SURTALCHILGAAN DEER DARAHAD ARILJ KINO GARNA.
A rationally crippled single parent is wrongly charged, attempted and sentenced to death for the assault murder of a primary school young lady in Lee Hwan-kyung’s Miracle in Cell No. 7. The wonder of the title is the arrangement of gatherings the man has with his little girl while in jail in the months that pave the way to his execution and the kinship she produces with his kindred detainees. A long time later, the young lady develops into a lady set on absolving her father with their offer assistance. Goodness, this is a comic drama.
Schmaltzy family show, physical and astute talked chokes, tooth-decaying sweetness lastly disaster go into the unholy mixed drink that makes up Miracle, which since its discharge around the Lunar New Year has shot into the pantheon of Korean film industry hits and now just trails movies, for example, The Host and Avatar for most elevated unsurpassed affirmations with more than 12 million. With a minor spending plan (that would have requested less than 2 million admissions to earn back the original investment) and secured by a cast of understudy performing artists that once in a while get their names over the title, it’s additionally one of the business’ generally beneficial. In spite of glaring control and an incredibly out of this world idea, it’s difficult to deny the film’s allure; it gets under the skin. Film industry prospects in Asia ought to be solid; Asia-centered celebrations appear a beyond any doubt wager in light of its prosperity at home, and restricted discharge in abroad urban markets is not feasible.
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1997. Yong-gu (Ryu Seung-ryong) is a somewhat impeded parking structure orderly bringing up his little girl Ye-sung (Gal So-won) all alone, however she’s unmistakably the attendant of the family notwithstanding being six years of age. Yong-gu needs to get her a Sailor Moon rucksack, which drives him to take after another kid down a tranquil Seoul road to a shop that has them in stock. The second young lady – the police magistrate’s little girl – winds up dead and Yong-gu is immediately judged ruffian, attacker and killer. Yong-gu is fingered as a tyke executioner in the huge house (never great) however in the wake of sparing his cellmate, Boss Yang-ho (Oh Dal-su) from a shiv in the yard and different showcases of unadulterated goodness, the rest of the cellmates soon come to comprehend Yong-gu’s been railroaded. Amid Yong-gu’s detainment, Yang-ho and his group – scholastic Chun-ho (Park Won-sang), wily lifer old man Seo (Kim Ki-cheon), covertly delicate hooligan Bong-shik (Jung Man-shik), flashy Man-beom (Kim Jung-tae) – plot to sneak the one thing Yong-gu needs into the jail: his girl. Sign hijinks.
The jail adventures with Ye-sung shape the main part of the film, a drifting drama that is just as crazy as it sounds. Be that as it may, senseless as it may be, chief Lee and his group of normal scholars submit completely to the dream and construct the world so totally it’s anything but difficult to neglect reality. Indeed, even the essential set, the jail cell, exists on a fantastical plane. Creation planner Lee Hu-kyoung’s brilliant, genial correctional facility is free of steel bars and uncovered cement (the latrine has an entryway), shot with delicate edges by cinematographer Kang Seung-gii to be a space fit for a young lady; it unquestionably looks more pleasant than the classroom Ye-sung goes to at the halfway house. What’s more, it is the jail arrangements that contain the most authentic snickers, regularly refreshingly non-dependent on can funniness. Ye-sung’s choice to shading over the Playboy centerfold girls designing the dividers, Boss Yang-ho’s perusing lessons and the sight chokes worked around keeping Ye-sung covered up are among the highlights.
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Yet, then there’s the sensational, heartbreaking part of the film that gives it its bumping tone. The jail scenes are told in flashback as a grown-up Ye-sung (Park Shin-hye) addresses a court trying to demonstrate her dad’s blamelessness. Her greatest partner in the journey is Jang Min-hwan (Jeong Jin-youthful), superintendent at the season of Yong-gu’s detainment. In 1997 Jang is a lamenting father whose experience and gut impulse let him know Yong-gu might be honest. He does his part by looking the other way when Ye-sung sneaks in and by raising the young lady later on. He likewise burrows around police records and reveals an example of political indictment, police incompetence and defilement that backings their cases. Also, Lee has an affinity for graceless symbolism (the hot air expand that gets caught on spiked metal) and drama (strolling the green mile) that could bear reasonable altering.
It is this odd blend of expansive parody and issue-based show that makes Miracle so astounding and rationale resisting. It’s difficult to discern whether Lee has made a social dramatization (legitimate weaknesses and cronyism stand out as truly newsworthy in Korea) camouflaged as a silly satire or a comic drama with an undercurrent of honorable outrage. In any case, the film wouldn’t work at all on the off chance that it wasn’t stuffed with drawing in exhibitions by some of Korea’s most solid second-stringers. Ryu (War of the Arrows) waffles amongst personification and influencing as the crippled Yong-gu, and Gal sporadically endures an excess of charming (however she’s much more fascinating than Park), yet whatever is left of the cast more than make up for their deficiencies, especially Oh (The Thieves) and Jeong (The King and the Clown). Supernatural occurrence in Cell No. 7 is one of those movies you would prefer not to, one you know you shouldn’t, yet you can’t help loving.