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Ok-hee quit the cafe to fall in with her ultramodern friend Mi-ja (Choi Ji Hee) who has arranged a double date with a pair of sleazy executives, telling them that Ok-hee is a university graduate and daughter of a wealthy CEO. Even the news that Ok-hee has once again quit her latest job, working in a cafe, in record time is greeted with exasperated acceptance rather than anger or resentment. Chun-sam is obviously not a wealthy man, but the family bear their struggles with fortitude, perhaps to some extent avoiding each other but rarely arguing directly. Returning home covered in mud, slowing to a walk and putting his student’s cap back on to avoid suspicion, he makes his way from the modern houses of the new city back through traditional Korean homes towards his rather makeshift family abode which they share with the horse stabled in a side room.
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Kang opens with an exciting sequence following Soo-up who has attempted to steal a bicycle as he tries to escape from its owner chasing him. Oldest son Su-eop (Shin Young-kyun) is currently studying to retake the bar exam for the third time, middle daughter Ok-hee (Um Aing-ran) has begun dating a shady salaryman, and youngest boy Soo-up has become a high school delinquent. Chun-sam married off his eldest daughter Ok-nyeo (Jo Mi-ryeong) who is deaf and mute to a man he saved during the Korean War but he is abusive and treats her like a servant while openly inviting his mistress into their home. Meanwhile, Chun-sam’s four children whom he raised alone after his wife passed away at a young age are each looking for different ways out of their impoverished existence. As business is slow, she is always threatening to sell the horses which would leave Chun-sam and the other coachmen without a means to support themselves. Technically speaking, he is not the owner of his horse, Dragon, but operates it on behalf of the owner, the mistress of an upper middle-class salaryman. Kang Dae-jin’s A Coachman (馬夫 /마부, Mabu), the first Korean film to win a major international award with the Silver Bear Extraordinary Jury Prize at the 1961 Berlin Film Festival, finds itself at just this juncture as an old man pulling a horse and cart is forced to face up the automobile age while worrying what is to become of his family in the perilous modern society.Īgeing patriarch Chun-sam (Kim Seung-ho) has been guiding a horse and cart since his father died in Manchuria when he was 14. The rising tides of affluence had given birth to a new middle-class with the old feudal attitudes while others were largely left behind on the shores of prosperity. The Korea of 1961 was one of societal flux, mired in post-war poverty but striving towards a brighter economic future.