Cannes’ Best Actress

Award for Jeon Should Bring Shine to Film Industry

Jeon Do-youn’s best actress award at Cannes could hardly come at a better moment for herself and many others. It was the first top acting award given to a Korean at a major film festival in 20 years, reconfirming Korean actors’ ability and endeavors. Unlike in 1987, the film ``Secret Sunshine’’ didn’t take an Oriental but a Western theme of salvation as its motif, demonstrating homegrown movies’ potential for global appeal. Most importantly, it came when the film industry is taking a serious downturn.

The 34-year-old actress’ passion and dedication to her profession have been well known here. Jeon, nicknamed ``chameleon’’ or an ``actress with a thousand faces,’’ has perfectly portrayed her roles, which have ranged from a teenager getting to know a man, a young mother mired in extramarital affairs to an AIDS-stricken hostess. Director Lee Chang-dong’s production which is rich in literary flavor and co-star Song Kang-ho’s ripe performance were also key factors. It was an ideal combination of script, production and acting.

Korea is one of a handful of countries in the world, along with India, Japan and some European countries, that compete with Hollywood. The government’s policy support may be strongest only next to France except for its effect and expertise. It has more than 1,000 film production firms, the largest in the world. Young audiences, which constitute the bulk of moviegoers, have even more ``Koreanized’’ tastes than older fans. Provincial cities are active participants, playing host to film festivals.

Why is the domestic industry reeling from a slump _ as shown by less than half of exports from 2006 at Cannes this year _ then? The film industry has been intoxicated with the past-decade’s success for too long. Any industry is bound to fail if costs far outstrip revenues. Production costs and fees for stars skyrocketed while the movies have lost their creativity and fun, alienating fans, both here and abroad. Some directors just copied hit genres, while others were absorbed in art-for-art’s-sake narcissism.

Of course, there was an external factor such as the drastic cut of screen quota system, a mandatory screening of homemade films, yielding to U.S. pressures. But bigger reasons should be found from within, such as poor planning ability that cannot prop up relatively good production and actors’ performance. In short, the industrialists should return to their original aim and determination by expanding the pie first before competing to take a larger slice of the half-grown one. They should reunite to revive ``hallyu.’’

Foreign media praised Jeon for helping to put fresh vigor into the languid Cannes. We hope her acting triumph will provide not only a ray of hope but also a beam of reawakening for the sluggish domestic industry. Jeon reportedly said at a news conference, ``Filmmakers do not offer me good scenarios any more.’’ This should be a loud wake-up call for the industry.