Park Chan-wook

(On Cable TV, June 2020) Iconoclast writer-director Park Chan-wook takes on Catholic vampire tropes in South Korean riff Thirst and the result is both familiar and weird. The familiar part comes from the decision to focus the film on the vampiric mythos, as a Catholic priest volunteering for an experimental medical treatment dies and revives as a full-blown vampire. The weird stuff gets going when Park decides to have some fun with the elements at his disposal, going for an affair between vampiric protagonist and an abused wife, and whatever happens next. There’s a strong erotic component to the film, with a lengthy sex scene being central to the plot. While the script is peppered with familiar vampire plot points and subplots, Park’s approach is typically iconoclastic, with a careful use of colour palettes, competent directing and just-provocative-enough imagery. While Thirst does more interesting as it goes on, it’s still often very familiar. But if you’re in the mood for a recognizable vampire film that perverts (but not avoids) many familiar tropes of the genre, then this could be the film that you’re looking for.

(On Cable TV, June 2020) The good news about Sympathy for Mr. Vengeance is that it’s the first in writer-director Park Chan-wook’s Vengeance trilogy (which also features the much-better Oldboy and Lady Vengeance), and it’s an intricately plotted, carefully detailed, unusually well-directed film. The bad news is that never mind its objective qualities—I disliked it intensely, even bordering on loathing. Your mileage may vary because mine is based almost entirely on the film killing off a young girl as a mid-film plot point. I just can’t deal with that kind of cruelty right now. Not that things really get better after that, because Sympathy for Mr. Vengeance steadily becomes a ludicrous high-drama filled with gruesome and grotesque violence far beyond what the story needed. It’s certainly interesting in some ways, as the director works obliquely and never quite approaches matters in conventional ways to show what’s going on. But that doesn’t excuse the dirtiness left by the film—by the time nearly everyone dies at the end, the only judgment is that they all deserved it.

(On DVD, November 2018) Park Chan-wook doesn’t mess around when it comes to vengeance stories, and Lady Vengeance is a masterful companion to the thematically-linked Old Boy. Telling us a highly melodramatic story about a young woman manipulated into accepting a prison sentence for a murder she did not commit, it’s a feature-length vengeance story with wild twists and turns, spectacular sequences and strong characters. It doesn’t pull punches when comes the time to show human depravity, and doesn’t try to paint even its heroine as being completely justified. Stylish but not duplicating other films from the same director, it’s an extreme character study as well, playing off our ideas of what good and evil looks like. Lady Vengeance may not be to everyone’s liking, but it’s a strong entry for thriller fans with the stomach to appreciate what it’s trying to do.

(On DVD, September 2011) I really should have seen Oldboy earlier: Not only had it gotten widespread praise everywhere I looked, but I should know more about a popular director like Park Chan-wook.  Oh well; there’s a time for everything, including watching Oldboy.  From the get-go, we’re in interesting territory.  Much like Quentin Tarantino, Chan-wook can’t help but play around with the grammar of cinema, and even the more familiar moments of the story have a cinephile kick to them.  Not that there are many familiar moments, given the unusual premise: A seemingly ordinary man is held prisoner in a room for fifteen years, then abruptly released and encouraged to seek vengeance.  The identity of the captor is a brief mystery as he quickly reveals himself to ask the hero to find out why he’s been held fifteen years.  It’s easy to see why Oldboy got so much praise, with its mysteries upon mysteries, with a stylish sense of storytelling and a conclusion that upends the vengeance motif.  Slickly executed and filled with odd little moments, this is a movie whose foreign origins make even better, as we’re plunged in contemporary South Korea for a thriller that would play just as effectively anywhere else.  If, at times, it’s hard to differentiate between cultural barriers and the film’s elliptical sense of storytelling, it wraps up decently and doesn’t leave too many loose ends lying around.  (On the other hand, the plot does get more and more far-fetched as it progresses, but given the premise, that’s to be expected.)  Oldboy does live up to its great reviews; don’t wait as long as I did to see it.