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太極旗飄揚
Edko Films Ltd.
~Won Bin, Jang Dong-Gun, Lee Eun-yu
Edko Films Ltd.
~Won Bin, Jang Dong-Gun, Lee Eun-yu
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更多資料
| 原本的名字 | Taegukgi: The Brotherhood of War |
| 發行日期 | 2004年11月05日 |
| 演出 | Won Bin, Jang Dong-Gun, Lee Eun-yu |
| 導演 | Kang Je-gyu |
| 畫面格式 | Wide Screen |
| 影片格式 | NTSC |
| 聲效 | Dolby Digital |
| 語言 | Korean |
| 字幕 | English, Chinese |
| 年份 | 2004 |
| 片長 | 148 Minutes |
| 類別 | 動作 |
| 版本 | 香港版 |
| PAX-Code | PAX0000307904 |
| 產品目錄號 | AVPDVD133 |
| 產品編號 | 4895050869570 |
詳細描述
有用連結
客戶意見
| 平均等級: |
|
(5 out of 5) |
| 總共投票: | 6 |
如果你熟悉這產品 太極旗飄揚, 何不跟我們分享你寶貴的意見 ?
顯示最後 5 個評論, 總共有 5 個評論。 以下評論只代表顧客的個人意見, 一概與Play-Asia.com無關。
sonyfanpsp (3) on 19, Oct. 2005 15:53 (HKT)
Great Movie
This Movie will make a guy cry. Watched it with a couple friends of mine. Three guys, on a couch, trying to hide the tears and running noses. Great movie
This Movie will make a guy cry. Watched it with a couple friends of mine. Three guys, on a couch, trying to hide the tears and running noses. Great movie
east_great_falls (1) on 01, Jun. 2005 22:09 (HKT)
Nice Package!
Thank you guys at play-asia!you did a great job!
the movie is great,and the goodies are 1st base!!
Greetings,Switzerland!
Thank you guys at play-asia!you did a great job!
the movie is great,and the goodies are 1st base!!
Greetings,Switzerland!
SONI! on 11, Feb. 2005 13:31 (HKT)
The Best File of Korea
Movie is all about Korean War.. (brotherhood)
It is so wel-made movie.
HIGHLY RECOMMENDED!
Movie is all about Korean War.. (brotherhood)
It is so wel-made movie.
HIGHLY RECOMMENDED!
marta (7) on 27, Dec. 2004 18:28 (HKT)
No title
This amazing movie brings war up close and personal.
Unforgettable
This amazing movie brings war up close and personal.
Unforgettable
backstepprogram (15) on 27, Nov. 2004 14:15 (HKT)
A 'Brotherhood' For The Ages
Nations do not fight wars. Citizens fight them, and these citizens are honorable men and women who serve their country willingly or, as history shows, by decree of a desperate government.
As a result, patriotism has become the unlikeliest casualty. Once welcomed in the trenches of battle, patriotism has lost its limbs, fought back from life support, and suffered shell shock. Once easily recognized, patriotism has become a bit of a chimera, an ideal more easily attached to definable characteristics than it is any single soldier. However, in the bitter end, patriotism is defined by the actions of these individuals who serve; it is rewarded by the nations who sponsor this service; and, more often than not, it is measured in hardships endured.
Such is the complex, ever-changing battleground of writer/director Kang Je-Gyu𠏋 孏aegukgi: The Brotherhood of War.�
In 1950𠏋 Seoul, Jin-Seok (Won Bin) and his older brother Jin-Tae (Jang Dong-gun) are enjoying a strong family life of perfect happiness. Suddenly, they find their lives turned upside down as soldiers of the South Korean government seize them � all men aged 18 to 30 are taken � and they are forced to take up arms � despite their lack of training � against the approaching North Koreans. On one brutal battlefield after another, the bonds of family are put to increasingly demanding tests as Jin-Tae � originally driven by his responsibility to protect his younger brother � continues to further exhaust his physical and emotional prowess despite the protests of Jin-Seok. He learns that he is a good soldier, one with a talent for inspiring others as well as an unanticipated thirst for killing the enemy. Eventually, these two brothers � once bound by a love for family � find themselves at odds within this new brotherhood of war, and the pressures to prove one another continue to exact heavier and heavier tolls as the war escalates. As circumstances evolve, the brothers inevitably find themselves on opposite sides of a losing conflict � but can either find a path to redemption or reconciliation that can save both of them?
There are many elements of 孏aegukgi� that elevate the film from the status of standard war film to a message of hope set against the backdrop of war. The film𠏋 scope is grand, dealing with the far more intimate themes of family, brotherhood, and personal responsibility when Director Kang Je-Gyu could have easily opted for banging the drum of nationalism. At its core, 孏aegukgi� is the story of two brothers, a strikingly poignant analogy for the entire North Korea / South Korea dilemma. While the battlefield choreography is as frenetic as it is harrowing, it never takes the film𠏋 center: this picture is founded on relationships � the human perspective to the world outside � and it never falters. Instead of focusing on history, Kang Je-Gyu crafts every scene to highlight the thoughts, actions, and emotions of the participants of history, and, for that, 孏aegukgi� deserves countless accolades.
