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| Actors: Min Choi, Yeo-jin Ha, Dae-han Ji, Jong-ho Kim (ii), Jung-young Kim (ii)
Studio: Sony Pictures
List Price: $50.99
Buy Used: $4.99
You Save: $46.00 (90%)
New (1) Used (14) Collectible (1) from $4.99
Rating:  85 reviews
Sales Rank: 22536
Format: Color, Dolby, Subtitled, Ntsc
Languages: English (Subtitled), Korean (Original Language)
Rating: R (Restricted)
Media: VHS Tape
Number Of Items: 1
Running Time: 103 Minutes
Shipping Weight (lbs): 0.4
Dimensions (in): 7.3 x 4.2 x 1.1
UPC: 043396041264
EAN: 0043396041264
ASIN: B0002J4ZQE
Release Date: September 7, 2004
Availability: Usually ships in 1-2 business days
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| Customer Reviews:
Showing reviews 6-10 of 85
 A beautiful and moving film September 5, 2004
Ian Watts (Charleston, SC USA)
14 out of 15 found this review helpful
I saw Spring, Summer, Fall, Winter, and Spring at the local indie theater when it first arrived here in town. At the time there were only two other people in the whole theater, but I must say that it made much more of an impression on me than any other film I've seen this year. Elegantly simple and beautifully photographed, it tells the story of a Buddhist monk who lives at an isolated cabin retreat and a young boy (presumably an orphan) who has been placed under his care. Each of the seasons represents a phase of the boy's life, which by the end has come full circle. It would be easy for a film like this to become too sentimental or navel-gazing for its own good, but for the most part Ki-duk Kim pulls it off very well. Some of the scenes, from the animals struggling with the stones tied to them to the monk covering his face with Buddhist sutras, will remain etched in your mind for a long time. Some have unfairly criticized the film's Buddhist themes because the director has stated he is a Christian, but is that really relevant? From what I remember, there are no direct references to God, and the Buddhist elements aren't even played up too heavily considering its premise. I think just about anyone could appreciate this film, and if you also happen to understand some of the Buddhist spiritual elements underneath, then that's even better.
Full of thought-provoking symbolisms January 24, 2005
S. Wong (South Bend, IN United States)
14 out of 15 found this review helpful
Enough praise have been heaped on this movie about its lush cinematography and the symbolisms it contains. Unfortunately, none of the reviewer talked about exactly what those symbolisms represent. For most of us who are uninitiated, we vaguely sense the hidden meaning but can't enjoy the movie beyond admiring the scenery. I'm sure there are many meaningful symbolisms peppered throughout the film, most notably, the circle of life which spans the entire movie and intimated by its title. Here, I will share one which I detected.
Ever wonder why there is a door in the temple but there is no wall? The door separates the "bedroom" from the shrine. Although there is no wall, the old monk and the young monk always used the doorway and never walk around it. In today's world that hail efficiency and profits, the door seems to be superficial, unnecessary and a waste. To me, the invisible wall symbolizes self-control. There are many things we can do but don't out of morality or ehtics. That is the true meaning of the door without a wall. What happens when the young monk disregard the door for the first time? Well, if you haven't seen the movie, I won't spoil it for you. If you already have, you know what I mean. Once we start disregarding that invisible wall, it is a slippery slope to greater evil as the old monk warned.
Perfect Simplicity November 17, 2004
Graham Martin (Columbia, MD United States)
12 out of 14 found this review helpful
Perfect Simplicity
My review of this film should end with those two words. However, the minimum requirement required of all on-libe reviews belies the differences between my world and the world shown to me in Spring, Summer, Fall, Winter...and Spring. I understand why Amazon does not want 1000's of (apparently) useless two-word reviews in their database. However, I would hope that they could make an exception for this film.
Perfect:
The film is as close to perfect as a film could get. No shot is presented to us, nor a line of dialog uttered that does not make us ponder and understand at the same time. The film is also beautiful. (Like the previous reviewer, I am a fan of Asian cinema and never tire of the stunning ability of Asian directors to capture beauty on film.) This film exceeds most other Asian films I have seen in the cinematography regard. However, its beauty is surprisingly deceptive. Like most great films, it surpasses the "cinematography" level of beauty and delves into the beauty of existence through its story. For example, the Old Monk has a different pet during each "season" of his life. This is not discussed by the characters nor shoved in our face by the director - as would have been done if Hollywood had done this film. It is merely background we experience and come to understand. Two days after viewing the film, I am still finding new reflections in my mind that encompass the cinematography, the literal story and the underlying context of the film.
