송해 1927 격동의 현대사 독립예술영화 개봉

송해 1927 격동의 현대사 독립예술영화 개봉

송해 1927 격동의 현대사 독립예술영화 개봉

대한민국 국민이라면 송해 선생님을 모르시는 분이 없을 정도로 

오랜 시간 우리와 함께 해오고 계신 원로 방송인 입니다!!

이번에 그의 일대기를 현대사의 변화상과 함께 만들어진 

독립예술영화가 개봉이 되어 글을 올려봅니다!

이 글을 읽으시면 

송해 1927 격동의 현대사 독립예술영화 개봉에 대한 줄거리와

송해 선생님에 대한 이해가 더 커질 것 입니다!

방송에서는 참아 못다한 이야기를 다큐로 만나보시지요~

 

우린은 송해 선생님에 대해서 얼마나 알고 있나요?

 

송해 1927 - 출처 다음 영화

 

예매는 아래 링크 참고하세요~

https://movie.yes24.com/Movie/Ticket?gId=M000125335 

 

yes24 영화

송해 선생님의 고향은

황해도 재령이며, 1927년 4월 27일에 출생하셨어요!!

올 해로 연세가 95세이며, 최근 살이 많이 빠져서 보는 이로 하여금 안타깝게 하고 있습니다!

건강히 오래 사시길 바랍니다~

 

송해 선생님 - MBN

 

 

검은 화면이 서서히 떠오르자 익숙한 목소리가 깔립니다.

그것은 흔히 인구 조사라고 불리는 그것에 관한 잘 알려진 내용입니다.

하지만 많은 사람들이 그 내용을 알고 있지만, 자신의 목소리가 들려주는 단순한 개인정보는 다소 다르게 느껴집니다.

그 두 줄의 내용이 너무 무거워서 그런가 봐요.

지금은 갈 수 없는 북한 땅의 황해도 재령!!

다시 말해, 송해 선생님은 실향민입니다.

한국 전쟁 말기에 가족을 떠난 후,

그는 지금까지 가족과 재회할 수 없었습니다.

그도 나이가 많아 어머니의 생존을 포기했고,

여동생도 생사를 모르고 있습니다

(그래서 여동생을 눈앞에서 언급하는 것은 금기사항입니다).

죽기 전에 고향 전국노래자랑을 진행하는 것이 그의 마지막 소망 중 하나였다고 합니다!

 

위에서 말씀드린 바
1927년 4월 27일에 태어났고,

현재 한국 나이로 95세입니다.

한국 연예계 최장수 방송인,

현역 선수 중 가장 나이가 많은 선수라는 수식어도 충분히 커버할 수 없을 만큼

기나긴 세월이 압도적입니다.

 

그렇기게 그의 삶 자체가 격동의 한국 현대사를 대변이라도 할 수 있는 듯합니다!!

오랜 시간 함께해 온 착각인지 우리는 종종 그를 잘 안다고 생각합니다.

하지만 과연 그럴까요?

 

저희는 "딩동댕동~ 전국 노래자링!"입니다.

그를 상징하는 것은 노래자랑의 인상만은 아닐까요?

그들은 인간의 긴 삶에 대해 얼마나 알고 있을까요?

송해 1927 - 다음영화

영화 『송해 1927』은 바로 그 점에 주목하고 있습니다.

물론, 이 영화는 우리가 잘 아는 '국민 MC' 송해의 위상과 인기로 시작하지만,

대중들의 선입견과 기대와는 사뭇 다른 지점을 파고듭니다.

영화를 보면서 관객들은 그에 대해 몰랐던 이야기들,

들었지만 잘 몰랐던 일화들,

화려한 조명 아래 숨겨진 면모를 하나씩 발견하게 됩니다.

 

그리고 그 발견의 합이 구체화되면,

우리는 우리 시대의 거인과 한국 현대사의 살아있는 화석을 재발견할 것입니다.

대략 100년간의 멋진 여행을 시작됩니다.

윤재호 감독은 탈북자 실향민에 대한 문제를 제기해 왔었다고 합니다.

상대적으로 무명이었던 윤재호 감독이 어떻게 그를 주인공으로 한

전기 다큐멘터리를 작업하게 됐는지 궁금하지 않을 수 없습니다.

우리가 늘 밝고 명랑하게만 여겨왔던

'국민 MC' 송해 선생님의 일대 일생을

윤재호 감독의 작품을 통해서 그 이면을 드디어 보게 되는 것 입니다!

누구나 예상할 수 있는 전국노래자랑의 풍경 대신

몇 세대를 넘긴 개그맨의 사랑과 가족사가 듬뿍 담긴 영화라 합니다!

 

남을 웃기고 즐겁게 해주지만, 

정작 위로를 받기 힘든 개그맨의 내면을

그리 길지 않은 러닝타임 안에 선택과 집중 과정을 거쳐 짜여졌습니다.

