The Foul King (Banchikwang) 2000

Kim Jee-woon is famed for his beautifully crafted and violent films, so it was a bit of a reminder for me to see The Foul King (2000), his sophomore feature and until now the only one I had not seen form his filmography. It was a swift reminder that his films were not always as polished, however the film is definitely Kim’s as it showcases his trademark dark humor and fascination with the dark human psyche.

One of the most visible Korean films of the moment is Kim’s sixth film, the brutal I Saw the Devil (2010), an uncompromising vision of just how primal our instincts can be and how our hypocrisy can excuse even the most horrific behavior. As far as its aesthetics, plot, and casting are concerned, it brings to mind A Bittersweet Life (2005) the most, which also stars Lee Byung-hun as a man driven to merciless and unrelenting revenge. From a thematic standpoint though, it recalls Kim’s inspired debut, The Quiet Family (1998), a very original black comedy that was remade by Takashi Miike as The Happiness of the Katakuris (2001). This film, about a family that runs mountain lodge, follows their misfortune, as accidental deaths taint their new venture until they become violent and amoral by the narrative’s conclusion. Just like I Saw the Devil, The Quiet Family assumes that everyone has the potential for unspeakable violence. 

Dae-ho in the grip of his boss' headlock

The Foul King is not quite so dark, but it cannot escape the director’s interest in our questionable morality as human beings. Song Kang-ho plays a discontent and ineffectual bank clerk (Im Dae-ho) whose sole ambition is to be able to break out of the grip of his boss’ headlock. When his frustration becomes too much, he pursues wrestling in order to attain his goal. The narrative doesn’t get much denser than this, there’s subplot involving his colleague and we meet his disinterested father a few times.

It is not uncommon to hate your boss and to want to beat him, so at first Dae-ho’s focus on it does not seem strange but it is the catalyst for all the violence that he surrounds himself throughout the film. He gets in touch with his aggression and this has two clear effects: on the one hand, it spurs his ambition, he becomes dedicated to wrestling, trains diligently, and eventually gains people’s respect, including his own; on the other hand what starts as a venture to defend himself against his bully boss leads him to stab people in the head with forks and other acts of violence which are less and less fuelled by revenge and become geared towards entertainment.

Just like The Quiet Family, The Foul King exhibits Kim’s knack for black comedy, this is ultimately the film’s greatest strength and due in no small part to Song Kang-ho-s central performance, one of his first leading roles. This is also the role that made him a star and it's easy to see why. I've spoken many times about the emasculated males that are so prevalent in Korean film and it makes sense to bring it up again here as Song's character and performance carry all the traits commonly associated with this phenomena, such as the hierarchical nature of his professional life and the unconventional, and comical, nature of his fight scenes.

The climactic fight

The film may not be the technical masterpiece that Kim’s later films would be but it does employ some clever techniques, especially in it’s dizzying, brutal, and lengthy wrestling finale. Slow motion and other editing techniques are used effectively and framing, as well as props and production design add a welcome note of absurdity to the proceedings.

Perhaps the film’s most important theme, and certainly an important one for moviegoers around the world who seek the confines of musty theaters for escape and respite, is the search for and confirmation of identity. Dae-ho is shy and unassertive but he becomes a decent wrestler, although he needs to wear a mask, and since he is the cheating ‘Foul King’, he has no honor. This helps him in his private and professional life but he must still do away with the mask, as he can ony confront his father and profess his love for a colleague from behind it. In the film’s visceral and climactic wrestling scene, his mask is finally torn off. This spurs him to equally match his superior opponent but Kim has a little fun with this ‘self-discovery’ when Dae-ho confronts his boss for a final showdown, which is scored with Western musical cues, only to slip as he charges towards him. Very funny but also telling, how much can a person really change?

The Significance of 'Manly Tears' for the Reclamation of the Male Id in Korean Cinema

Korean cinema features a lot of male characters that have either tried to shelter themselves from the past trauma of their lives, or have been directly confronted with it.  The Man From Nowhere, which I watched last night, may not be the best example of this, but when it's protagonist, Tae-sik, embraces So-mi, the child he saved, he breaks down in tears.  Throughout the film, he has been emotionless, and characters have mentioned that guns being fired right beside him haven't even fazed him.  Just before he cries, So-mi remarks that he is smiling and that it is the first time she has seen him do so.  His embrace with So-mi forces him to confront the loss of his family, I would argue that the sheer force of his history and the trauma he has borne for the last four years overwhelm him the moment the slightest crack appears in his armor.

