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Spring, Summer, Topple, Winter… and Spring ushers the audience into calm solitude through meticulously planned cinematography that maximizes the enact of the natural environment. The environment is notable to the memoir as it takes site in an idyllic valley that is untouched by the continually modernizing civilization. In the middle of the valley is a miniature lake in which a minute floating monastery drifts by the forces of the nature. This has an allegorical meaning as it supports the understanding that everything is piece of a greater concept in which individuals can compose slight ripples that will affect the individual throughout life.
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Each frame is carefully planned as color, execute, and movement arrive together into a meaningful expression of either spiritual, just, existential meaning, or a personal meaning which rests unhurried the search for of the beholder. The film becomes a sequential succession of spiritual or existential paintings that are hasty exchanged before the viewers’ retina. The mise-en-scene is exceptionally vital as Ki-duk Kim has left nothing to chance, yet everything is based on chance. This visual oxymoron is very grand like the chaotic expression which nature expresses itself within each season.
The narrative is split into the four seasons as it begins and ends with spring as the title suggests. The beginning takes area in the spring as an primitive monk cares for a young boy who discovers the consequence of guilt the hard method as he torments a fish, a frog, and a snake. The shots have symbolic meaning, yet the many frames offer distinguished room for personal interpretation as the boy deals with everyday life under the supervision of the monk.
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Summer opens the door to like, affection, and desire as the young boy has become a young man. This begins with the ancient monk who receives a young woman that is sick. The mother of the young woman requests that the monk attend to cure her daughter that seems to suffer from some sort of restless melancholic ailment. The young woman and the young man playfully open a romantic relationship that leads them into a physical relationship. This relationship drives the young man to give up a life in the limited monastery as he sneaks away an early morning.
Fall is the season when the woods change from green to an explosion of color. Ki-duk Kim exercise this natural phenomenon of the seasons to a pudgy carry out as the season displays the aftermath of a vengeful strikeout from the young man who now is a man in his 30s. The man now has to learn the consequences of his actions through a painful internal crisis, in which he seeks suitable and spiritual redemption by returning to the tranquility of the valley.
Winter follows plunge and the man is now in his 40s, as he once again returns to the monastery in order to catch over for the passe monk. It becomes a time for spiritual search and lawful purging for the man who tries to contain the shoes of his weak teacher and guide. This means that he must pick up a scheme to deal with his past, demonstrate, and future by rigorously following a rough and narrow path.
When spring returns the film brings the audience in a bulky circle as it returns to where the film once started. The cyclical message is a fundamental cornerstone of Buddhism and the message that the film portrays. However, it does not mean that things will be the same in the future as each ripple created will cause some change in the environment, which is skillfully depicted through the consume of the animals that Ki-duk Kim incorporates into each season. In the initial spring there is a dog and as summer comes along it brings a rooster while a cat enters with the tumble. A snake appears in the winter as and as the spring returns it brings the audience a turtle. These animals also narrate the waste of men’s lives as they could be reincarnations of other human’s, which is a result of the ripples they once created.
This is a truly tall work of art that is also a medium for the Buddha’s teachings.
Zen is a school of Buddhism that traditionally does not rely on words or letters and is based on the “mind to mind” transmission of the master’s teaching to the student.
Many obliging reviews have covered the unbelievable memoir line and the cinematic qualities of the film. I would like to execute a few comments on the Buddhist and Zen teaching elements of the film.
1. The setting — Buddha was enlightened under a tree and the natural world serves as the context for many Buddhist teachings. The ample Japanese Zen Master, Dogen, wrote essays on the lives of mountains and rivers and non-sentient beings.
2. Cycles — The seasonal cycle in the film is symbolic of the cycle of life with an frail man, a child, youth, young lovers, parents, and obsolete man again. Only if we live, as Dogen said, in Being/Time can we transcend these cycles.
3. Karma — The child, because of his choice or his propensity kills a fish and more… Every decision and mysterious propensity leads to consequences.
4. The Island temple and the raft — The cramped temple is on a drifting island connected to the shore by a raft indicating the impermanence even of the Master’s abode and the refuge. A examine from Zen point of thought is — Where is Buddha?
5. The Master — He teaches with few words — typical of Zen tradition — teaches by example. (Actually… Zen masters are blabbermouths who did anything to speak their students that they opinion would work. Existence is the ultimate blaberbody) .
6. The Gateless Gate — One of the two big Zen Koan (cases studies for contemplation) collection is called in English “The Gateless Gate”. To advance the boat from the shore and to come the Master’s room from the bedroom there is a door but no wall.
What is reality? Is there any exact separation?
7. Animal teachings — A fish, a rooster, a cat, rocks, falling leaves, snow, water and waves, the sky, and mountains all play roles in the teaching process. Does a slight fish have Buddha nature or not?
8. Skillful Means — In Zen tradition there is dynamic and grand teaching, when famous, using shouts, hitting, and dynamic dialogues and any other means. The Master uses a awful cat’s tail to write the sutra on the deck of porch of the temple. There is more but you must witness this movie…
9. No eyes, no ears, no tongue, no body, no mind. no seeing, no hearing, no tasting, no touching, no thinking — This line from the Heart Sutra is a core teaching of Buddhism — especially Zen Buddhism. In the most haunting scene in the movie, the Master’s eyes and mouth are covered with paper — what does this mean to you? Has reality been lop or is this a unique reality?
Spring Summer Drop Winter Spring. Where is it and when does it start and extinguish?
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