Il Mare
Derek Elley
Opening less than four months apart, and with identical themes of love across the barrier of time, "Il Mare" and "Ditto" provide an intriguing glimpse into the psyche of a divided nation, as well as underlining Korean cinema's current interest in the mystical and unreal. Given both films' basis in Asian melodrama, neither is likely to travel far in the West, although the sheer production values and emotional sweep of "Il Mare" (prompting some local crix refer to Ophuls' "Letter From an Unknown Woman") could make it a guilty pleasure at broad-minded fests.
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Variety
Opening less than four months apart, and with identical themes of love across the barrier of time, “Il Mare” and “Ditto” provide an intriguing glimpse into the psyche of a divided nation, as well as underlining Korean cinema’s current interest in the mystical and unreal. Given both films’ basis in Asian melodrama, neither is likely to travel far in the West, although the sheer production values and emotional sweep of “Il Mare” (prompting some local crix refer to Ophuls’ “Letter From an Unknown Woman”) could make it a guilty pleasure at broad-minded fests.

Reportedly, “Il Mare” was first on the drawing board, but “Ditto” snuck into theaters first, hitting a chord with local auds and surprisingly netting some 1 million admissions nationwide (over $5 million) on release in late May. “Il Mare” racked up only half that amount, going out the same time as blockbuster hit “Joint Security Area” in early September.

Co-scripted by the noted Jang Jin (“A Hot Roof,” “The Spy”), “Ditto” centers on a high school student, So-eun (wide-eyed Kim Ha-neul), who accidentally gets possession of a ham radio and starts an airwaves relationship with In (Yoo Ji-tae), a student a the same high school. After arranging to meet under a clock tower, and missing each other, they finally realize they’re 21 years apart in time: She’s in late 1979 (when the dictatorship of Gen. Park is crumbling) and he’s in 2000 (when the country has a functioning democracy).

Shot in an attractive but fairly naturalistic style by first-time director Kim Jeong-kweon, a former a.d. to Jang, “Ditto” gains most of its impact from the contrasts between the two eras rather than the mechanics of the story. In is a typically complacent member of the Internet generation, but becomes increasingly curious about the old days; So-eun, living in a period of student strife and political convulsion, seems interested only in the attentions of a fellow student, Dong-heui (Pak Yong-woo), and girly gossip with her best friend, Seon-mi (Kim Min-ju).

So-eun’s emotional maturation — conveniently coinciding with news of the assassination of Gen. Park — dovetails with a surprising discovery by In about his background. Clever twist leads to a simple, moving coda in the year 2000.

Less youth-oriented in the casting of its leads, and with a visual sumptuousness that leaves “Ditto” standing, “Il Mare” gets off more on its plot mechanics, with no political backgrounding, as the virtual lovers are separated by only two years. When Eun-ju (Jeon Ji-hyeon), outgoing tenant of a swish lakeside home (called Il Mare), writes to the new tenant (Lee Jeong-jae), asking for her correspondence to be forwarded, she finds his reply is dated 1997 and he’s actually the first owner of the property.

Helmer Lee Hyeon-seong, best known for the “feminist” relationships drama “The Blue in You” (1992), showcasing stars Kang Soo-yeon and Ahn Sung-ki, keeps the thin conceit afloat with sheer technical expertise and the attractiveness of the leads, teasing the viewer with the temporal possibilities and swathing the whole thing in a cool, jazzy score. Pic’s original title means “A Love That Transcends Time,” and as an example of unabashed, quality melodrama it’s a peach.