"I Want Revenge": From the Road of Cult to the Public □ by Vulcan
Poverty and coping, many times seem so helpless. And what we want, perhaps, is just an equal and fair treatment. Can't ask for it. Compassionate despair; continued despair. In the end, all this may become a gorgeous secret action. ——Vulcan Ji. Inscription.
"Cruel Blurred Tones"
Rainy night, suitable for writing lingering love poems, suitable for watching romantic and beautiful love movies, and also suitable for watching sad and sad movies on the side. Perhaps, is it also suitable to watch Park Chan-wook's revenge cutting? Park Chan Wook is a cruel director, and I always think so after watching his "cut". Without presumptuous slaughter, secret room, no one, no way forward and behind looking back, what is struggling with in that "cut" is the most helpless twist of human nature itself, and the desire to destroy all good things. After that, all the seemingly beautiful things seemed to be cut off from reality indefinitely, and everything we could know was filled with filthy stench in his lens. Except for the cruel Park Chan-yu, who can afford to ruin all of this with a heart. When we still have good hopes, when we still have innocent desires. Park Chan-wook is good at observing the world from an unexpected angle, and then using the lens to magnify his perspective onto our screen. Watching his movies, many times we will follow him in despair, desperately disappointed with those beautiful things. This movie is a movie that I thought about recording after looking up for too long. After watching several of his films continuously, we will suddenly and easily accept his coherent and smooth lens language, and it will be easy to get lost in his fairy tale full of black fables. Construct. In his films, he always uses that kind of eye-catching tonal contrast to tell us: In fact, the color of blood is very bright. In fact, some truths are rough but can convince people. In fact, the truth of some things is terrible. In fact, some people have very desires. Strong, in fact, some endurance will change qualitatively after reaching the limit. and many more. Bright red. The deliberate bright red and the surrounding dark tones will form a very strong contrast, and then more strongly stimulate our optic nerves. I was very impressed with his shots, very shocking, but not brutal.
"Park Chan-wook and Sanji Chongshi" see his film and Sanji Chongshi's film, there is a very obvious difference. His film used a strong beautification for the bloody rendering, while Miike Takashi used a strong realism for the bloody rendering. The same is all about bloody shots. In Miike Chongshi’s shots, everything is bright red and all the tones are dim. Miike Chongshi always casually creates a fragmented but weird and strange blurred world; while Park Chan-wook uses the description of the camera. In order to depict the delicateness and sleekness unique to Koreans, the contrast of the color adjuster is very strong, not as unified as Takashi Miike, so after the extreme contrast makes the lens very lethal visual conflict, I changed instead. Peaceful and not so irritable anymore. The blood of Sanchi Chongshi has a erosive gloom, but the blood of Park Chan-yu makes people fall more easily. It's not that Park Chanyu's blood is not dark, but more often, his blood has a tired and cowardly tone, but what he shouts is a high-pitched sadness. Ah Yi, who is not lethal, will always become more terrifying than everyone else. Gakihara, who didn't burst his mouth, could open his mouth wider. Miike Takashi's blood must have been eroding like that, at least within his range, without reason. However, Park Chan-yu’s blood seems to be more often in people’s hearts, using a suppressed rebound force to prove the justification for the so-called cruel existence.
"The Cult's Road to the Masses" may, in the eyes of many people, actually have no reason at all, it is impossible to be understood, it is impossible to see clearly, and it is impossible to exist. In other words, in Park Chan-wook's reasoning, all of this seems to be justified. Looking for the basis for everything possible and all exist, Park Chan-wook is always so vainly confirming it repeatedly. Use his black lens to prove all the reasons for all of this, trying to convince people of the real existence of brutality, maybe this is his movie.
This movie is the first of Park Chan Wook's revenge trilogy. If compared with the later work "cut", it may seem a bit straightforward, but this does not make his film superficial. The rational combing of this film and the exploration of various sudden changes in human nature make this film different from other B-level films and appear more tragic. It is not so much a cult movie with a personal touch, as it is a tragedy of human nature. The fullness of the plot and the rationality of the transition of human nature give this movie the most exquisite interpretation that distinguishes it from other cult movies. This may be the reason why Park Chan-wook's movies always create box office myths and are always accepted by more people. cult. Maybe there should be less incisive personality expression and more rational thinking. To some extent, Park Chan-wook has narrowed the gap between the cult niche crowd and the taste of the general public. How to make the smell of blood easier to accept, Park Chan-wook's experimental struggle on the cult road is obviously quite effective.