Simplicity:
This film approaches a level of cinematic Haiku. While I don't recall the entire dialog with any specificity, I am sure you could print the script on one page of paper. The amazing part is that while you are watching the film, you don't notice this. Every shot moves the story along. The simplicity of life as shown by the story is reflected in the simplicity of the film. After the film ended, I had a strong urge to move away from civilization and live - or die - in peace with nature. I enjoy (and have come to be too dependant upon) modern inventions, so I will stay at home. However, this film will remain in my heart. It does exactly what good story-telling is supposed to do: Take us completely out of our world and put us in another. There is no wonder that this film was selected for so many film festivals.
A brilliant work of cinematic art not to be missed! September 16, 2004
wannabemoviecritic (California)
11 out of 12 found this review helpful
In poetry, art, religion, and every day life, the seasons have always been an integral part of not only Korea, but all Asian cultures. It is as if they sense the nuance in the red of autumn leaves and the frailty of tree branches in winter, absorbing their visual, emotional weight. Even in Japan, they believe everything from rocks to river streams are inhabited by "kami," or spirits.
Director Kim Ki-Duk has successfully emphasized each season's importance by using their qualities as parallels to a young man's life, from boyhood to a troubled adulthood, as well as his relationship with an old monk who he grows up with on a raft temple at the center of a pristine Korean lake, in which the entirety of the film takes place. Often times, the subtle details of the natural backround speak louder than the few words found in Kim's accomplished minimalist screenplay.
Also, each season encompasses a moral theme. For instance, "Summer" tells of how the film's central character, now a teenager, is sexually awakened by a sickly girl his age who comes to be healed by the old monk. However, their relationship is carelessly founded upon lust, since the boy has never encountered a woman before, and is more curious than wise. By the end of this canto of Kim's tone poem, the old monk recognizes their far from discreet sexual adventures, and scolds him, saying, "Lust leads to the desire to possess, and that leads to murderous intent." I should not elaborate on this or the other seasons any more so than what I've already written, because like a flower's progressive blooming, it is not as spectacular heard as it is experienced first hand.
Some have complained this film is too simplistic. In many ways, the structure is quite simple, but for effect. It is a fable that must be expressed in a form at ease with itself and how it tells a story. In fact, the abstract qualities make 'Spring, Summer' stronger as a whole, becoming more accessible and applicable to your personal life. With each scene and situation, you are able to catch a glimpse of yourself beneath the lake or in the eyes of an old man who may lose touch with a young flame carefully kindled through his adulthood. However, though the simplicity makes watching it a more moving experience, it unfortunately makes it less memorable as the days after viewing pass by.
The lack of complexity sometimes causes pieces of the film to fade quickly, because, depending on who you are, you may not be able to identify with such broad themes as well as you might with a better universalized film. Technically, though, 'Spring, Summer' is a wonder; it contains beautiful cinematography, a powerful underscore, and art direction that perfectly complies with the demand for concise, cohesive symbolism. The direction is also minimalist, much like the screenplay, and adds a quiet efflorescence that grows endearing and leaves you breathless by the film's end.
Ultimately, 'Spring, Summer, Fall, Winter...and Spring' is a cinematic beacon of hope, not only in message, but in its art form, as well. It both celebrates the cyclical patterns of life that encourage us to keep going and contributes to a growing reaffirmation that cinema still has its artistic center and may not die out under the heavy, artificial light of those "of-the-moment" big-budget duds.
A must-see for all seekers of Truth, Life, and the Way May 17, 2004
Steven Watson (Oakland, CA United States)
10 out of 16 found this review helpful
This movie portrays the power and dynamics of the student/teacher relationship, and conveys the life-long challenge that we all face in overcoming our desires and comeing to peace with God and within ourselves. If you have any inclination towards a conscious spiritual life, see this movie, and find a Teacher to guide you.
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