Showing posts with label Chan-Wook Park. Show all posts
Showing posts with label Chan-Wook Park. Show all posts

Sunday, July 15, 2007

Sympathy for Mister Vengeance


Chan Wook Park's SYMPATHY FOR MR. VENGEANCE is a beautiful, horrifying, depressing, and thoroughly successful picture. With the exception of a final scene so implausible that it drew me out of the movie, SFMV captured and held my attention and imagination, even when I wanted to look away.

Park, the director behind JSA and OLDBOY, knows how to compose a scene. The color palette (Does green have special significance in Korean iconography?), set decoration, and placement of the actors themselves work together time and again to not only drive the narrative but generate stills I'd be happy to linger over in book form. While Park's composition can deliver real beauty, it can also deliver real horror. Be warned: SFMV is a horrifying movie, with many shots more akin to Miike than Malick. You may want to think twice before screening it for your friends, and I had to flip the screen down on my portable DVD player more than once to avoid disturbing those around me on the Metro.

As Don alluded in his comments on HOSTEL, horror works best when we've invested in its characters. SFMV's cast, including JSA's Kang-Ho Song (also excellent in MEMORIES OF MURDER) and Ha-Kyun Shin, bring their characters fully to life and give us people for whom we hope and fear. I'd like to take special note of Shin, who says more with his deaf-mute character than some actors do with 90 minutes-worth of dialogue. This investment has a downside, however: SFMV is just plain depressing. It gives us people we like and proceeds to punish them, punish them, and punish them some more. But here's the brilliance of this movie: just when things are at their worst, it gives us a chance to say, "Wow, what a shot!" Its artistry actually serves to give us the distance to stay engaged in the film. Without it, the experience would be too much.

SYMPATHY FOR MR. VENGEANCE works. It just plain does. On every level. This is the kind of movie I could watch again and again, finding more in the composition and structure, more in the events and performances. Rent it today.

Friday, September 22, 2006

Oldboy

The more I think about OLDBOY, the more I like it.

I knew the movie's premise going in: a guy's imprisoned for 15 years with no explanation, no words from his captors, and no clue why such a fate has befallen him. Upon gaining his freedom, he sets out to exact his revenge. Armed with this knowledge, I expected a Korean version of the THE COUNT OF MONTE CRISTO, only with much worse food. Initially, OLDBOY reinforces this expectation, even referencing the novel at one point. Before long, however, the film subverts both the Monte Cristo story and many of the tropes of popular narrative film, taking us to wholly unexpected places. Events pile on events, decisions on decisions, and soon we find ourselves in a story that has more in common with Aeschylus than Dumas. Gripping, provocative, and thoughtful to the end, OLDBOY succeeds on every level.