朋友 친구-正片

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• 来自网友【群星落幕时】的评论人的性格很大程度取决于父母的身份和周遭的环境。 性格又对人生轨迹的走向起决定性作用。所以东洙的死亡可以看做是必然。 东洙是殡仪员的儿子，在传统文化里，与死亡沾边的人和事都是不干净的。所以他从小就遭受其它小孩冷眼。有些人会因此消沉，变得内向寡欢，沉默少语。有些则走向另一个极端，锋芒刺骨，暴躁冲动。 元瑞受黑社会父亲影响成了学校里的老大，东洙想不受人欺负，依附他是最好的办法。就这样，东洙成了元瑞的跟班。东洙和元瑞的第一次不合是在贞淑的问题上。东洙意识到他和山泰的不同。元瑞更多地把自己当做跟班而不是朋友。（其实元瑞对山泰的友谊也有点变质，更多地是把他作为炫耀的资本。）这一定程度上刺激了东洙的敏感心理。他不想被人看不起，也不再想当第二。所以他拿着棒球棍闯入办公室，砸烂奖杯。这是一个示威，或者说极为任性的举动。看，元瑞不敢做的事，我东洙做到了。两人如果不在一个行当或许会相安无事，可偏偏都选择了黑帮。这大概也是一种叛逆心理。东洙想在元瑞最拿手的领域和他一较高下。两虎相争，必有一死。一直以来都是老大的元瑞不会低头，辛苦爬上来的东洙更不会低头。我想用一首歌作为结尾。越长大越孤单。
• 来自网友【momo】的评论There are both domestic and international factors that national gangster film kept flourishing in South Korea since 1990s.To start with, from socio-political aspect, long under a single man’s dictatoship, the other men and women had no other choice but to obey. So when Park Chung-hee’s government ended, there was an urge to restore masculinity, which had lost in the trauma of military era. The gang, portrayed with a strong virility, were then being adored.Moreover, from cultural aspect, Korea was receiving a more culturally-suitable kind of gangster films from Hong Kong than from Hollywood. Hollywood’s gangster films had flourished for decades, and in 1960s and 1970s, the gangster films in South Korea somewhat modelled after them. These gangster film did not gain large success because of cultural facts. Instead of pure violence and chase entirely for desire and money, Asians tended to be more interested in how people from the gang thought while in a decision of violence. Hong Kong gangster film, flourished in 1980s, provided this mix kind of action film and melodrama for whole Asian audiences. The scene how Dong-su and Joon-seok turned to understand each other after their breakup is common in Hong Kong gangster films. When Joon-seok is assigned to kill Dong-su and JS’s subordinate asks when to carry out, Joon-seok says never. That is the embodiment of yi. As a “hero” with the faith of yi, assassinate will be implemented towards his friend. Last but not least, from economic aspect, after the period of Four Tigers and Miracle on the Han River, in post-1997, South Korea was experiencing a severe economic crisis. No one’s future is guaranteed, even those who receive good education like Sang-taek. Therefore, some people seek for money and reputation through joining gangsterdom as Dong-su did. Since at that time, importing movies from Hollywood was only possible for large film companies under a strict censorship of film imports, smaller film companies changed to focus on Hong Kong films as an alternative. During the 1980s, after the dominance of wuxia film in 1960s and kung-fu film in 1970s, gangster movies become prevailing in Hong Kong film industry. HK gangster films achieved huge success and went into the Korean market well. When these gangster movies were imported, they received large profits and somewhat simulated local Korean film directors to create gangster films which had not been produced since the 1970s. In the 1990s, the number of Hong Kong action films declined; the need from audiences for gangster films further propelled the production of Korean’s national gangster film. In the meantime, because Korean film industry changed from artist-leading to producer-leading, money always counted as the priority, even surpass movie’s artistic values. Releasing companies required consistent lucrative creations, so once a gangster film succeeded, others followed. Friend marked the starting point and since then, Korean gangster films were produced in an assembly line.