Won Bin's manly tears

Tears are a very powerful image, and the more seldom their use, the stronger their impact.  The less we expect to see them, the more engaging they are.  They have the ability to convey a great number of emotions: fear, desperation, love, relief, grief, joy, and more.  Often they are more effective than words.  Korean cinema has a strong undercurrent of grief wich stems from its troubled history, and the closer you look, the more you will find.

Manly tears in Korean cinema are a very successful motif that elicit an emotional response because they hint at something greater.  When these characters break down it feels as though their trauma stems from more than their films' narratives, their tears are pervasive and multi-faceted and draw you into something deeper than mere escapism.  The emotional resonance of modern Korean films is a result, in equal parts, of the tremendous, highly-literate talents involved in the industry, and of the historical and psychological trauma that scars them all.  The 386 generation (or 486 by this point) brought all their baggage to these film sets and the tears of the leading men feel like their tears, or indeed a whole nations' tears.  Relief for the end of oppression and grief now that the release forces them to confront it.

Lee Byung-hun's manly tears

Kim Ji-woon's A Bittersweet Life features Lee Byung-hun as the hard-as-nails, ever-composed Sun-woo.  He goes through a narrative that seems him tortured, beaten, stabbed, shot, and of course betrayed, with barely a flicker of emotion.  In the climactic showdown with his boss and all his goons, he asks his former employer why he wants to kill him.  At this point he breaks down and out come the manly tears, he devoted his life to him for seven years and was an obedient and effective servant, but his boss only registers a small grin on his face and doesn't answer his question.  I would read this as the boss representing either the Korean government (of the past) or Korea itself, despite having been subservient to it so long, it could still betray you.  Lost in his boss' silence, he stares into space.  What he sees there is his own reflection in a window, he remembers who he is and his brief loss of composure evaporates.  His employer seems to think he's broken him, what he doesn't realize is that Sun-woo is unable to face his trauma and thus will revert to all that he knows.  This is a poor judgement on his part because all that Sun-woo knows is the cold brutality and cruel efficiency which he passed on to him.  It shoots straight back at him in the form of a bullet to the heart.  Sun-woo dies soon after this act and is thus unable to reclaim his identity, although since his moment past and he refused to embrace it there was nothing left for him to do but die.

The Host features a great deal of crying, although I wouldn't call it manly.  I think there is a lot to be said about it but it will need to sit with me for a little while.  Mainly I wanted to mention it briefly so that I could include the following photo.

Song Kang-ho's unmanly tears

The reclamation of the male Id is an important part of Korean cinema whether it wishes to acknowledge it or not.  The image of men crying in the cinema of Korea is a motif which allows for significant catharsis among the nation's post-traumatic population and is therefore an integral part of it.

These are just two (and a half) examples that come to mind but there are many more out there.  As I list a few more and allow for my thoughts on this topic to germinate, I will expand on this post.  If you can think of other good examples, of other reasons why it may be important, or if you think my theory is baloney, please let me know!

What Should be on the Radar for Korean Cinema Fans

My last post got me thinking, perhaps people haven't had the same opportunity as they've had before to see Korean films because they don't known about them. It could be that the passive fans who found out about Korean cinema from The New York Times or The Guardian don't know what else is out there since most publications that have mentioned these films in the past seldom mention them today.

To give people a chance to catch up, here is a list of films that have recently come out of Korea and those to keep on eye out for in the near future:

The Man From Nowhere - I wasn't very exited about this project when I first heard about it but now I'm looking forward to seeing it. It still has a relatively low profile but the word of mouth is very strong for this action thriller that seems the channel Leon and Taken.

Available on Blu-ray & DVD in the US, out on DVD in UK on April 11.

Bedevilled - By all accounts an exciting addition to the Korean 'revenge drama' cannon from first time director Yang Chul-soo.


Available on Blu-ray & DVD in the UK. Currently no plans for release in the US.

I Saw the Devil - Another revenge drama, this time from Kim Ji-woon, one of the most marketable Korean directors abroad. It features great performances from powerhouse leads Choi Min-sik and Lee Byung-hun and is a refreshing and uncompromising take on the revenge narrative.

Currently on limited release in US, out on Blu-ray & DVD on May 10. To be released in theaters in the UK on April 29 and on Blu-ray & DVD on May 9.

Poetry - The latest from Lee Chang-dong,  about a grandmother who tries to write a poem as she deals with a failing body and the consequences of an act of her grandchild's.

