Deok-soo finally meets his sister Mak-soon, who was adopted by an American family and lives in Los Angeles.
A second box of tissues is needed for the last chapter set in the ’80s, when Deok-soo goes on a television programme that reunites families separated during the Korean War. He serves as a technician in the Vietnam War in the early 1970s, where he acquires a limp after being shot while rescuing Vietnamese villagers. There, Deok-soo meets his future wife, Young-ja. In a later chapter, Deok-soo and Dal-goo migrate to West Germany for a few years, where they work in coal mines to send money back to their families. “He might as well start a car company,” the boys snigger. Among the people they meet is a young Chung Ju-yung, the future founder of the Hyundai conglomerate, who tells them that they must never stop dreaming. The passage of time is marked by make-up (the same actors play the adult characters throughout, including South Korean star Hwang Jung-min as Deok-soo) and changes in costumes and sets.Īs a boy, Deok-soo and his friend Dal-goo shine shoes for a living. The plot alternates between the present, in which Deok-soo and his wife watch over a brood of children and grand-children in Busan, and crucial chapters from Deok-soo’s past. But not before extracting a promise from Deok-soo: that he will be the head of the family, and that he will always take care of his relatives. Deok-soo is carrying his younger sister Mak-soon, but when she slips off his back, his father elects to stay behind to find her. Deok-soo and his family are among the thousands of North Korean refugees who are evacuated from Hungnam port during an invasion by Chinese troops. Borrowing some ideas from the Hollywood hit Forrest Gump (1994), Ode to My Father places one man’s fictional journey against historical events, beginning with the Korean War of 1950. Yoon Je-kyoon’s movie conflates an individual’s experiences with the history of South Korea. The source material holds immense promise: Ode to My Father is not a three-hanky weepy as much an experience that demands a box of tissues to be handed out along with a popcorn tub. Bharat, which also stars Katrina Kaif, will test Zafar’s ability to mount a drama on a large canvas as well as point Khan’s do-gooder persona in the right direction. Zafar will team up again with Khan for Bharat, an official remake of the 2014 Korean blockbuster Ode to My Father. The gargantuan success of Tiger Zinda Hai– in inverse proportion to its achievements – is proof of Zafar’s ability to exploit Khan’s limited acting skills and unlimited screen charisma like few other filmmakers. Sultan stars Khan as a wrestler whose success results in estrangement from his wife Aarfa (Anushka Sharma), and it is one of the few movies to extract something resembling a performance out of the bulky star. Zafar has directed Khan in two of his biggest hits, Sultan (2016) and Tiger Zinda Hai (2017). When the definitive Salman Khan biography will be written, Ali Abbas Zafar will rightfully be credited with giving the actor a late-career boost.
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BHARAT MOVIE IN LOS ANGELES TV
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