Kim Jee-woon, director of A Tale of Two Sisters (2003) A Bittersweet Life (2005) and The Good, the Bad and the Weird (2008), has produced another stunning film. Stunning in both its direction, the acting and its content. It’s a revenge movie, a common trope it seems in Korean cinema (well Park Chan-wook excels in this), that mingles extreme imagery (females stripped, tortured and murdered) with beautiful composition and mise en scene. If that makes it seem that misogynist violence is aestheticised then that is accurate however, ultimately, the film uses the conventions of gorenography, or torture porn, to a morally devastating effect.
SPOILER ALERT: Lee Byung-hun plays a secret service agent whose fiancee is a victim of a serial killer, played by the brilliant Choi Min-sik (of Oldboy, 2003, fame) and seeks extra-judicial revenge. Despite the film’s 140 minute running length the killer is caught quickly and there’s one of those wonderful moments in a genre film where you have no idea where the film is going to go next. The killer is released only to be tracked and caught again, then released and so on… The dehumanising effect of revenge has been dealt with before but I doubt so successfully. Lee’s agent does save a number of potential victims as he chases down the killer but not before they’ve been put in peril and, no doubt, severely traumatised by the experience. The spectator’s complicity is highlighted in a Hitchockian manner: we wish to watch the film but that necessitates ‘people’ being placed in danger but, here, we cannot but wish the killer had been dealt with the moment he was caught. In other words, we are positioned not to want to watch the rest of the film.
I won’t give anything more away but the ending is truly devastating. For some reason (South) Korean cinema has slipped off my radar for a while but it’s definitely back on now. I can’t say I enjoyed watching this film, the brutality is visceral, and the violence-against-women trope disturbing, but the cumulative effect is extremely powerful in a positive sense. Apart from Kim’s dynamic direction, much is down to the performance of the protagonists: Choi’s charisma is cannily used as the killer who’s demented determination becomes almost admirable. In contrast Lee’s agent bottles up his emotions through most of the film making him appear to be the psychopath; but, then again, maybe he does become one.