Old Boy (Chan-wook Park, 2003)
Korean director Chan-wook Park follows
up his Sympathy for Mr. Vengeance with
Old Boy, the second in a projected
trilogy about revenge. A leap in ambition, at least visually, over Sympathy,
the new film is slightly less satisfying overall. Though it’s often stylistic
exciting, it aims for Shakespearean themes that its thinly sketched characters
can’t quite justify. The film’s start finds lead character Dae-su (Min-sik
Choi) imprisoned for unknown reasons in a gangster-run detention center, with a
television his only link to the outside world (and a gross distortion of it at
the same time). For the first thirty minutes of the movie, which cover the
fifteen years of Dae-su’s imprisonment, Park achieves an uncannily
claustrophobic atmosphere. As his protagonist’s mind is reshaped by prolonged
exposure to television and frequent reprogramming sessions, the movie
effectively transports the viewer into the mind of an obsessed madman.
With a constantly moving camera and a
dingy look that recalls the work of David Fincher, Old
Boy is, at least for its first half, a tour de force for its director.
Frequently, surprising and rapid CGI effects disturb the balance in the camera
setups and there’s a great little gag or two where what seems to be the
film’s score is revealed to be a diagetic sound effect. Best of all, there’s
an elaborately choreographed fight scene, involving an entire gang of thugs,
shown in one long tracking shot. Behind all of its bravado, though it’s got a
strange sensibility, often placing gross humor alongside scenes of extreme
violence. Given its similarities to the Kill
Bill films, it’s no wonder that it appealed to the Quentin
Tarantino-headed Cannes jury. That being said, Old
Boy comes up short in comparison. Tarantino’s movie had a day-glo
ebullience to it, whereas Park’s has a sort of manga miserablism at work. The
half-mad Dae-su looks beat down by the world, and as a result he’s rarely
charismatic. He certainly doesn’t have the Bride’s glamour. Watching this,
it becomes obvious how much Uma Turman brought to Kill
Bill. Furthermore, even though Kill
Bill yanked the audience’s chain as much as Old
Boy does, the shifts in tone there were easier to weather because of the
chapter structure Tarantino used. Park’s wide variations in style mostly serve
to keep the audience on edge, though there are times where the movie’s energy
seems to get the better of it. The emotional meaning of the scenes occasionally
gets obscured by the flurry of motion. It’s an exciting ride, but it’s not
at all a resonant one, and the only way to get into it is to work on its amped
up terms. As a result, Old Boy is an
exhausting viewing experience for what is essentially a popcorn movie. The style
is so aggressive that it doesn’t forgive the complacent viewer. That stylistic
variety is probably fortunate, though, because the plot it accompanies is a
convoluted mess that requires your full attention.
Watching Old
Boy’s plot unfold, one feels a mess of contradictory impulses, making it a
unique experience, but not so much a pleasant one. Its priorities constantly
change as it transforms from paranoid thriller, to bloodthirsty action flick, to
romantic tearjerker, to high drama. What the plot initially presents as a quest
for truth becomes distorted into a hunt for blood, leading into a ho-hum
examination of the existential concerns (Life outside of prison is just a bigger
prison, are we truly in control of our impulses, etc…) that swirl around the
movie’s topic. These larger themes are a bit forced, given the delights the
movie takes in showing off its style and the humor that’s liberally inserted
throughout. Old Boy is a movie that
comes on strong and peaks about an hour in. Afterwards, it’s less kinetic by
far, usually doling out exposition instead of action. Unfortunately, as the
movie begins to focus more on character, it never bothers to really develop its
shallow villain, which unnecessarily cheapens its eventual plot twists. Such as
it is, I think I’m better able to appreciate the impressive set pieces here
out of context than as part of the bigger picture. Still, even if Old
Boy only intermittently coheres into a whole, there are enough must-see
moments here, that the film is sure to become a cult hit.
49
Jeremy Heilman
06-09-04