her convictions as a Catholic. Jo-won becomes obsessed with seducing her, a woman who has remained chaste for nine years since her husband's death. However, it proves to be more difficult than he expected when Chosun's greatest playboy sets out to conquer the most virtuous woman in the land...




THE NEW YORK TIMES
The Dangerous Liaisons In Korea's Finest Homes By ELVIS MITCHELL
Published: March 29, 2004, Monday
http://movies.nytimes.com/2004/10/13/movies/13reca.html

A prologue in the viciously purring Korean comedy of sexual conquest,''Untold Scandal,'' playing tonight as part of the New Directors/New Film series of Lincoln Center, observes of the film's characters, ''One is led to doubt whether indeed they existed.'' Well, one doubts that the smiling land sharks Lord Cho-Won (Bae Yong-Jun) and his cousin Lady Cho (Lee Mi-Sook)cruised the finest homes and public places of 18th-century Korea anyway,since this film uses the Christopher Hampton version of Choderlos de Laclos's ''Liaisons Dangereuses'' as inspiration.

The writer and director E J-Yong has retooled the social context, adding a threat of religious persecution to the material. The prim, repressed and virginal Lady Chung (Jeon Do-Yeon, in a complex performance), the object of Cho-Won's pursuit, attends Catholic services that have been outlawed. The director understands that intrigue is like a physical force in the material,and that Lady Chung is secretly observing a religion that has its own strict codes complicates the psychological maneuvering.

Cho-Won exploits Lady Chung's underground worship, enjoying the increasing conspiracy. The pleasure he takes in his own deception is almost sexual in nature. He rolls his eyes orgasmically as he turns away from Lady Chung while repeatedly lying to her; his objective is to win her heart by making himself a lost soul in desperate need of reclamation.

He's as aroused by underhandedly forcing Lady Chung to confront her own hidden carnal nature as he is by constructing the meticulous imposture to take advantage of her. His every smile and gesture is manipulative, but he even gets turned on by his inauthentic earnestness. (He's a snob, too,glaring at Lady Chung's servant as if she were a dog chewing his new shoes.)

When Cho-Won, a widower, says, ''There is only room for one person in my heart,'' many assume he means his late wife, but we know he's probably thinking of the face that greets him in the mirror each morning. This bravura coldheartedness, which this actor revels in, could win Cho-Won his own private subdivision in Dante's Ninth Circle.

Much of the plot mechanisms from ''Les Liaisons Dangereuses'' remain in place for ''Untold Scandal.'' Cho-Won's primary mission is to win bedding privileges from his equally heartless cousin, Lady Cho. In order to do so,he must seduce and impregnate another virgin, So-oak (So-yeon Lee), before she becomes a concubine. The byplay, with its unspoken and rakish hatefulness, between the cousins, is such elegant skulduggery that Cho-Won and Lady Chung derive as much happiness from flouting the rigid formality of the day as they do from sexual plunder. She descends on a young, innocent suitor of So-oak's like finely woven bedclothes.

The director also employs the misanthropy and sexual hostility that Mr.Hampton used as a gravitational pull in his ''Liaisons,'' which makes Cho-Won's sudden glimmers of humanity comic and tragic. The editors and composer give rhythms to ''Untold Scandal'' that make it feel relaxed and courtly; they also underscore the film's dual nature. And the filmmaker makes the story his own with a last section that ties things up with a delectable precision and a swell of melodrama; somehow he weaves what feels like a combination of ''Boswell's London Journal'' and Grace Metalious's
angry voyeurism into the conclusion.

The last shots of Cho-Won and Lady Cho are the film equivalents of audience-rousing exits: boldly conceived scenes that intimate he may have caught the stage version of Mr. Hampton's ''Liaisons.'' And we also get a hilarious epilogue that gives the messy tales of predators consumed by fate the timeless shame of gossip. Lady Cho and Cho-Won don't become the legends they might have imagined. Given that ''Untold Scandal'' is, like its predecessor, an epic story of spreading displeasure, the director's ability to keep it from feeling petty is a major feat.






Screen International
Dan Fainaru in Pusan 08 October 2003 : Dir. E J-Yong. Korea 2003

E j-Yong’s new film is the best proof that a good story will strike roots wherever it is planted and, once lit from the right angle, will bear fruit. Last weekend Untold Scandal enjoyed the biggest opening ever in Korean history (over $5m in the first four days) and is now set to smash all previous box-office records there. While this new version of Dangerous Liaisons takes as it source material Chorderlos de Laclos’ 18th-century tale of promiscuity and deceit in the French upper classes, it still effortlessly travels to the other side of the world, homing in on Korea’s Chosun dynasty with only minor cosmetic changes required to put it comfortably in place. A meticulously stylised production, it is a prime candidate to break through in many markets that are normally closed to foreign language cinema. Film festivals are advised to book as soon as possible before they miss the train.

