Murnau, a pioneering member of the German Expressionist movement creates a dreamlike world that draws its strength from the real world.
They are listed in the order of their release. Suddenly At Midnight Seon-hee, the wife of a wealthy butterfly researcher is pleased to hear that her husband has contracted a new maid.
The girl is young and pretty, though she comes with a tragic past: The couple and their daughter welcome the orphaned young woman into their home, but Seon-hee begins to have misgivings later when she sees a strange wooden doll that the maid has brought with her.
For several weeks she has been having nightmares and visions about this very same doll. Korean horror films from the 70s and 80s can be memorable, fascinating, and at times even cute, but they are rarely frightening. Suddenly At Midnight is an exception.
As in Kim Ki-young's The Housemaid and its subsequent remakings, director Ko Young-nam locates the film's horror within the space of a happy, wealthy family home that is contaminated from the outside, but he takes the film in different directions than that pursued by Kim.
The result is a mysterious psychological study built on the wife's suspicions, that beguiles the viewer right up to its bizarre closing image. Director Ko -- Korea's most prolific director ever with films to his credit -- has a good feel for how to create tension from precise editing and the patient accumulation of evocative details.
Actress Kim Young-ae also gives a convincing performance as the panicked wife. Her fears seem plausible, which makes the film all that much more effective.
I do get the sense, though, that the final reel which had modern-day audiences jumping in fright could have been even scarier if less slow motion had been used. On another level, an aspect of the film that is just as unsettling as its horror elements is its voyeuristic focus on the young maid.
When the camera isn't in the bathtub with her, it mentally undresses her, peering up her skirt and lingering over her body. This isn't entirely unmotivated -- the wife's suspicions that her husband covets the maid are a central aspect of the plot.
But intentionally or not, this voyeurism makes the film twice as creepy to watch. Suddenly At Midnight is one of those films that seems to have slipped through the cracks. I was lucky enough to catch it as part of a horror film retrospective curated by the Korean Film Archive, but most people seem to have forgotten it.
Nonetheless as people look back through the history of Korean cinema and try to unearth the roots of Korean horror, works like this and Lee Yong-min's A Bloodthirsty Killer will continue to turn up, refuting the notion that Korean filmmakers first learned how to scare people in the late s.
Directed by Ko Young-nam. Screenplay by Yun Sam-yuk.
Cinematography by Jeong Pil-si. Produced by Nam-a Jinheung.An introduction to the style and form of Nosferatu (Murnau ) An introduction to the style and form of Nosferatu (Murnau ) Cinematography Camera does not move – rather Murnau relied on different camera set ups, varying shot size and angles, lighting and the careful staging of the action in space.
Scenes are constructed from. NOSFERATU Murnau’s use of Expressionism in his film Bill Leavy 11/24/ Original paper submitted in SUNY Albany course, Art at pm on April 24, 2 Friedrich Wilhelm Murnau’s NOSFERATU: eine Synphonie des Grauens (which translates in English as NOSFERATU: a Symphony of Horror), released in , is the first, and .
Nosferatu the Vampyre is a West German horror film written and directed by Werner pfmlures.com original German title is Nosferatu: Phantom der Nacht (Nosferatu: Phantom of the Night).The film is set primarily in 19th-century Wismar, Germany and Transylvania, and was conceived as a stylistic remake of F.
W. Murnau's German Dracula adaptation Nosferatu. Nosferatu Blu-ray delivers great video and reference-quality audio in this exceptional Blu-ray release In this first-ever screen adaptation of Bram Stoker's Dracula, a simple real-estate.
This page is a collection of still photos and information about Korean films released in the s. Just found out about this website. Awesome!
For me, cinematography – besides muisc/score – is the most important thing in a movie (which actually should be obvious, since a movie is about MOVING IMAGES, but still most people seem not to care or “get” it).