As an early work of Kim Ki-duk, if the personal mutilation (mostly self-mutilation) in the film is ignored, this is a very ordinary film. It seems to say that Kim Ki-duk is Kim Ki-duk because of nothing but violence and self-mutilation. I didn't mean it that way. In this somewhat compromised film, like "Chicken", the camera is not particular about the camera, with Jia Zhangke's roughness, indifference and rustic atmosphere, and the realistic style makes people feel pity for the abnormal life in the film, because that Or not the movie, but ourselves. Kim Ki-duk, who has no body, turns his attention to himself, to the air and the earth in which we live.
Compared with the purity of later Kim Ki-duk films, "Unknown Recipient" also realized Kim Ki-duk's ability to grasp complex stories when telling stories. In the film, centering on the relationship between the U.S. military and the locals, the indelible mark of the previous generation in the Korean War and the relationship between the U.S. military and South Koreans in peacetime in the present era are extremely tangled and cleanly blended together, which is not something that ordinary directors can do. Take control.
Thinking about it now, although the people in the play appear more or less often, they basically have levels and changes, and there are many characters with established personalities. Among the three people of the older generation, the dog killer, the medalist, Changgu's mother, and even the girl's mother and absent father, jointly sketched the different living conditions of a generation under the shadow of the Korean War. In the new generation, the girl, Changgu, the iron man, and the two ruffians also have their respective representations behind them, such as the layered sense of the changes in the iron man's personality, the younger Korean generation's understanding of American culture represented by the two ruffians and the previous generation. difference.
After all, they are all sad people. The tragedy of Changgu's mother, the dog killer, and Changgu is shocking. The tragedies of the girls and the U.S. child soldiers are equally unbearable. The reason why Kim Ki-duk is Kim Ki-duk is that in the despair and helplessness of the outside world, Kim Ki-duk turns to his heart and body. As a direct expression of the film, the flesh becomes the main means and purpose of Kim Ki-duk's revenge against the world. The reason why Changgu's mother became an abandoned wife was because of her flesh. The dog killer's love for Changgu's mother also had a physical factor. Changgu himself was the product of the sin of the flesh. When he cut off his mother's breast with a knife, it seemed like a Chinese The irresistible curse of Nezha on the flesh and fate in ancient mythology. The girl's body becomes the weight of salvation, and also because the body becomes the object of humiliation. The self-mutilation of her own eyes is an opposition to the culture of repayment, and it is also a curse to the body.
The ego and the heart are attached to the flesh, and the desperate ego and heart make the flesh ominous, or does the flesh bring disaster to the ego and the heart? At the end of the movie, Changgu's mother set herself on fire in the garage. The door was an unopened letter from the American GI. It seemed that this was a bright tail, but in the tragic situation, it was like a satire, a satire of fate, and a curse on oneself. Is it a symbol to enter the earth with your head down and feet up in the Changgu way? No, just because Kim Ki-duk couldn't think of a more drastic way to express his curse on the world and himself.
Thinking of the title of Liu Xiaofeng's book "Heavy Flesh", I have never understood how philosophers redeem the flesh. If there is no God, no love, only hate, only despair, and only curse, standing on the earth, the flesh that will eventually disappear The ephemeral existence of the man has also become something unseen, we are all ominous fleshly selves, and we can't think of a better way than Kim Ki-duk. It turns out that this is our only reality.
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