But if the boys in the brood are underachievers, the girls are something else: Their sister Nam-Joo ( Bae Doo-Na) is an acclaimed archery champion, and Kang-Du's daughter Hyun-Seo (Ko A-Sung), an adorable plaid-skirted schoolgirl, is the apple of everyone's eye. His other son is a chronically unemployed no-goodnik, Nam-Il ( Park Hae-Il), from whom he is estranged. Although the chemicals passed through two treatment plants before reaching the Han, source of Seoul's drinking water, the scandal sparked an anti-American uproar in South Korea.)Īt the movie's center is the Park family, a clan no less eccentric than the Hoovers of " Little Miss Sunshine." Patriarch Park Hee-Bong ( Byun Hee-Bong) runs a snack stand down by the river with his dim-bulb son Kang-Du ( Song Kang-Ho). (This scene is based on a notorious incident involving Albert McFarland, an American civilian mortician at the Yongsan military base, who in 2000 ordered his staff to pour 120 liters of formaldehyde into the morgue's plumbing. Let's try to be broad-minded about this." Had Al Gore been present, he would have made a persuasive counter-argument with colorful charts and graphs about the dangers of poisoning our fragile planet, but an order is an order, so down the drain the noxious stuff goes. When the underling objects, the American insists, "The Han River is very. Army base in Seoul, where an American mortician (the always superb Scott Wilson, clearly having fun) orders a Korean subordinate to dump dusty bottles of "dirty formaldehyde" into the sink. The movie opens in the year 2000 at the Yongsan U.S. ph: Wilson Webb/©Warner Bros.In "The Host" (a k a "Gwoemul"), the mutagen is a simple aldehyde, HCHO (possibly even a radioactive variety). PRISONERS, front, from left: director Denis Villeneuve, cinematographer Roger Deakins, on set, 2013. PRISONERS, from left: director Denis Villeneuve, cinematographer Roger Deakins, on set, 2013. IN THE VALLEY OF ELAH, foreground: Charlize Theron, Jason Patric, director Paul Haggis, cinematographer Roger Deakins, on set, 2007. THE COMPANY MEN, foreground from left: cinematographer Roger Deakins, writer/director John Wells, on set, 2010 IN THE VALLEY OF ELAH, cinematographer Roger Deakins, on set, 2007. Night Shyamalan, 2004, (c) Buena Vista PRISONERS, cinematographer Roger Deakins, on set, 2013. PRISONERS, cinematographer Roger Deakins, on set, 2013. Photos THE VILLAGE, Roger Deakins, 2004, (c) Buena Vista PRISONERS, from left: director Denis Villeneuve, cinematographer Roger Deakins, on set, 2013. Because of his achievements and extraordinary work for over three decades, Deakins had earned the reputation as one of Hollywood's top cinematographers of all time. He did, of course, branch out beyond the Coen Brothers universe where he earned further acclaim, most notably with "A Beautiful Mind" (2001), "House of Sand and Fog" (2003), "In the Valley of Elah" (2007), "The Reader" (2008), "Skyfall" (2012). His work was awarded numerous times, mostly for his stunning camerawork on Coen Brothers films such as "The Man Who Wasn't There" (2001), "No Country for Old Men" (2007), "True Grit" (2010) and "Hail, Caesar!" (2016). Whether conveying the sweeping grandeur of hope taking flight from prison walls in "The Shawshank Redemption" (1994), capturing the isolated, brittle snowscape of "Fargo" (1996), or putting on display the vibrant spirituality of Tibet in "Kundun" (1997), Deakins created a visual style visual style that turned him into a cinematographer sought after by the top directors in the business, while also earning a slew of Academy Award nominations. Ever since his Oscar-nominated camerawork on "Barton Fink" (1991), Deakins filmed some of the most remarkable images recorded on celluloid. After starting out his career in documentaries, Roger Deakins became one of the few elite cinematographers of his generation, thanks in large part to his routine collaborations with filmmakers Joel and Ethan Coen.
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