The Good, The Bad, The Weird: Grade A

A

The Good, The Bad, The Weird (2008)

Kang-ho Song, Byung-hun Lee, Woo-sung Jung; Co-writer and Director Ji-woon Kim. (Korean, Japanese, and Chinese: subtitled).

This violent and bloody Korean action movie is also a comedy. There is an ancient treasure map that several parties want. There is no compelling evidence that it is a real treasure map, but it is the “McGuffin,” as Hitchcock would say, that motivates all the frenetic chasing about. Late in the movie, there is a hint at another layer of meaning when it is suggested that it is really a political map for use in organizing a rebellion against the Japanese invasion of Manchuria (the movie is set in the 1930s). However, the political theme was either not developed or was edited out, leaving only a violent, bloody, yet madcap comedy. A shame, that.

Nevertheless, the humor, mostly visual, is effective, from broad farce to subtle parody. The acting is hard to evaluate because the characters and the story line are so offbeat that there are few standards to judge against, but in general, I would say it is quite above average.

However, what makes this movie a real standout is the fantastic cinematography. The pictures are stunning, and in many cases I wondered how they even got them. The narrative descriptive shots are best, for example very long dolly shots through narrow, twisting alleys that seem impossible. The sets and scenes are exquisite, and only enhance the fine camera work. I thought the action shots were less good, on the whole, because they were done with hand-helds, so the camera is jerking all around and the action is blurry, and the shots are in very close and the editing is so short that you can’t see anything, so you come away with only a sense of “action” that is not satisfying. There were some martial arts acrobatics that tried to capture the wit and grace of Jackie Chan’s work but fell short. And there were some wonderful surrealistic action shots reminiscent of Batman or maybe Matrix. It does say "weird" in the title.

The stunt work in this movie was phenomenal. Characterization was extremely creative. I especially liked the Johnny Depp-like evil killer in a pressed white collar. Many shots and the music too, harkened back to the spaghetti westerns, as the title clearly acknowledges. In fact this movie’s overall mood and tone is reminiscent of another weird Asian ersatz spaghetti, Sukiyaki Western Django (2008) which had the Tarantino imprimateur.

The silly, disjointed story line and the absence of offsetting character development are serious flaws, but because of creativity and sheer enthusiasm, I have to give this movie an A.

3-Iron: Grade B

B
3-Iron (2004)

Seung-yeon Lee, Hyun-kyoon Lee, Hyuk-ho Kwon; Writer and director Ki-duk Kim. (Korean, subtitled).

A young man (S. Lee) breaks into empty houses in a Korean city and makes himself comfortable for a few days. The owners are away (which he learns from their answering machine message) so he eats their food, sleeps there, watches TV, fixes their broken appliances, waters their plants, does their laundry, then leaves. It’s a neat premise. In one house however, there is a battered woman (H. Lee) who watches him, then confronts him wordlessly. In fact, neither character says a word to each other in the whole movie. (The woman says five words at the very end, but it is ambiguous whom she is addressing). So the movie is almost a silent film, giving it a dreamlike quality.

The young man saves her from another beating by her mean husband who comes home, and she runs off with the young man and joins him in his house-breaking enterprise. Inevitably they get caught when the family comes home unexpectedly. In one case, it is not clear how that problem was resolved, but in another, the young man ends up in jail and the woman is returned to her husband. The ending is not really a proper resolution but is emotionally satisfying. Photography is good, directing is good, and sets are excellent. It’s a beautiful, quiet, romantic story worth seeing. Only the lightweight (even silly) plot detracts from its overall quality.

Lady Vengeance: Grade A

A
Lady Vengeance (2005)
Yeong-ae Lee, Min-sik Choi; Co-writer and Director Chan-wook Park. (Korean, subtitled).

This is the third and final film in director Park’s revenge trilogy. I have seen and reviewed recently Old Boy, the second in the series. In this one, a young woman (Lee) is unjustly imprisoned for the kidnapping and murder of a child. In intercut scenes we see her as a model prisoner, kind to all, and yet managing to make a prison murder look like an accident, so we know she has two faces. Upon her release, she is intent on revenge against the man who set her up (Choi), and she engages other ex-cons to help her. The final revenge involves torture and buckets of blood (this is a Tartan films release), but unlike Old Boy, the torture is not explicit and that makes those scenes watchable. So revenge is had. Or is it?

I don’t think Park really has captured the full phenomenology of revenge, either in this film or the last. When you have a psychotic serial killer, death or even torture, is not sufficient because he will never feel remorse. You can cause physical pain, but revenge is about dealing with the victim’s psychological pain, which is not satisfied by blood. In Lady Vengeance, this is acknowledged, because despite the ultimate torture and murder of the perp, the focus is on the families of the murdered boys. They get their pound of flesh, but are they satisfied? The perfect revenge movie has yet to be made.

However, Lady Vengeance is well worth watching because it is beautifully shot and creative, well-acted and masterfully directed. The music is wonderful, classical notes setting a calm tone that only heightens the story’s mood of desperation. There was also a stunningly beautiful vocal piece in there that may have been from Orfeo and Euridice, the opera. My main complaints are that the narrative was jumbled by aggressive time slicing, making it often confusing, and that there are at least two anti-climactic endings, the final one being especially superfluous (although beautiful to look at). So overall, this is a beautifully made film that also makes you think.

Old Boy: Grade B

B
Old Boy (2003)
Min-sik Choi, Hye-jeong Kang, Ji-tae Yu; Director Chan-wook Park. (Korean, subtitled)

A middle aged man (Choi) is imprisoned in a windowless hotel room and he does not know why. Food appears under the door, and each day the room is filled with gas that puts him to sleep while the staff cleans the room. Predictably, he goes nuts, but he recovers (more or less) upon release without explanation or context after fifteen years.

He meets a sympathetic waitress (Kang) and develops a relationship with her, but he is consumed by desire to know what happened and for revenge on his captor (Yu), who he discovers through careful research. There are many twists and turns and a surprising ending.

The film is beautifully photographed, well directed, and the music is outstanding. The picture is extremely stylish and good-looking. It is also drenched in blood. Tartan Films (Tarantino’s outfit) “presents” the movie, so you should know what to expect. I just fast forwarded past the most violent scenes.

Acting is outstanding by Choi and Kang and it is fun to get a glimpse into Korean culture. A sense of modern, urban, existential alienation comes through although the ultimate theme of the story is fairly pedestrian, not as shocking to an American audience as the actors’ reactions suggest. I recommend it on the basis of excellent filmmaking.

Undoing: Grade B

B
Undoing (2006)
Sung Kang, Kelly Hu, Russell Wong, Tom Bower; Writer-Director Chris Chan Lee.

This crime drama is set in Los Angeles’ Koreatown. Sam (Kang) returns after being on the lam for a year, to try to reestablish his life (although we don’t know what that was – drug dealer?). A year ago his best friend was shot to death in a drug deal gone bad. Why he feels guilty about this is unknown. His girlfriend has moved on in a year and rejects him at first, although she eventually comes over to him (although my wife said that character wouldn’t do that). Sam does a drug deal to get the girlfriend out of debt to her boss/suitor, but somebody, possibly at the order of a dirty cop, is trying to kill him, thinking he has the drugs or the money from the year-ago deal. It’s unclear if he does or not. The story is confusing but it limps darkly along. There isn’t anything particularly Korean about the project except some of the actors. The acting is good, especially by Kang and Bower, and the cinematography is stylish and thoughtful. The music is enjoyable and unintrusive. The characters do not develop and there isn’t much narrative drive, but the film is pleasant to look at, the actors are attractive, and there is just enough interest.