There is an idiom in Chinese saying that it
is the trend of events brings forth the hero. However what always be forgotten
is the fact the number of hero is small while the majority normal people’s
lives are also changed dramatically due to this inevitable social force, and
mostly do not end up with positive effects. Peppermint
Candy created a bond between social memory and individual memory, vividly
depict the scar of historical catastrophe. Watching this
film is like peeling a bamboo shoot. The outer layer is so firm and tough, but
the inner part is so soft and tender. Yet, the memory can be revisited, the actual
life cannot.
Particularly, I noticed that the director employed a very subtle
close-up to manifest Yongho's expressions. It’s so slow and sophisticated
that the progress of zooming-in is almost undetectable. One example is when
Yongho was left out on the field because of his wounded foot. He was afraid to
death and had tears in his eyes. The camera started zooming when Yongho noticed
that there was a girl hiding in the shades, and the camera stopped as Yongho lifted
up his gun. This subtle camera movement perfectly reflects Yongho’s complex
emotions of scare, hesitation, and helplessness. What I really like about this
shot is its easeful representation of intensity. Ultimately, by using this kind
of filming technique, the film convoys the idea of how small changes can accumulate
and alternate one’s fate into a total opposite direction. Another example would
be the ending scene, when Yongho sat on the bank of the river and then slowly
lay on the rocks. The sound of the coming train overcame the joyful song sung
by the students as the camera ceased. This take reveals all the minor
expressions Yongho had on his face, including the slightly shaky eyebrows and
the brimming tears.
With such an
emotional ending, Peppermint Candy
leaves me a big question about myself.
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