Jayu manse

Shot largely on attractive pre-civil war locations in Seoul, the lively Russian-style editing made livelier still by 70's censorship cuts, the end result is disjointed but absorbing. It was plainly shot silent and embellished by raiding the makers' record collection for incongruous classical pieces to embellish the action, starting with Copland's 'Fanfare for the Common Man' over the opening credits.

This film begins in the closing months of World War 2 with Korean freedom fighters attempting to rid themselves of their Japanese oppressors who have ruthlessly ruled their country for the past 35 years. That being said, at a high-level meeting, one of the leaders of the Korean rebellion named "Han-Joong" (Chang-geun Jeon) advocates for mass protests in order to ignite a violent confrontation with the enemy. Other leaders, on the other hand, urge patience in the hope that they will be granted their independence once Japan eventually surrenders to the United States. Somewhat angered by this, Han-Joong walks out of the meeting to reconsider his options and its then that he meets a woman named "Mihyang" (Gye-seon Yu) who has had the misfortune of being the mistress of a Japanese collaborator named "Nambu" (Eun-gi Dog). Ashamed of this, she immediately gravitates to Han-joong in the hope of somehow regaining her reputation in the event of a Japanese withdrawal from her country. So much so, that she is even willing to die with Han-Joong if that is what it takes. Likewise, another young woman by the name of "Hyeja" (Yeo-heul Hwang) is also enamored of Han-Joong--to the point that she would also risk her life on his behalf as well. What they don't realize, however, is that they will all be given that chance much sooner than any of them expect. Now, rather than reveal any more, I will just say that this was a very old film produced during a time when the Korean film industry was in its infancy and, as a result, the final product clearly reflected its limitations. Of particular interest is the premature ending which appears to be either the victim of an editing process or possibly lost due to the ravages of time. In either case, although this film certainly has historical significance, its numerous flaws cannot easily be ignored, and I have rated it accordingly. Average.

Viva Freedom or Hurrah For Freedom as it also know by, is the first truly Korean film still in existence. A handful of films from the period of the Japanese Occupation are still in print but were severely restricted in terms of topic and style. Viva Freedom is the first film made after Korea achieved independence. The film is not complete and it is actually unknown as to how much footage has been lost. This and the urge to create a response to fresh history gives the film a frantic, unpolished feel. It also makes the story difficult at time to follow. Essentially the film concerns itself with freedom fighters battling the Japanese in the latter stages of World War 2. Of the footage that survives we are confronted with a range of characters and varying involvements in the struggle for independence. The film is important historically as the start of a new, independent Korea cinema but also politically; showing how different factions unified to fight an external enemy who would in 4 years after the films release be at war with each other.