The production of Untold Scandal was, at $5m-$6m, particularly expensive in Korean terms. A third of it was allegedly invested in costumes – and it, and much more, is all up on screen. The film is a showpiece, directed with a great deal of precision and an eye for glossy glamour and enhanced by the work of a superlative technical crew in every department. Imagery has a polished, pristine quality which often transforms the exceedingly handsome cast into brilliantly designed porcelain dolls. There are generous displays of nudity – the actors look great whether dressed or undressed - with their characters sometimes at rest, at other times in action. It is all rounded off by an effective soundtrack, which consists of pseudo-period music, part Western-part Korean.

The story is only too familiar. Lady Cho (Lee Mi-Sook) asks her dear relative, Cho-Won (Bae Yong-Jun), a high-profile philanderer who has given up court assignments to write poetry and paint erotic drawings of his affairs, to corrupt an ingenue who is about to become her husband’s official concubine. Cho-Won, after a lifetime dedicated to the fine art of making women swoon in his arms, thinks the girl is too easy a prey and would rather tackle a tougher challenge, the chastely pious Lady Chung (Jeon Do-Yeon). So secure is he in his capacity to achieve his goal that he is even willing to bet on it.

Applying his considerable talent to break down her resistance, he is finally caught in his own snare and falls in love with his intended victim. He then has to deny himself the fruits of his victory in order to preserve his reputation as the ultimate man about town who will never allow his feelings to take control.

The names of the characters are naturally different and the family ties between them have been reshuffled in E J-Yong’s adaptation. The garb of the French court is obviously replaced by exquisitely fashioned Korean dresses, but otherwise, this is a pretty faithful rendition of the original story both in spirit and plot. Even the letter format of the original novel is back, smoothly integrated at several points into the story.

Yet E J-Yong is not afraid to borrow from other sources as well. Yong’s seducer has several of Don Juan's characteristics and a similar kind of valet, too, while a final twist relates to the scandal caused by the publication of Cho-Won’s compromising drawings.

The film captures all the hypocrisy, double standards and fake morality of a repressive and degenerate society and the scathing satire, dipped here and there in sorrowful melodramatic tones, works as effectively in Korea as it did in France. It also has the distinction of being more sexually explicit than any of the novel’s previous adaptations. Subtlety may not be its forte, certainly when it comes to lead man BaeYong-Jun, a local TV idol, while some of the intrigues are a bit too underlined for comfort. But Lee Mi-Sook as the scheming Lady Cho and Jeon Do-Yeon, as the chastely virtuous Lady Chung, never make a wrong move and are always a pleasure to watch.

스캔들 - 조선 남녀 상열 지사 평론가

배용준, 이미숙, 전도연이 주연한 시대극 <스캔들-조선남녀상열지사>(감독 이재용, 제작 영화사봄)가 23일 언론에 공개됐다. 서울극장에서 열린 이날 언론시사에는 이재용 감독을 비롯해 배용준, 이미숙, 전도연 등 주연배우와 소옥 역을 맡은 이소연 등이 참석했다.

시사 후 열린 기자회견에서 “직접 만들고 출연한 사람들이라 객관적으로 볼 수 없을 것 같다”고 말문을 연 이재용 감독은 “원작에 충실한 것이 우선 목표였기 때문에 기본적 틀은 원작에서 따왔다”며 “살롱문화가 있는 서양에 비해 남녀의 만남에 있어 더 억압적인 조선시대가 은밀한 부분을 표현하기에 적합하다고 생각했다”고 덧붙였다. <스캔들-조선남녀상열지사>의 조원 역으로 스크린에 데뷔한 배용준은 “영화를 보면서 내가 부족한 부분밖에 안보이더라”며 “평소 좋아하던 이재용 감독, 당대 최고의 여배우들과 함께 첫 영화를 작업할 수 있어 행운이라 생각한다”고 말했다. 요부 조씨부인과 정절녀 숙부인 역을 맡은 이미숙과 전도연은 각각 “조씨부인은 여자의 양면성을 나타내는 것 같다” “사랑에 대한 무모함은 내 자신의 모습과 무척 닮아있는 것 같다”며 각자의 캐릭터에 대한 애정을 드러냈다. 이날 40여분 동안 진행된 기자회견에선 국내뿐 아니라 일본과 대만의 취재진도 참석해 많은 관심을 보였다.

<스캔들-조선남녀상열지사>는 18세기 프랑스 소설 <위험한 관계>를 원작으로 동시대 조선사회의 분위기에 맞게 각색한 영화. 바람둥이 선비 조원과 시대를 초월한 요부 조씨부인, 신념에 찬 열녀 숙부인의 사랑게임을 그리고 있다. CJ엔터테인먼트의 배급으로 10월 2일 개봉한다.

