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.
梗多且烂。小贱贱这个风格有点腻了。最后的反转大可不必，单cp就已经嗑不动了，何况3p（不是）……
好标准的爆米花动作片@@基本都能知道每个环节谁要做什么，连最后的翻转都不令人意外。加朵大长腿。
和我的想象差距挺大的：本以为是一部俄式硬核战争片，结果忍受着机翻字幕看了一部充满了俄式正能量的英雄传记片。全片最精彩的战斗场面是大概58分钟时，俄罗斯特种部队抓获恐怖分子头目时的行动。除此以外，全片都在刻画一个有血有肉、有情有义、有担当有奉献的俄罗斯军人形象，这对于眼下国际国内形势严峻的俄罗斯民众是一种精神上的鼓舞，也是对俄罗斯军人为国捐躯、不怕牺牲的褒奖。讲真的，我们也可以学一学呀，想一想咱们在加勒万河谷牺牲的烈士们也需要我们的群众和后代永远铭记～
塑料感十足的伪冒险片 找来巨石强森就让他被牛撞 找来盖尔加朵就让她穿个红裙子 整部片子全靠小贱贱的嘴炮 耍贱 卖腐 然后就是跑跑跑和自作聪明的反转 没人物没动作没奇观连个反派都没有 然而就在你心想扯淡扯成这个逼样还有完没完的时候 它竟然就这么突然地完了 连个结局都他妈没有
一般的不能再一般了。。故事情节，打斗场面，喜剧元素都挺水的。。也就三个主演能看
真是难看的要命啊，剧情就像是开拍前导演在一堆剧本模板ppt里挑了一个出来用的。三个巨星跟走秀似的，连个像样的笑点也没有。
以血还血 以牙还牙 恐怖主义是全世界的敌人
新俄式战争片，文戏略弱，色调出乎意料的明亮，继承了传统的暴力美学。
三个人现在是都放弃好好当演员，只会自己演自己了么？加朵在这个片儿里反而比在《神奇女侠》里面更美更魅，但就是和强森太不搭了。恭喜强森，用了二十年时间让自己去性魅力化，现在看他跟谁搞在一起都不对劲儿，也许除了范迪塞尔吧。
另一版本的演绎更对我心
2. 贱贱各种让强森承认两个人之间的化学反应，构成本片所有的笑料。
剧情而言，不够格用红色通缉令这个词，红色通缉令应该是一个谨慎严肃的词语，而这只是一部搞笑的探宝大盗片。盖尔加朵的嘴唇很性感。
壮志凌云+深入敌后，20年前的好莱坞套路看来俄罗斯人也跳不出来，有一处亮点就是影片的主角是牺牲的飞行员，而不是活着生还的那位。文戏的表现实在太弱，男女主相识竟是一场英雄救美，更是无语了。
好标准的爆米花动作片@@基本都能知道每个环节谁要做什么，连最后的翻转都不令人意外。加朵大长腿。
虽然就想看个爆米花电影，可是还是不太行。最高光的大概是黄老板的打酱油，终于等到你，还好没放弃，虽然根本没什么意义，谁叫网飞大大不差钱。强石，盖多，死侍没有一个没有重复之前的固有印象，太bummer了。
戳中了所有俗烂的点，唯一能看的就是几位的颜
爆米花的好电影 看了爽就行了 网飞可以的 反转再反转就对了
比《德维塔耶夫》的剧情正常些（PS：为啥现在连俄语都不用看字幕了🤔）
1. 奈飞+强森+贱贱+盖尔加朵，也无法保证品质。
同一件真事，《海豹突击队》里也有相关，放弃叙述故事的角度，只看战斗机飞。
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