"The Compassionate Voice of the Poor People" Park Chan-wook is indeed cruel. When watching this movie, I always feel a little unbearable and dull pain, but because I can't resist his indoctrinating expression, the unbearable and dull pain becomes more and more obvious. A deaf and dumb young man with green hair is doing heavy physical work in an extremely noisy workshop in a factory. The sister who lives with him is seriously ill, and their family environment is not good, living in a dilapidated but tidy house. Occasionally, he would write letters to the radio station, and then snuggle up with his sister while listening to the radio female announcer reading the letter he wrote to her sister. He couldn't hear it, so there was a shy and shy smile on his face; she could hear it, so she always shed tears because of her being a sickly burden, and she was moved by a younger brother who refused to give up. tears. That is a portrayal of a very quiet life. The setting sun in the distant view will be filled with beauty and hope, and everything seems beautiful. Because no matter what, the two people will not leave, he also said that for him, these properties have made him very satisfied.
I once thought that if he worked hard enough, in fact, he has been working hard. God will always sympathize with those poor and hardworking people in the world. He will earn the money he deserves. He will wait for a kidney suitable for his sister, and then accompany her sister to perform the operation. After that, the two people can live even in poverty. A happy and quiet life. However, such an assumption will never be realized in Park Chan-wook's movie. All cruel but realistic things that made us unable to refute happened one after another in this uneasy family. At least in my opinion, in such a plot and character setting, apart from sympathizing and praying for them, maybe I don't have any other desire to hurt them. Even if this might happen, Park Chan-wook's shots seem very cold and venomous because of the hope. Deceived. Kidnapping. Die. Everything may just be a last resort reality. Even if he is struggling, he is just a poor citizen who wants to live a quiet life. He wants to live well, and he also wants the one he loves to live well. When there was nothing to do, he went to extremes. It was the reality of poverty and the ruthless social atmosphere that pushed him to a dead end. Of course I know that real life may be like this, not as good as we thought. However, I would rather consume my good wishes and look at this society and the ruthless reality with hope, because then at least we will not despair. However, in Park Chan-wook's lens, all of this was completely shattered by his cruelest realism. What's more cruel is that all he has done is just the cruel reality. As a result, we are simply unable to redeem our dashed hope.
Of course, what I can see in this movie is the compassion for the impoverished public behind the dark style of realism. It may be said that the more cruel the effect of this movie, the more obvious the sympathy and compassion of Park Chan-wook. However, the pity of the poor people is so drowned in the dark and cold tones of reality, which may not be acceptable to me. maybe. Just because, I still hold vain and beautiful dreams. And all this, in Park Chan-wook's black lens, everything is fragmentary.
"An inconspicuous but obsessed scene of a passage" may not be the bloody and cruel scenes in the movie. It's the shivering rational philosophical thinking behind the camera and the realistic preaching that we have no power to oppose.
The heart-piercing pain and wailing cry, but it sounds like a high-pitched bed cry from sex. Separated by a wall. Here are four men lying on the wall listening to the obscene sound of the woman next door, masturbating with their own genitals. Separated by a wall. There was a woman who was rolling and crying on the ground because of her illness. There is also a quiet man eating noodles in the foreground.
To the people in the movie, all this seems to be all right. For them; the high-pitched voice, their vigorous body and young ambiguous imagination, this is just a glimpse of a gorgeous sexual event. For her: illness, crying, and rolling all over the ground are just the most normal physiological reactions of her weak body. For him; besides choosing numb indifference, can he do anything else.
However, for those of us sitting in front of the screen, following the camera to see all this, there is a sense of incomparable mockery. When we saw the four young children lying on the wall masturbating, and listening to the "sexy" female voices they heard moaning and the sound of knocking things over next to them, and the sound of their bodies colliding with wooden boards , Everything we see in our hearts is actually the same as them. We will judge that arbitrarily, it is a gorgeous sex affair. We will follow them with lust, dreaming and dreaming together. However, the lens is to the left. We began to extinguish all our desires without self-confidence, and then began to writhe in front of the camera uncomfortably. It is a kind of guilt. Park Chan-wook seems to be very good at using similar contrasts to create embarrassment for us. That kind of sad rational thinking basically suppresses us. So we can only follow his ups and downs and feel his cold dark philosophy. We are simply unable to resist all the things he brings us, so from cruel to sad. Some people say that Park Chan-yu understands too many things. This is his strengths and precisely his weaknesses. He is absolutely superior to the people in front of the screen, but just because everything we have is seen through by him behind the camera, we will feel stripped. That kind of feeling, apart from being obsessed with his movies, sometimes, I start to hate him.
