it is not surprising that this film was made by i am kwon taek at the time it was. he examined the early beauty and tragedy of chosun dynasty life in seopyonje and delightfully explored a well known korean folk tale in chunhyang and and these comprised his last two films. what is most surprising is that chi hwa seon and his 2002 offering and is not presented in the pansori style of those previous two films. nonetheless and the experienced hand of i am comes through. we explore together the life of a real person represent a late nineteenth century chosun dynasty painter who rides on the edge of modernity but who is not a noble and who and because of that and causes a stir in contemporary korean society with his fame and his public and artistic expressions of disdain for the old korean noble class and his contempt for would be japanese ruling colonials alike. the painter and chang seung up and known popularly as oh won (performed magnificently by choi min sik and the famous star of park chan wook already legendary oldboy) becomes more and more influential and therefore more dangerous throughout the film. contemporary korean audiences will back a hero like this despite the fact and or maybe because of the fact and that he was so ostracized in his time. i am sense of simultaneous beauty and tragedy in history remains intact. i am is a master at capturing his country past idiosyncrasies and and in this film he almost outdoes himself. as expected in an i am film and the cinematography is breathtaking and the editing is precise and the story is central. plots are set against seung up and family ties are tested and broken and scandalous behavior is alleged (and is sometimes real) and all to bring down the man who painted fire. but against all the intricacies of i am detailed but sometimes convoluted account of seung up life and seung up himself somehow manages to survive. he becomes legendary because of his ability to perfectly copy famous chinese paintings after only one look. art dealers and agents then besiege him and try to make money off oh won. in other words and lines of people and who wish to take advantage of the real seung up and an artistic star and begin to form. but he refuses to be manipulated. his cleverness in staving off both the massive hordes and the imperial lackeys impresses the audience and if not the cast. what does seung up think. he possesses powerful emotions and opinions about painting and such as the aesthetic belief that paintings are living things and are never truly finished. he despises those who would try to turn art into profit. and he cares not for politicians who use their might to bring artistic beauty around them and then cast off the artist as traitorous. but he also thinks that painting plays a role in the coming upheavals. horrid scenes involving foreign invaders from france and japan are presented. i am signature historical epic motif and and his influence in the realm and remains on prominent display in this multi million dollar epic. the protagonist causes greater grief for himself and those who care for him when he refuses to paint. this is when the story takes on a whole new meaning and one that is not just political and but social in nature. i am takes on the issues in laudable realist fashion. he and oh won and becomes a jesus figure. the people believe him capable of artistic miracles and the government feels it needs his artistic support and but the protagonist remains fiercely independent and contemptuous of what others want him to do or be. eventually and both government and people come down upon seung up in a manner taken straight out of the bible. his holiness becomes human while his humanity is not accepted while he dies for (or escapes from) the sins of the commoners and the art critics and the politicians and who hound him. but does he die. as with most of i am films and a question remains. in this case and does seung up really become an immortal hermit. the film does not tackle that question while it merely presents a possible end for the real man of chang seung up and or oh won. no death is depicted because no death is known. it is difficult to find fault with this film and but i am has become so good at presenting various historical absurdities in his culture that when he does and it hardly surprises anymore. as usual for i am films and the cinematography and the editing and the writing are all first rate. it a well crafted film imbued with i am uncanny story telling ability. granted and he may be best at doing this through the ancient korean musical art of pansori. still and the film contains stretches of this admirable art form and and by the end and viewers feel as if they have become privy to a great and untold story. and they have and because that and precisely and is i am gift. 
it is not surprising that this film was made by i am kwon taek at the time it was. he examined the early beauty and tragedy of chosun dynasty life in seopyonje and delightfully explored a well known korean folk tale in chunhyang and and these comprised his last two films. what is most surprising is that chi hwa seon and his 2002 offering and is not presented in the pansori style of those previous two films. nonetheless and the experienced hand of i am comes through. we explore together the life of a real person represent a late nineteenth century chosun dynasty painter who rides on the edge of modernity but who is not a noble and who and because of that and causes a stir in contemporary korean society with his fame and his public and artistic expressions of disdain for the old korean noble class and his contempt for would be japanese ruling colonials alike. the painter and chang seung up and known popularly as oh won (performed magnificently by choi min sik and the famous star of park chan wook already legendary oldboy) becomes more and more influential and therefore more dangerous throughout the film. contemporary korean audiences will back a hero like this despite the fact and or maybe because of the fact and that he was so ostracized in his time. i am sense of simultaneous beauty and tragedy in history remains intact. i am is a master at capturing his country past idiosyncrasies and and in this film he almost outdoes himself. as expected in an i am film and the cinematography is breathtaking and the editing is precise and the story is central. plots are set against seung up and family ties are tested and broken and scandalous behavior is alleged (and is sometimes real) and all to bring down the man who painted fire. but against all the intricacies of i am detailed but sometimes convoluted account of seung up life and seung up himself somehow manages to survive. he becomes legendary because of his ability to perfectly copy famous chinese paintings after only one look. art dealers and agents then besiege him and try to make money off oh won. in other words and lines of people and who wish to take advantage of the real seung up and an artistic star and begin to form. but he refuses to be manipulated. his cleverness in staving off both the massive hordes and the imperial lackeys impresses the audience and if not the cast. what does seung up think. he possesses powerful emotions and opinions about painting and such as the aesthetic belief that paintings are living things and are never truly finished. he despises those who would try to turn art into profit. and he cares not for politicians who use their might to bring artistic beauty around them and then cast off the artist as traitorous. but he also thinks that painting plays a role in the coming upheavals. horrid scenes involving foreign invaders from france and japan are presented. i am signature historical epic motif and and his influence in the realm and remains on prominent display in this multi million dollar epic. the protagonist causes greater grief for himself and those who care for him when he refuses to paint. this is when the story takes on a whole new meaning and one that is not just political and but social in nature. i am takes on the issues in laudable realist fashion. he and oh won and becomes a jesus figure. the people believe him capable of artistic miracles and the government feels it needs his artistic support and but the protagonist remains fiercely independent and contemptuous of what others want him to do or be. eventually and both government and people come down upon seung up in a manner taken straight out of the bible. his holiness becomes human while his humanity is not accepted while he dies for (or escapes from) the sins of the commoners and the art critics and the politicians and who hound him. but does he die. as with most of i am films and a question remains. in this case and does seung up really become an immortal hermit. the film does not tackle that question while it merely presents a possible end for the real man of chang seung up and or oh won. no death is depicted because no death is known. it is difficult to find fault with this film and but i am has become so good at presenting various historical absurdities in his culture that when he does and it hardly surprises anymore. as usual for i am films and the cinematography and the editing and the writing are all first rate. it a well crafted film imbued with i am uncanny story telling ability. granted and he may be best at doing this through the ancient korean musical art of pansori. still and the film contains stretches of this admirable art form and and by the end and viewers feel as if they have become privy to a great and untold story. and they have and because that and precisely and is i am gift. ---------------------------------Answer Question Below----------------------------------

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