Much like exploring the heart of darkness as depicted in American classics as Francis Ford Coppola𠏋 𨯗pocalypse Now� and Oliver Stone𠏋 𡦖latoon,� Kang Je-Gyu forces Jin-tae to explore his own budding evil, and this journey is not without its own relative scars. Once a man has crossed over and embraced wartime madness, can he ever truly find a way out? Arguably, if 孏aegukgi� suffers from any setback, it is that perhaps Jin-tae goes too far for an audience to accept his madness: believing his brother to have been killed by North Koreans, Jin-tae turns traitor once he is captured and seeks to wipe out every soldier serving South Korea. While the story offers the motivation for so drastic a change, it𠏋 hard to believe that the man who once fought so valiantly against the spread of Communism would suddenly choose to embrace it.
Still, it𠏋 a small diversion � but it𠏋 necessary to bring the aspect of brotherhood full circle, to have these two unique men face their darkest hour, and to make one final statement on the role that family inevitably plays in every man𠏋 life.
Recently, thanks to the worldwide success of 孏aegukgi� and 1999𠏋 blockbuster 廍hiri,� Director Kang Je-Gyu has signed an agreement with Hollywood𠏋 own powerhouse, CAA, to produce his next film in America. Only time will tell whether or not this agreement will afford some of the 㞠orean sensibility� to American films, but certainly having one of South Korea𠏋 premier directors breaking into the Hollywood film system is a tremendous advantage for fans of international film.
Only the passage of time will earn 孏aegukgi� its rightful spot alongside the other great films dealing with the consequences of war.
Nations do not fight wars. Citizens fight them, and these citizens are honorable men and women who serve their country willingly or, as history shows, by decree of a desperate government.
As a result, patriotism has become the unlikeliest casualty. Once welcomed in the trenches of battle, patriotism has lost its limbs, fought back from life support, and suffered shell shock. Once easily recognized, patriotism has become a bit of a chimera, an ideal more easily attached to definable characteristics than it is any single soldier. However, in the bitter end, patriotism is defined by the actions of these individuals who serve; it is rewarded by the nations who sponsor this service; and, more often than not, it is measured in hardships endured.
Such is the complex, ever-changing battleground of writer/director Kang Je-Gyu𠏋 孏aegukgi: The Brotherhood of War.�
In 1950𠏋 Seoul, Jin-Seok (Won Bin) and his older brother Jin-Tae (Jang Dong-gun) are enjoying a strong family life of perfect happiness. Suddenly, they find their lives turned upside down as soldiers of the South Korean government seize them � all men aged 18 to 30 are taken � and they are forced to take up arms � despite their lack of training � against the approaching North Koreans. On one brutal battlefield after another, the bonds of family are put to increasingly demanding tests as Jin-Tae � originally driven by his responsibility to protect his younger brother � continues to further exhaust his physical and emotional prowess despite the protests of Jin-Seok. He learns that he is a good soldier, one with a talent for inspiring others as well as an unanticipated thirst for killing the enemy. Eventually, these two brothers � once bound by a love for family � find themselves at odds within this new brotherhood of war, and the pressures to prove one another continue to exact heavier and heavier tolls as the war escalates. As circumstances evolve, the brothers inevitably find themselves on opposite sides of a losing conflict � but can either find a path to redemption or reconciliation that can save both of them?
There are many elements of 孏aegukgi� that elevate the film from the status of standard war film to a message of hope set against the backdrop of war. The film𠏋 scope is grand, dealing with the far more intimate themes of family, brotherhood, and personal responsibility when Director Kang Je-Gyu could have easily opted for banging the drum of nationalism. At its core, 孏aegukgi� is the story of two brothers, a strikingly poignant analogy for the entire North Korea / South Korea dilemma. While the battlefield choreography is as frenetic as it is harrowing, it never takes the film𠏋 center: this picture is founded on relationships � the human perspective to the world outside � and it never falters. Instead of focusing on history, Kang Je-Gyu crafts every scene to highlight the thoughts, actions, and emotions of the participants of history, and, for that, 孏aegukgi� deserves countless accolades.
Much like exploring the heart of darkness as depicted in American classics as Francis Ford Coppola𠏋 𨯗pocalypse Now� and Oliver Stone𠏋 𡦖latoon,� Kang Je-Gyu forces Jin-tae to explore his own budding evil, and this journey is not without its own relative scars. Once a man has crossed over and embraced wartime madness, can he ever truly find a way out? Arguably, if 孏aegukgi� suffers from any setback, it is that perhaps Jin-tae goes too far for an audience to accept his madness: believing his brother to have been killed by North Koreans, Jin-tae turns traitor once he is captured and seeks to wipe out every soldier serving South Korea. While the story offers the motivation for so drastic a change, it𠏋 hard to believe that the man who once fought so valiantly against the spread of Communism would suddenly choose to embrace it.
Still, it𠏋 a small diversion � but it𠏋 necessary to bring the aspect of brotherhood full circle, to have these two unique men face their darkest hour, and to make one final statement on the role that family inevitably plays in every man𠏋 life.
Recently, thanks to the worldwide success of 孏aegukgi� and 1999𠏋 blockbuster 廍hiri,� Director Kang Je-Gyu has signed an agreement with Hollywood𠏋 own powerhouse, CAA, to produce his next film in America. Only time will tell whether or not this agreement will afford some of the 㞠orean sensibility� to American films, but certainly having one of South Korea𠏋 premier directors breaking into the Hollywood film system is a tremendous advantage for fans of international film.
Only the passage of time will earn 孏aegukgi� its rightful spot alongside the other great films dealing with the consequences of war.
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