"Classic Film Noir" loves and hates. For Park Chan-wook's complex perception, does it also represent my helpless and sad perception of this world? Love is because this world has everything we have, everything we expect; there is us, and everything. Hate is because there are all the filthy things that we don't want or even hate but exist in this world. What Park Chan-wook is looking for is a balance he can agree with. As for me, after watching his movie, the original balance standard has been completely subverted by him. Should I go superstitious, or should I abandon it.
There are a total of three revenge stories, a family story, a love story and a story about kidnapping in this movie. This is a movie that seems to be a bit intricate. However, when Park Chan-wook tells all this in his unique delicate and cruel, and his cold and dark way, we can always know clearly that all of this is actually Will happen. Film noir always seems to be a symbol that is sought after by me. However, few film noirs can be made as convincing to me as this film, rationally convincing, even in the sensibility, I don’t want to agree, but this film has at least reached a certain part of film noir. high. Not to cater to film noir fans like me, but to subvert our cognition in a unique way and force us to accept it. This is the most extraordinary part of this movie. When watching a movie, no matter how I grieve my heart and soul, I have no way to refute everything it shows to me. Everything that is bizarre, in fact, happens naturally under the human nature and social atmosphere, and perhaps, because of this, we have to admit all it tells. This is a classic noir film. It's not that this film made film noir the ultimate, but because the expressions used in this film are convincing, and even if I don't want it to be subdued, I still have no way to refute its statement about black philosophy. . Everything that is filthy is real. This is something we cannot deny. So, instead of trying to bury it covertly, let it be exposed to the sun, so that we can see all that more clearly. This may also be the meaning of film noir. Someone once said, why do you want to make a movie so dark? More positive themes and more bright colors are actually not good. So I was blamed for being that kind of aesthetically distorted child. Someone once said that I feel sad because of the existence of film critics like me. In addition to personal preferences, perhaps, there are also cognitions about filthy things. Since everything that is filthy exists, why do we not have the courage to admit their existence? Why do we not have the courage to observe them instead of burying them in a dark corner of the sun. To me, those vain brights may not have any meaning. We have the ability to choose, and we have the power to like. We can separate the dark humanity and the shining humanity from all those filthy things. This may just be enough. I may be obsessed with the stench of black, but this shouldn’t be the sadness of being a film critic, it’s just my obsession with the ultimate. I would like it to the extreme, and I would like it too; and the so-called filth, if it is done, why not do it more extreme. What the film noir tells us, let us see the dark corners of the bright places, why not? The classic film noir allows us to recognize, let us escape, and let us finally return to Mingmei. This is the real film noir. As an individual, I can be obsessed with everything I want to be obsessed with. As an individual of film critics, what I have to do is to show all my self-awareness, which is enough. If all people are expressing the same things, all people are liking the same things and avoiding the same things, then what is the point of being an individual of film reviews. This movie has done exactly what it wants to accomplish in this respect. Many things are filthy, and all these filth exist. We are unable to refute, this is everything, and this dirty world. Know it. And trying to change it. Or we simply cannot change it. That must at least admit it. This is enough. In anticipation, whether our world is still beautiful or not depends only on self determination and choice.
"end"
This is an old movie. But so far, it seems that the surging pounce still makes me have no choice but to catch it. I don't want to repeat those black plots. Let's go and pray. No arrogance. There is no demand. No demand. There is no desire. No desire is strong. When all our obsessions are gone, what we can do is to put aside all the desires and start to become strong. Maybe, it's just a difference in thought. 2007-04-06; Jiachen, Gengwu Day of Dinghai Year. Guanyin birthday.
Note: The movie data extension link. ■Title: "Sympathy for Mr. Vengeance" ■Translation: "I Want Revenge" ■Director: Chan-wook Park ■Starring: Song Kang Ho (Ha-kyun Shin) / Bae Dou Na (Du -na Bae) ■Genre: Action/Plot ■Length: Director’s Editing 121 min ■Country: Korea ■Language: Korean/Korean Sign Language ■Distribution: Bright Angel Distribution ■Release: March 29, 2002
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