그 과정에는 많은 고민과 판단이 필요했을 것입니다.

그의 방대한 공적인 생활은 충실한 요약만으로 충분히 몇 편의 영화를 제작할 수 있을 것입니다.

하지만 감독은 관객들에게 주인공의 일상을 촬영하고 인터뷰함으로써

무엇을 해야 하는지 보여주는 방향을 찾은 후 추진하기 시작합니다.

전국노래자랑으로 가는 길

화면이 본격적으로 밝아집니다.

전국노래자랑을 통해 국민가요가 된

'내 나이가 어때서'가 흥겹게 흘러가는 동안 수많은 사람들에게

둘러싸인 그의 모습이 눈에 선합니다.

 

모두가 그와 함께 사진을 찍고 싶어 합니다.

어쩌면 전국노래자랑 행사장의 풍경으로 보이는 인파 속에서

열띤 대중들의 요청에 성실히 응하며 구호를 외치고 있는지도 모르겠습니다.

하지만, 그는 조금 피곤해 보입니다.

그래서인지 몸집이 크지 않은 몸이 유독 왜소하게 느껴집니다.

호스트가 그를 대기실로 안내합니다.

인파 속에서 떨어진 뒤에도 직원들과 관계자들이 일어나 인사합니다.

답례하거나 손을 잡고 천천히 안으로 들어가는 여정이 겨우 끝났습니다.

아마도 이 순간은 코로나19로 인해 전국노래자랑이 중단되기 전까지

매주 겪었을 상황이었을 것입니다.

하지만 마지막까지 카메라는 익숙한 풍경 속에서 그의 뒷모습만 비춥니다.

감독이 관객들에게 선언하는 것은 아마도 무언의 사자 포효일 것입니다.

 

크게 눈에 띄지는 않지만, 시작은 진지합니다.

다시 소리와 자막으로 내용이 이어지기 시작합니다.

 

송해 선생님의 집 안 모습과 육성으로 들여오는 한국전쟁이후 

66년차 연예계 활동에 대한 이야기가 넘쳐납니다!

 

송해 1927 영화

공적생활과 개인 사생활을 오가며 

송해 선생님의 인생 일대를 조명한 송해 1927

격동의 현대사와 화려하면서도 외로운 그의 또 다른 모습을 보면서

인간 송해 선생님을 알아보시길 바랍니다!

감사합니다!

 

 

How much do we know about him?

"My hometown is called Jaeryeong in Hwanghae-do. Uh... And I was born on April 27, 1927."

As the black screen slowly rises, a familiar voice is laid. It is a well-known content about it, commonly referred to as census. However, although a lot of people know the content, the simple personal information played by one's own voice feels somewhat different. It must be because the content in those two simple lines is so heavy.

"The Age of Hwanghae-do," a place name for North Korean land that cannot be reached now. In other words, he is a displaced person. After leaving his family in the late Korean War, he was unable to reunite with his family until now. As he himself is old, he gave up on his mother's survival, and his sister is also not aware of life or death (so mentioning her sister in front of him is a taboo) It is one of his last wishes to proceed with the hometown of the National Singing Contest before dying.

Born on April 27, 1927, currently 95 years old in Korean age. This is literally a quantification of power that cannot be accessed recklessly. The years are overwhelming enough that modifiers such as the longest-running broadcaster and the oldest active player in the Korean entertainment industry cannot be fully covered. No, his life itself seems to have sampled turbulent modern Korean history. So we often think that we know him well. But will it be like that? We are "ding dong deng~ nationwide!" Isn't it just the impression of singing contest that symbolizes him? How much do they know about the long life of a human being?

"Songhae 1927" pays attention to that very point. Of course, this film starts with the status and popularity of Song Hae, the "national MC" we know well, but it digs deep into a point that is quite different from the public's preconceived notions and expectations. While watching the movie, the audience will discover stories that they did not know about him, anecdotes that they heard but did not know well, and hidden sides under colorful lights one by one. And when the sum of the findings is embodied, we will rediscover the giant of our time and the living fossils of modern Korean history. Let's start the wonderful journey.

Bring him out of the darkness under the lamp.

Director Yoon Jae-ho has been constantly working on the issue of North Korean defectors and Korean diaspora. I can't help but wonder how Yoon Jae-ho, who is relatively unknown, worked on a biographical documentary with him as the main character.

How did the director perform cinematographic works such as "Gordius' Knot," which would be difficult for anyone living in Korea at the time to access? Curiosity will occur automatically. We finally saw the results of director Yoon Jae-ho's work on the back of "National MC" Song Hae, who we only knew superficially.

Instead of the scenery of the National Singing Contest that anyone would expect, the movie contained a lot of love and family history of a comedian who has passed generations. The comedian's inner side, which makes others laugh and enjoy but is hard to be comforted by, was squeezed through a selection and concentration process within a running time that was not so long for a feature film.

