OLD BOY

OLD BOY

A twisted, tragic, yet ultimately touching modern epic of mythic incestuous revenge, suffering, and the destructive grudges that harm both the holder and victim, Old Boy, Park Chan-Wook's follow up to Sympathy for Mr. Vengeance, is an inspired vivisection of family, love, and the nature of reality -- all wrapped in a bloody skin of excess. A Korean homage to the Elizabethan revenge tragedy colored with explosions of post-modern angst, existential philosophy, and unnerving viscera, this cinematic challenge is one parts Shakespeare, one half grand guignol. Yet as deliriously violent, action-packed, and frantic as both the energy and copious flood of bodily fluids are, don't think for a moment that this tragedy is all flash and no substance, for a searing sense of condemnation throbs beneath the suspenseful surface action, and both its believable characters and complex sub-plots marry sensationalism with refutations of idealism. As intelligent and uncompromisingly honest in its depictions of human folly as its predecessor, Old Boy attacks its themes of stained innocence and warped retribution with greater panache and greater technical skill.

Grounded in the naturalistic terror and beauty of realities whose flesh and minds bleed, Old Boy breaths, grunts, and screams with insane passion and graveyard humor. Finding the savage wonder in violence the director also shares with his audience the bitter sweet relationship between tragedy and humor. A modern myth of unrealized sins, punishment, and incestuous revelations, the story focuses on Dae-su (Min-sik Choi), who is drunk and disorderly in a police station on his young daughter's birthday. After posting bail he's kidnapped and thrown in a small room for fifteen years. With only a television and his rage for company, he lifts weights, raging against his unknown oppressor. His imprisonment is both horrifying and absurd, evoking confusion and unreasoning panic. Things go from bad to worse as he discovers that he's the chief suspect for the murder of his wife. Just when he has about finished digging a tunnel out through the walls of his prison, Dae-su is released as mysteriously as he was captured. Roaring with rage, loss, and anguish at having been robbed of his life, he vows revenge -- if he can only discover the identity of his captors. Finding safety, companionship, and erotic salvation with female sushi chef (Gang Hye-jung) -- a character whose own history will prove his most mocking punishment -- Dae-su descends into the heart of depravity.

While a majority of the film follows this titular anti-heroe's attempts to find his tormentors and exact revenge, the true conflict transpires behind the scenes, reverberating in Dae-su's realization that he is indeed guilty of causing much suffering. Winner of the Grand Jury prize at Cannes, this off-beat story of survival emphasizes the power of the past to haunt the present, crippling unforeseeable futures. Outrageous violent set-pieces reveal the waste and pain of violence. The camera never glamorizes carnage in comic book fashion, but neither does it shy away from its savage wonders. Park Chanwook appears interested in both the poetry of violence and its ultimate devastation on the human spirit.

Perhaps the most daring, challenging, yet ultimately satisfying aspect of Old Boy is its director's continued refusal to preach or sermonize, cast blame or value one character over another. While we spend more time with Dae-su, and therefore can be more empathetic to his plight, this film shares with Sympathy For Mr. Vengeance the scathing suggestion that there are no clean-cut victims or oppressors, bad guys or good . There are simply men and women of various powers whose actions for better or worse interact with -- and influence -- the fates of others. And there is karma, that always seems to come back at those who have hurt others. Denying us any one character to completely stand behind or empathize with, Wook again flips the finger to standard cinematic convention. As a result of his mature vision of character the film challenges morals every bit as much through intellectual inquiry as its blood-spilling entertains fans of viscera on a purely surface level.

Tartan Asia Extreme offers Oldboy in a pristine transfer, reasserted in its original aspect ratio (2.35:1). The picture is free from grain or soft images. Colors are consistently bright and bold, and no splotching or lines distract from the director's beautifully directed ode to suffering. Audio is likewise commendable, offered in Korean in Dolby 5.1 or DTS, or Dolby 5.1 English. Of course most delectable are the extras, weighing in with another wonderfully informative and personable commentary with Chan-wook Park and cinematographer Jeong-hun Jeong. This is followed by still another Chan-wook Park interview, this time in an auditorium. Next we find deleted scenes, including longer segments of existing ones, that are enjoyable (if not necessary). These also come with commentary. Finally, there are theatrical trailers and the expected photo gallery. This is a loving presentation of a stunning, cold-hearted movie.

Review by William P. Simmons


 
Released by Tartan Asia Extreme
Region 1 NTSC
Not Rated
Extras : see main review
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