After Screening

시대와 원작을 빌어 영리하게 포장한 대중 영화다. 요즘의 트랜드를 잘 짚어내고 있다. 화려한 양식이 압도하다보니 후반부가 좀 지루하기는 하지만 대중 영화의 매력을 발휘하는데에는 손색이 없다. - 이상용(영화평론가)






Untold Scandal : กลกามหลังราชวงศ์

ตัวบทภาพยนตร์ดัดแปลงมาจากนิยายฝรั่งเศสเรื่องดังที่เคยนำมาสร้างเป็นหนังมาแล้ว อย่าง Les Liaisons Dangereuses มาดัดแปลงบท ให้เหมาะสมกับความเป็นเกาหลีย้อนยุค เป็นเรื่องของความรัก ความแค้น การทรยศ ที่ไม่อยู่ภายใต้ยุคสมัย เวลาและสถานที่ และได้รับรางวัลผู้กำกับยอดเยี่ยมใน Shanghai International Film Festival ปี 2004 อีกด้วย

ความรัก ความแค้น ชิงชัง และ การตีแสกหน้าสังคมชั้นสูง อย่างเจ็บแสบ แม่นางโช (ลี มิงชุก) สตรีชั้นสูงผู้มีความเครียดแค้นต่อคนรักเก่า ที่หันไปเสน่หาเด็กสาว ซุก (จอง โดวอน) ไร้เดียงสานางหนึ่ง เธอวางแผนจะทำลายชื่อเสียงของคนรักเก่าและ เด็กสาวที่ถูก โจ-วอน (แบ ยองจุน) ทำลายพรหมจรรย์ และ แล้วเธอก็ถูกทำลายทั้งพรหมจรรย์ และ ชื่อเสียงจนได้ ใช้ทุนสร้าง 4.85 ล้านดอลล่าร์

จากเกมรักที่ไร้สาระของคนในสังคมชั้นสูง ซึ่ง โชวอน (แบ ยอง จุน) ศิลปินหนุ่มสุดเสเพลผู้มีความสัมพันธ์ฉันท์ชู้สาวกับหญิงสาวไปวันๆ ได้พนันกับแม่นางโช (ลิ มิ ซุก) ว่าจะเด็ดพรหมจรรย์จาก แม่นางซุก (จอน โด ยอง) สตรีสาวแม่ม่ายที่นิ่มนวล อ่อนช้อย บริสุทธิ์ และสง่างาม เธอเป็นม่ายที่รักษาพรหมจารีมาตั้งแต่สามีเธอเสียไปเมื่อ 9 ปีที่แล้ว ดังนั้น โชวอนพนันกับแม่นางโช ว่าหากเขาสามารถทำลายพรหมจรรย์ของแม่นางซุกได้ แม่นางโชจะต้องพลีกายให้กับเขา แต่หากเขาแพ้จะต้องไปบวชเป็นพระ ดังนั้นเล่ห์อุบายมากมายไม่ว่าจะหยอดคำหวาน ส่งจดหมายติดต่อ สร้างสถานการณ์วีรบุรุษของโชวอนจึงเริ่มขั้น จนในที่สุดแม่นางซุกก็หลงรักแล้วมอบกายให้กับเขา...

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5 Movie adaption from The Novel "Les Liaisons Divergentes "

Court Theatre is not alone in attempting to discover our own version of Les Liaisons Dangereuses. Its themes are timeless; the original novel has been interpreted, adapted and rewritten for the stage and the screen many times over the past 200 years. Here are some famous (and not so famous!) versions of this classic text:



Les Liaisons Dangereuses, directed by Roger Vadim (1959). This French film was released in the US in 1961 after censors demanded the lighting be dimmed to obscure nudity. Director Roger Vadim chose to set the scene in a jazzy Paris on the eve of the 1960's sexual revolution. Although this version was adapted from the original novel, it embraces a far more uplifting portrayal of the main characters.


Dangerous Liaisons, written by Christopher Hampton (1985-88). The British stage adaptation was produced in 1985 in London's West End and later transferred to Broadway. Hampton's play is known for its strict adherence to de Laclos's original Les Liaisons Dangereuses. In 1988, Hampton wrote the screenplay for a film version, directed by Stephen Fears and starring John Malkovich, Glenn Close and Michelle Pfeiffer.



Valmont, directed by Milos Forman (1989). Due to elaborate sets and on-location filming, Forman could not rush his version and was forced to release it one year after the success of Frears' Dangerous Liaisons. Forman's film featured Colin Firth and Annette Bening and was an attempt to appeal to a wider audience. The film was written based on the original novel, although Forman admitted to honoring the "spirit of the book," rather than adhering to the specifics.


Cruel Intentions, directed and written by Roger Kumble (1999). Cruel Intentions, set in a modern New York prep school, stars Ryan Phillippe, Sarah Michelle Gellar and Reese Witherspoon. It followed on the heels of other set-in-high school adaptations of classics including: Clueless (Jane Austen's Emma), Romeo + Juliet and She's All That (George Bernard Shaw's Pygmalion). Director Roger Kumble upheld the darkness of the original novel for much of the movie, but was strongly criticized for his highly moral ending.



Untold Scandal, directed by EJ-Yong, written by Mr. Yong, Kim Deh-Woo and Kim Hyun-Jung (2003). This recent film version is set in the 18th century Korea at the end of the Chosun Dynasty. Inspired by Christopher Hampton's stage adaptation, critics felt the film lacked some of the emotional depth of previous versions. However, Untold Scandal was ultimately considered a successful foreign adaptation.

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