Currently on limited release in NY. No plans for the UK, but this is only a matter of time.

HaHaHa and Oki's Movie - Both of these well-received Hong Sang-soo films were well received in Korea last year.

Will make the rounds at the festivals this year, perhaps these will see release by the end of the year.

The Yellow Sea - The sophomore effort from the director of The Chaser. It's about a Chinese man goes to Korea to find his wife and ends up on the run after being framed for a murder.


Will be in competition at Cannes this year, so there will be a wait before this becomes available.

Glove - From veteran filmmaker Kang Woo-suk, a story about a hot-tempered former professional baseball player, is sent to the countryside to coach a team of hearing-impaired players.

Recently released in Korea.

The Journals of Musan - The debut from Lee Chang-dong's former assistant director, Park Jung-bum. A North Korean defector has a hard time coping in society.

Will be released in Korea on April 7.

My Way - From the maker of Taegukgi, Kang Je-gyu, comes another war film, this time about a Korean man who dons a german uniform during WWII. It is the most expensive Korean film of all time.

Currently in production, to be released this December in Korea.

Hanji - Im Kwon-taek's 101st feature film.

To be released on March 17 in Korea.

The Battle of Yellow Sea - From Kwak Kyung-taek, the director of Friend, comes A 3D action film based on the true story of the 2002 gun battle between the North and South Korean navies.

To be released in Korea in 2011.

Snow Piercer - Based on a French comic, this Bong Joon-ho helmed picture, to be produced by Park Chan-wook, will chronicle a train of 1001 cars, which has to carry a large group of the last human beings on Earth after a nuclear war. It's time to start getting very exited about this.

Most Likely will be released in late 2012 in Korea.

The Host 2 - A sequel to the 2006 megahit, is being made in 3D. Bong Joon-ho is not attached to this project.

Aiming for a summer 2012 release in Korea.

Let me know if there is anything you would add to this list.

Decline in Western Interest for Korean Cinema?

See my companion piece: Decline in Domestic Interest in Korean Cinema?

It is my impression that of late, there has been a lack of enthusiasm for Korean cinema in the west. While I Saw the Devil was recently released in the US and is gaining in popularity, the exposure it is receiving pales in comparison to those which preceded it, like The Host and Oldboy. I suppose it was only a matter of time before this happened and to be honest the recognition that Korean cinema receives now is still far greater than anything it experienced prior to the new millenium.

However some high profile directors are transitioning to making films in the US, we can expect Hollywood debuts from:

Park Chan-wook - He is directing the Wentworth Miller's blacklisted Stocker starring Nicole Kidman, Colin Firth and Mia Wasikowski.

Kim Ji-woon - Attached to helm Lionsgate's The Last Stand, another blacklisted script starring Liam Neeson.

*UPDATE* Bong Joon-ho - I've heard that after he completes Snow Piercer, Bong will embark on his first US film with J.J. Abrams on board to produce. This will not start until he finishes Snow Piercer, which is said to be in production until 2012.

These directors, as well as Bong Joon-ho, are established but I worry that it will be difficult for other Korean filmmakers to make a similar mark on the international scene. Na Hong-jin made some strides with The Chaser and one hopes that his new effort, The Yellow Sea, can bolster his reputation but I doubt that he will become as popular as the aforementioned filmmakers.

The question though, is why are Korean films losing steam? There has been a decline in attendance in Korea lately but the quality of the work is still very strong. Modern western audiences have notoriously short attention spans and it is quite possible that they have moved on to the new thing. The wow factor of the Asia Extreme branding (an invention courtesy of western distribution companies) has worn off and audiences may have moved on for there sensory thrills. Kim's I Saw the Devil is a case in point, it is very violent, original, and certainly depraved, all prerequisites of this supposed subgenre, but coming after films such as Oldboy, A Bittersweet Life, and Save the Green Planet, which are all surpassed by it in terms of brutality, it lacks novelty.

I think this was the problem to begin with, Korean cinema had so much more to offer than violent revenge thrillers, but everything else was peppered underneath them. Had audiences been exposed to the larger, more substantive Korean industry as a whole, perhaps this could have ensured for longevity. Instead it seems that some mid-level distribution companies (such as Tartan) capitalized on the visceral thrill of the new and unknown and sailed on this short wind of popularity.

As I said I still believe that Korean cinema has a lot to offer and it is only a matter of time before another film can have a significant impact on the international market. I just hope that when this does happen a few perspicacious people will be able to foster a culture of growth and enrich themselves and our viewing habits in the process.