However, up to now, what I have rewatched is not "Old Boy", but "I Want Revenge".
The reason may be that I prefer quieter scenes, and I am more able to find the fun that I should have from the dullness. I watched more and accepted the multi-threaded narrative structure. I have a glimmer of hope for fantasy, but people Also closer to life. Therefore, in the last two parts of the smallpox, only "I Want Revenge", coldly tolerated everything and oppressed everything,
but it is not to say that this movie is not simple enough , there is everything that should be, deep focus The wide-angle lens (distorted to resemble a false perspective) always echoes the flat close-ups. This is not only about creating conflicting editing styles. When placed in the plot, it seems to be more indicative of personal emotions and regions, and the space has been It's completely out of touch, at least, in the iconic corridor, there will be no more protagonists, passing by in a hurry, people going to the empty building, probably so.
There is nothing more related to the characters than the green hair of the protagonist RYU, which is placed in a dark green lighting factory. There is basically nothing wrong with it. It blends harmoniously. Of course, for RYU, this is indeed the case, deaf and dumb. He, in the factory of Chaozha, doesn't have to endure the endurance of ordinary people. Perhaps, in the factory, only he can turn disadvantages into advantages. But when he was expelled, all the illusions were dismantled, and the factory would not be changed because of him, and RYU's greasy green hair looked unusually different under the shining light. This is not an equal communication relationship, but a master-servant relationship. RYU may not realize that if he stays in a territory that does not belong to him, something will happen. Is this RYU asking for it? I said yes, trusting everything in miracles will always commit crimes for my ignorance.
Of course, the theme of the movie should describe the old drama of "when is it time to repay injustices", but peeling off this appearance, is it like this? Maybe, when we are delving into this kind of plot, what makes us feel cruel. The cannibalism between the too weak and the weak, or that the original sin is not in the person itself, but in the endowment. No one knows who gave it. Even if everyone’s starting point is based on their own reasons, everyone seems to be forced to have only one choice, but if you choose, you have to bear the corresponding consequences if you are brave enough to take this step. Whether it's RYU or Dongjin, the bloodthirsty revenge will always eat itself back and get retribution. So, this movie is not about the ordinary process of revenge, but the motivation of revenge. Park puts the audience in a situation where the gear of fate that understands all time is beginning to rotate slowly, and he watched the weak slowly. Roll into the meat grinder, who won, and the rest is a piece of minced meat after the "five horses". Just like the Eastern Jin Dynasty, the shocking photos of the first viewing of anatomy became the numbness of the second viewing. People are like this, so why bother to save them. There is no need for any heroes here, no matter who they are, they will emptied themselves willingly and handed them over to the void.
Park Chan-wook has obvious traces in this film to pay tribute to Father Lynch’s "The Twin Peaks", river murder, plastic shroud, psychological analysis, the painful expressions of the characters, the weird body movements, the cerebral palsy patients, these are all the fathers of Lin Qi. The elements that should be in the movie were played with Park in "I Want Revenge" (he also admitted that his idol is Lynch), but Park added his own unique color to these elements, which is at least reasonable. . The separated shots and straightforward abuse scenes, the use of subtitle cards to show the subjectivity of RYU, the two-dimensional shots that tend to be silhouettes give people a sense of shock when zooming in and out, and other techniques in the movie This is exhaustive. As long as you dig carefully, you can trace back to its origin. What I want to say is that no matter how Park is playing here, how to sort out the relationship between the characters and the scene, the people are still the Koreans that Park has portrayed, the region, It is still an unknown city in South Korea, and there is no qualitative change in meaning. I think the difference is here in comparison with the noir film "Fireworks in Daylight", which also undergoes localized transformation. In "Fireworks in the Day", simply put, he twisted the entire frame and never changed it back. The context is broken, which makes people feel extremely distorted. Of course, these are all things to follow.
Having said that, is "I Want Revenge" the highest rated in Park's "Killer Trilogy"? I think that you win because of his cold style. A director who steadily closes and makes a movie is better than It is more difficult to show the sway of the style, just as metaphors are much more difficult than similes under normal circumstances, and the artistic conception is much higher. As a great master said: The sword is not about killing, but about hiding.
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