So, starting The Classic, I was expecting a lot. Kwak did My Sassy Girl and Windstruck and he’s probably my favorite modern romantic comedy filmmaker. Now, Kwak can do anything… My Sassy Girl had a “surprise” ending that shouldn’t have been a surprise, except I was so wrapped up in the film I wasn’t thinking and Windstruck had an ending that only worked if… Well, I won’t give that away.
And, The Classic seems like it’s a romantic comedy at the start. There’s a lot of quick summary, establishing the main character. But then, slowly, almost so slowly I couldn’t tell, it became a melodrama. And Kwak can’t do melodrama.
There’s a lot good about the film. The acting is all good–Son Ye-jin plays two roles, mother and daughter, and I couldn’t tell it was the same girl until I started wondering and paying attention to that sort of thing. The direction, in nice 2.35:1 widescreen, is great. It just doesn’t have the writing to back it up. With Kwak’s romantic comedies, he can get away with a lot of “oh, come on,” because the genre allows for it. The melodrama doesn’t like “oh, come on” scenes. The “oh, come on” scenes are what have turned ‘melodrama’ into a pejorative.
It’s a long film, 130 or so, and I knew what was going on from about ninety-five, but it never pissed me off, which says a lot about what does work. I’d been avoiding The Classic for months and I wasn’t sure why, given that I thought Kwak could do no wrong. I hate it when my movie-quality clairvoyance is right, because it never turns out to have positive results. Except maybe The Thin Red Line. That one was fine.
Oh, and Mystic River. I knew about Mystic River too.