A Werewolf Boy Review Indonesia

Maria Johnson
• Saturday, 28 November, 2020
• 9 min read

Returning to South Korea to sell her former family home, the elderly Kim Sun (Lee Yeong-ran) reminisces about her childhood 47 years earlier. While initially annoyed by his poor manners, Sun develops a mutual respect and relationship with Creoles as she teaches the mute boy to read, write and behave properly.

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While Shoeless is initially presented as a purely wild and unkempt beast, quiet moments of interaction with Sun and the other neighborhood children reveal his kind-hearted and curious nature. While the development of their relationship from distrust to close friends takes up almost half of the film’s two-hour runtime, it is necessary in believing and caring about the central characters and their bond.

Though its first-half is almost entirely composed of light-hearted humorous scenes, complimented perfectly by bright costuming and colorful interior set design, it never feels slow and transitions smoothly into the film’s darker and more serious final hour. Song’s impressive performance is more restrained, yet nuanced due to Shoeless’s inability to speak, with the actor communicating exclusively through his eyes and body movements.

Shoeless’s practical wolf makeup appears cheap and unrealistic, while rapid close-up cuts during nighttime sequences make the action difficult to discern. While it effectively communicates a sense of nostalgia and creates a significant tonal difference from the crisp and cold present day segments, it also proves distracting.

While somewhat clichéd in its Beauty and the Beast fairy tale plot, A WerewolfBoy‘s realistic and multi-faceted characters, as well as the actors who bring them to life, make it a step above the usual young-adult supernatural romance film. Even though this movie is quite the lovely one, I feel that just a small section on managing expectations would be useful.

The backstories of our other characters are also left largely unexplained, although a few details get filled in as we go. One backstory detail that I wondered about, is why a rich, entitled playboy like Hi TAE (Yew Leon SUK) would be so fixated on marrying sickly, prickly, disinterested Soon I (Park BO Young).

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Show never throws light on this detail, which niggled at me, since the attraction seemed so obsessive yet misplaced. Which means to say, if you just accept that this movie is a window into the world in which our characters live, you should be able to enjoy this one just fine.

I don’t know about you, but I remember Yew Leon SUK best as Chilbongie in Answer Me 1994, and it was rather jarring for me, to see him being antagonistic, self-centered, cruel and all-around mean as Hi TAE. It doesn’t help that Hi TAE’s characterization is broad-stroked and cartoonish at best, but Yew Leon SUK does a great job with what he’s given.

Song Suing I is no holds barred amazing as our titular werewolf boy. With barely any spoken lines in the movie, Song Suing I informs us of all of Chub Sew’s thoughts and emotions, purely through his body language and his expressive gaze.

From the ferociously feral moments, to the moments of confusion, to the melancholic times, to the happier, freer times, I never felt like I didn’t know what Chub Sew was thinking or feeling; Song Suing I’s delivery is just that good. The impact that his few lines land with, is so great that he effectively makes those times feel like legitimately thunderous mike-drop moments.

Also, testament to Park BO Young’s very solid acting chops, is the fact that Soon I’s shift, from dour and sullen in the beginning of the movie, to more carefree and happy, feels completely organic, despite the relatively short time span in which that shift occurs. The trajectory, of disdaining Chub Sew, to actually liking him, to eventually wanting to protect him, is also easily believable.

Although this story is, in some sense, touted as the romance between Soon I and Chub Sew, I feel like their bond is actually much larger and more profound than a romantic love. And to Soon I, Chub Sew grows from pseudo pet, to friend, to romantic interest, to savior.

Which is quite a feat for Show to sell effectively, since we don’t have all that much screen time to build it. But, Park BO Young and Song Suing I sell it so well that I believe them completely.

Their very natural deliveries essentially helped me to overlook any gaps that our narrative had, in building their story. Even though she’d told him that he didn’t need to wait anymore, I don’t think that quite counts as a proper goodbye, to be honest.

As the credits roll, we see him making a snowman on the hill, just as she’d told him that they would, so long ago. On top of all that, there’s this distinct feeling that I get, watching him, that he will probably continue to wait for her, indefinitely, whether she’s told him to or not, and whether she ever comes back, or not.

And then, as she talks with him, and spends time with him, acknowledging and affirming him, in the process, she’ll get to reciprocate at least a little of the devotion that he’s poured out so freely on her. After A Werewolf killed it at the box office, a Director’s Cut version was released, which was meant to basically increase audience satisfaction with the ending.

So I hunted down the Director’s Cut, just to see if it would make me feel better about the original ending. It helped, in the sense that I feel like Soon I and Chub Sew get their moment, suspended in time; where they essentially return to the way things used to be, where their souls meet, in that purified, suspended state, and finally speak forth the words that they’ve been saving for each other, all this time.

The fact that I can see young Soon I in this scene helps me feel like I’m witnessing that transcendent, magical dimension of the moment. On the other hand, it doesn’t change the fact that she leaves Chub Sew behind, and that he watches her go, with that haunted look in his eyes.

Even though this movie leaves us with more questions than answers, and even though the ending is, to me, distinctly melancholic and somewhat tragic, this is a beautiful watch that is, is some ways, a masterclass in faithfulness, loyalty and love. This entry was posted in Flash Review and tagged 2012, A Werewolf, Answer Me 1994, Flash Review, movie, Park BO Young, Song Suing I, Yew Leon SUK on April 7, 2016, by fangirl.

A WEREWOLF begins in present day when Sikkim (Li Young-Ian), an aged Korean woman living in America, receives a mysterious phone call that lures her back to her homeland. The proper grandmother seems sad, but relieved to revisit the farmhouse she briefly lived in as a girl.

