Synopsis
Do-seong (Yoo Min) is a child monk who lives at a small mountain temple with the head monk (Byeon Ki-jong), learning the teachings of Buddha. He becomes attached to a young widow (Choi Eun-hee) who comes to pray at the temple, and the childless widow entreats the head monk to let her raise Do-seong as her own son. Conflict ensues when Do-seong's real mother (Kim Seon-young) appears, but she leaves the temple for the sake of her son's future. On the day the widow is to take the child down from the mountain, the head monk discovers that Do-seong has killed a bird by ensnaringit in a trap and decides not to let the boy go into the secular world. When Do-seong finds out that his real mother has been to the temple, he sets out to find her.
Notes
"A film that has garnered recognition for its cinematography and direction by eliminating sentimentality and unaffectedly capturing the quiet life of a mountain temple. A Hometown in Heart demonstrates the camera technique and directorial skill of movies that appeared after the liberation of Korea."
A Hometown in Heart, adapted from playwright Ham Se-deok's A Little Monk (Dong-seung), was hailed upon its release as "a masterpiece that marked a new pinnacle in Korean moviemaking after the liberation." Eschewing new-school sentimentality to quietly express a boy's longing for maternal love, the film unfolds the everyday lives of three generationsthe head monk, a young monk, and a little child monkagainst the backdrop of a quiet temple in the mountains. The long shots utilized by director of cinematography Han Hyung-mo to capture the beautiful scenery of the mountain temple from a distance received great critical acclaim at the time. Also, each of the film's characters is convincingly portrayed through the skillful direction of Yoon Yong-kyu. In particular, the scene which expresses Do-seong's desperate yearning for a mother's love and his birth mother's past visit to the temple by combining them into a dream sequence reveals deep consideration for articulating story and emotion via a compressed visual grammar without tending toward sentimentalism. The movie's final scene, in which Do-seong awakens from his dream and sets off down the path in search of his mother, is both touching and beautiful. The film also features Choi Eun-hee, in the part of the young widow who warmly embraces Do-seong with her love, in one of her first roles.
Afterword:
- Lee Kang-su, writing under the pseudonym of Kwak Il-byeong, first adapted playwright Ham Se-deok's A Little Monk (Dong-seung) into a screenplay, which was then shot for the silver screen with additional embellishments by the director.
看过漫画，剧情其实很一般水准
本就不多的篇幅还要分给tv出现的角色，以至于纯爱部分没有足够铺垫全场爆笑
纯爱战神代表台词：“我们是纯爱”险些把我笑死，用纯爱对抗大义（当然两个都是各种意义上的离谱）这种剧情属实是没想到会这么好笑。时不时会听到碇真嗣的影子，台词重音处理实在太有辨识度了，配上乙骨早期那个畏畏缩缩的样子，我都能配出碇真嗣的经典台词了“逃げるんじゃダメだ 逃げるんじゃダメだ”
觉得很一般呀，讲的应该是TV版前面的剧情吧。很老套的剧情，『五条悟』近乎没什么存在感……
白色五条さとる桑真的帅出新高度！爱死了
五条悟这个天花板设得太高了，搞得完全不想看其他人🤦♂️
前半部像动画的节奏，后半部百鬼夜行开始直接加速，但还是好看
CTNN 不知道JJK讲啥，一部剧场版交代清楚！
很感动呀，就算里香变成了恶魔，诅咒，忧太也一点都没有怕她，还是爱她愿意和她在一起。里香最后消逝的时候说，和忧太在一起的这六年，比活着的时候还要开心，谢谢你愿意让我一直陪着你。
狗卷那么多戏份，感人！但没资源只能去澳门看大屏幕，可是感官上这部还没达到大屏幕水准，加油！
打斗一如既往精彩，剧情概括起来就是“我个人认为，这世上没有比爱更扭曲的诅咒了”。夏五的宿命感和张力确实绝，“想杀就杀吧，你的选择都有意义”，“最后你倒是说点诅咒人的话啊”，“唯一的挚友”😭
特级咒林化身玉藻前有啥作用
就是说“純愛だよ”那里靴微尬到了hhhh以及日影最近音乐的滥用真的很严重啊…毫无意义的煽情，强行高潮。其实这个故事没有这些也可以的真的😅
我们是纯爱 那我就是大义 哈哈哈哈可笑死我了
等不到DVD先看了枪版，真的过瘾，好久不见五条悟甚是满足，最后那句我们是纯爱简直大爱。
20220323#
求求快点出动画 满脑子都是真希成神我哭出来
求求快点出动画 满脑子都是真希成神我哭出来
一些点点点😅原作因为有留白，不至于太过尴尬，做成电影就各种意义很瞎了（都是什么烂台词，看得到一些影响的影子但总觉学得有些皮毛
毕竟只是一卷单行本长度的改编，剧作没有去补完主角的深度（真就情不知所起一往而深），几个主要的情节点之间过渡生硬（特级仿佛一天炼成），反派也没有正传咒灵那种程度的塑造，作画没有比TV更上一层的爆点…但是欢乐深情恐怖悲伤遗憾一切氛围都营造得很好，影院大家一起爆笑一起欢呼一起抽泣，每次刷都觉得体验超好…还有娜娜明黑闪四连这样的福利！总之，夏油让考哥来配真的太好了（有了声音的午夜梦回更加意难平了）
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