The compression process must have involved a lot of consideration and judgment. His vast public life will be able to produce a few films with just a faithful summary. However, the director starts to push forward after finding a direction to show the audience what to do by filming and interviewing the protagonist's daily life.

On the way to the National Singing Contest.

The screen has brightened up in earnest. While "What's Wrong with My Age," which became a popular national song through the National Singing Contest, is flowing joyfully, I can see him surrounded by countless people. But he turned his back. Everyone is anxious to take a picture with him. Perhaps in the crowd, which seems to be the scenery of the National Singing Contest venue, he is sincerely responding to requests from the enthusiastic public by chanting him.

However, he looks a little tired. Perhaps that's why the body that's not that big feels particularly dwarfed. The host leads him to the waiting room. Even after falling out of the crowd, the staff and officials stand up and greet him. The journey of slowly entering the inside by reciprocating or holding hands is barely over.

Perhaps this moment was a situation he would have experienced every week until the nationwide singing contest was suspended due to COVID-19. Until the end, however, the camera only illuminates his back in this familiar landscape. Perhaps it is an unspoken lion roar that the director declares to the audience. It doesn't stand out much, but it's a serious start.

The content begins to continue with sound and subtitles again. While the content of the National Singing Contest, which has been held since 1988, fills the screen, the camera slowly experiences the time and space that the audience will see for the first time, rubbing his eyes at home, organizing his seat and washing his face. The shining moment of the National Singing Contest is so contrary to the lively appearance of overshadowing the age. On the one hand, the camera skips through the numerous plaques and commendations displayed in his house. The exhibits filled the display case to match his long life, but they are also lonely and empty.

Soon after, he begins to look back on the first half of his life by fostering him. Oral stories from adolescents before Vietnam are introduced along with the material screen, and memories of 66 years of entertainment activities that began in 1955 after the Korean War flow out. It may have been introduced on talk shows every few years to older generations, but it may sound new to the current generation.

Subsequently, the testimony of various acquaintances appears one after another, crossing and paralleling with the impressive momentary of the National Singing Contest, a program representing him. From stories of national singing contest directors, music directors, and producers, as well as junior comedians, celebrities, and cultural researchers, you can see the spectacular view of them willing to introduce anecdotes related to them as well as argue how independent they are. The scenes of the National Singing Contest inserted in the background symbolize his easygoing appearance, skillful handling skills, and excellent entertainment sense and open attitude to adapt to change.

By the time the audience is careless about familiar scenes, the director shows a twist again. Before the National Singing Contest, there will be a rare data screen of comedy programs where celebrity Song Hae was mainly active and a time to eye-catching music album recorded as a singer. Now, almost left alone, the time with fellow combinations in the 1960s and 1970s is dusting and returning.

However, the intention of the movie is a little different from trying to revive the classic nostalgia with the sensibility of the "Reply!" series. Perhaps most of the time, the hidden story of his comedian days, which was almost never expected, pops out of his testimony from him. Through this process, we can properly realize why his life is said to be the modern Korean history itself. This unexpected episode proves that modern Korean history had to struggle to survive.

 

Tragedy of Family History and Portrait of Father

Of course, he did not suffer a major disaster or suffer from suspension of activities like many cultural and artistic figures at the time. However, such an experience that would have been difficult to reveal anywhere would have left a considerable internal injury inside him. This is also a point that can be interpreted as being linked to the family history facing him.

Again, the camera reflects his daily life that he usually enjoys taking the subway and walking a lot. And he starts heading somewhere. The place he headed to is the house of his youngest daughter's house. His home where he lives alone and his daughter's house are located in the same apartment complex. As expected, it is a rare open scene for the public. And now the story naturally begins to enter his family history.

These are parts that need to be checked directly through the movie, so detailed comments will be omitted, but several large curves that entertainers who have shown excellent talent in entertaining the public have experienced throughout their lives occupy the middle and second half of the movie. This is also partly known to the generation who have aged with him, but it must be unfamiliar to the present generation. However, the coach summoned his family history, which was hidden, to take on the role of the fourth batter to shed light on his true character rather than a device for the teary-eyed Shinpa.

First, the director seems to have wanted to shed special light on the fact that the myth of "National Singing Contest" begins as he resumes his activities in earnest shortly after the biggest figurative event among his family history. Perhaps if you watch the movie, it seems that his entertainment, which has become more mature as if the ground solidifies after the rain, will be delivered a little differently.

The second is the process in which accidental opportunities found by the production team are delivered to him. He made the whole nation laugh and enjoy, but in an era when entertainers were just treated "differently," it should be considered whether he was all he showed to the public. Such experiences would have brought about the aftereffects of being proud of his or her livelihood or unwilling to pass it on naturally, and such a psychology would remain in another bruise that he could not erase in his or her lifetime.

And the end of the movie is pure familialism that has penetrated modern Korean history, especially father, which creates him as a representation as a pure entity of existence. The grand promotion process ends with the following phrase across the black screen.