Her father has recently passed away and because of an illness in her lungs, her mother (Gang Young-nam) has moved their family out of Seoul to the clean air of the country. One night, Sun is drawn to the cries of an animal in the barn when a monstrous wolf suddenly attacks her.

The next day, the family finds a young feral boy (Song Jong-il) who cannot speak hiding on the grounds. Assuming that he must be an orphan from the war, they decide to look after him for a time rather than leaving him to the grim realities of post-war Korea’s orphanage system.

More LET THE RIGHT ONE IN meets WHITE FANG than TWILIGHT, the movie is a romantic comedy of manners for most of its running time. This fish-out-of-water scenario can lead to humorous scenes like when Sun instructs the boy to wait for her command before he consumes a piece of bread.

What threatens to tip the picture over is a tiresome subplot centered on Sun’s obnoxious would-be suitor, Vitae (Yew Yeon-seok). The character is written with all the nuance and subtlety of the bad guys in any John Hughes movie ever made.

For that contrivance, he ensures that Sun’s mother can live on the land that his father bought and harasses them almost daily after they move in. When he discovers a wild orphan who cannot speak has more charm and romantic allure than his entitled smugness, he looks for countless ways to bring the couple down and to rid himself of Chul-soo.

Created as the result of a vague wartime government conspiracy gone wrong, Chul-soo’s changes are not dictated by lunar activity. When transformed, Chul-soo resembles more a cross between a wolfish Billy Idol and Super Taiwan Roku than any type of Wolfman to come out of Hollywood as of late.

A WEREWOLF has a lot of plot threads going on: Misanthrope revelations; government conspiracies; romantic triangles; and metaphors for lost love. When the story is focused on that pairing or its context in an older Sun’s life, the movie works quite well for what it is.

But the plot machinations that the rest of the picture uses to push the story along are a bit dry and silly at times for this reviewer. For its intended audience, A WEREWOLF will be a howling good time and is certainly more emotionally involving than any breaking dawns still in theaters this month.

Follow us on Facebook and Twitter for news, reviews and trailers revolving around the world of geek. The most telling moment of any werewolf film is the moment of transformation, but the question is never “Woah, how awesome is this going to be?” It’s “How stupid is this one going to look?” This isn’t always a problem, especially if the werewolf aspect is downplayed, but it is rare that the transformation sequence, especially a modern one punctuated by ridiculous amounts of CG, adds much to the film.

In fact, it has more in common with Truffaut’s The Wild Child than it does Wagner’s The Wolf Man. It’s like the feral, Korean offspring of those films, and it works surprisingly well.

A Werewolf (Neutral Sony eon | )Director: Jo Sung-HeeRating: Country: South Korea At the beginning of the film, Soon and her granddaughter visit a childhood home.

It brings back memories, and suddenly, it’s forty-seven years prior. Soon-Yi’s family has just moved into the new home, which is also the home of a young boy with shaggy hair, almost claw-like fingernails. Soon, dog-training manual in hand, takes him under her wing and attempts to civilize him.

Beginning with the key phrase “Wait,” she teaches him some basic manners and at first glance he becomes a passable member of society. He is strong, resilient, and maintains some dog-like behavior (his need for positive reinforcement is human, that it must come in the form of a pat on the head is not).

He also can transform into a beast, but it’s not a full moon sort of thing. An early shot of the full moon seemed to imply that it would follow that myth, but the two times he transforms in the film it’s not a full moon; it’s a reaction.

He transforms, as he rapidly changes back to human form once he’s done what he set out to do. Song Jong-il’s performance overall is fine, but in the earliest encounters (before he gets cleaned up) he isn’t entirely believable.

Maybe he did a perfect channeling of actual cases of feral children. Everything he sees he grabs with his hands and shoves in his face, which is to be expected.

The easiest thing I could compare it to would be Sunny, and that is about as complimentary as I could get. Even if what’s onscreen is occasionally problematic, the visual quality (CG excepted) makes it much easier to enjoy.

I loved the transition from present day to the past, but it could have just as easily come to the same ending with a “47 Years Later” subtitle and a little of extra exposition. Flashbacks are all well and good, but when the entire story save a few minutes on either side takes place in the narrative past, those few minutes on either side need to really justify themselves.

And since we’re on the topic, I want to discuss a change made between the theatrical release (which will be playing in New York tomorrow) and the extended cut. In the original release, when Soon meets Chul-Soo again, the two have weathered the past forty-seven years in radically different ways.

What happened to him at the hands of the people who experimented on him may have even made him immortal. In the extended release, which runs two minutes longer, the meeting at the end is between Chul-Soo and a young Soon.

I certainly preferred the lingering camera of the extended release, but I’m conflicted about the effect of the young Soon. It makes the exchange seem almost ironic, and his statement “You’re still beautiful” loses its meaning when nothing seems to have changed.

The ending shows that Chul-Soo is alive, young, and well enough, but whether the two of them meet is unclear. But whichever version you see, that difference will only affect the impact on the film’s ending, and I don’t know that it changes much there at all.

The tagline, “Love was the first human language he’d ever learned,” made me feel just a bit sick on the inside. The forbidden experiment (depriving a child of basic human necessities to see what its basic nature truly is) is a fascinating one, and A Werewolf puts an interesting spin on the idea.

Werewolves may be conceptually stupid, but the focus on the human aspect of the character makes it a much easier pill to swallow. The scenes with the transformation are easily some of the dumbest in the film, but neither lasts more than two minutes and the iffy effects are soon forgotten.

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