A Film directed by Park Chan-wook, re-released for it’s 20th anniversary in 2023

Laugh and the world laughs with you.

Weep and you weep alone.

2023 appears to be the year that tons of films I’ve loved throughout my life have started hitting anniversaries, and as a result getting special re-releases. A few months ago, I had the privilege of seeing 1993’s Jurassic Park on the big screen once again – a movie that epitomized my love of dinosaurs when I was a kid. I was able to see 1997’s Perfect Blue by Satoshi Kon, a film that proved to me that anime could be more than just guys yelling and fighting. Finally, around that very same time, NEON Films re-released OLDBOY, a film that sat at the forefront of my passion for what reviewers often called “Asian Extreme” cinema in my twenties. Granted, this moniker often was applied to Japanese horror films of the late 1990s-2000s (OLDBOY is Korean), I feel OLDBOY fits in with this “genre” and even surpasses many of its brethren by leagues in terms of quality and lasting appeal. Many have tried to recapture the “lightning in the bottle” that was this film, including a VERY poorly received disaster of an American remake, but the original OLDBOY is in a class all its own.

“Dae-Su is an obnoxious drunk arrested and bailed out from the police station yet again by a friend. Heading home to prepare for his daughter’s birthday, he is attacked and finds himself in a small room inside a private jail. Despite his pleadings, none of the guards will tell him who kidnapped him or why he is being held captive. As the days go by, his forced isolation slowly takes a toll on his sanity. He finds an outlet through training his mind and body for the day he will be able to wreak vengeance. After fifteen years of solitary confinement in this maximum security cell, with only a television for company, he is suddenly released.

Once outside, he encounters a much changed world. His long imprisonment ripped him from society and kept him from having the normal life he desired. With nothing to lose, he begins his mission to hunt down the identities of his captors and uncover the reason behind his imprisonment. However, it seems that the unidentified person behind Dae-Su’s captivity is not finished with him just yet, and thus begins a twisted game where only the winner survives.”

OLDBOY, directed by the acclaimed South Korean filmmaker Park Chan-wook, is a cinematic tour de force that has captivated audiences with its dark and twisted narrative, impeccable cinematography, and outstanding performances for 20 years now. Released in 2003, this film has become a cult classic and remains one of the most memorable entries in Korean cinema. The film is based on a Japanese manga series written by Garon Tsuchiya and illustrated by Nobuaki Minegishi, but deviates drastically from the original becoming its own beast. The film is part of the loosely-related “Vengeance Trilogy”, three films by Park that share the central theme of vengeance. The other films include Sympathy for Mr. Vengeance (2002) and Lady Vengeance (2005). While, Mr. Vengeance is a disturbing and sad film, and Lady Vengeance is more comedic, OLDBOY sits somewhere in the middle, and for me was the Goldilocks of the three films (it was just right!).

The story revolves around Oh Dae-su (played brilliantly by Choi Min-sik), a man who is inexplicably imprisoned in a cell for fifteen long years without knowing the reasons behind his captivity. His journey begins when he is abruptly released, and he embarks on a relentless quest to uncover the truth and seek vengeance against his captors. The style the film exudes is evident from the very first few seconds of the movie – a scene involving Oh Dae-su holding a man by the necktie as he dangles over a high ledge while holding a small dog.

The man is very upset as this deranged psychopath (Oh Dae-su) explains: “I said…I’m about to tell you my story”. The film cuts to a close up of Oh Dae-su as he says “My…….name…..is……”, then there’s a cut and everything jumps back fifteen years to our real introduction to the main character. A much younger Oh Dae-su is handcuffed and in police custody, drunk out of his mind. The transition between this introduction and the subsequent scene is perfect and flawlessly goes to show that something VERY serious has happened to this man. Right off the bat, I was hooked, I recall thinking way back in the day – “what a crazy way to start a film!”, and “I can’t wait to see what happens!” That sentiment continued this year as I almost had the exact same response.

One of the standout aspects of OLDBOY is its cinematography. The film is a visual masterpiece, with every shot meticulously crafted to convey the raw emotions and psychological turmoil of the characters. Park Chan-wook’s use of color, lighting, and framing creates a palpable sense of unease and tension that permeates every scene. Perhaps the most famous shot in the entire movie, the iconic single-take hallway fight sequence, is a testament to the film’s technical prowess and remains one of the most unforgettable moments in cinema history. I’m a sucker for single-shot takes – other favorites include the war scene in Children of Men or the spiral staircase fight in The Protector, but in all seriousness, this is one of THE best scenes like this that I’ve ever seen.

The one thing you will often hear from fans is a general warning or even a recognition of just how messed up the twist-ending in the film is. The clues are all there throughout the film, but once the villain lays everything out and Oh Dae-su realizes what this man has done to him, it’s not only shocking, but the viewer generally feels upset for everyone involved. Without going too much into spoilers (however with this film being so old, should I bother?) we find out that Oh Dae-su used to be somewhat of a bad dude, as we saw in the opening. As a boy, he accidentally ruined somebody’s life simply by offhandedly gossiping, then promptly forgetting about the whole thing. To Oh Dae-su, the thing he said was just a matter-of-fact comment that meant nothing, but to others it was the beginning of the end.

Oh Dae-su feels an avalanche of remorse for what he has done, even though it does not cancel out the horrors that have been put on him and the ones he loves, and mentally breaks in one of the most gut-wrenching scenes I have ever seen. Choi Min-sik delivers a powerhouse performance as Oh Dae-su and scenes like this encapsulate how great of an actor he is. He perfectly captures the character’s transformation from a broken and desperate man into a relentless force of vengeance and back. His portrayal is both sympathetic and menacing, making Oh Dae-su a complex and unforgettable protagonist.

Remember this:

“Be it a rock or a grain of sand, in water they sink as the same.”

The aforementioned twist ending is not an M. Night Shyamalan weird twist that blindsides the viewer and makes repeat viewings unnecessary, it’s the culmination of everything the villain of the film has worked for – getting vengeance for a man that has harmed him, only to then goad him to do the very same. If anything, going back and looking for clues throughout the film is interesting after the initial viewing. OLDBOY is not a film for the faint of heart. It delves into dark and disturbing territory, exploring the depths of human depravity and the consequences of obsession and what little it takes to wrong someone. It raises thought-provoking questions about the nature of revenge and the blurred line between victim and perpetrator.

NOTE: I’m not going to use this review to crap on the Spike Lee remake of this film, but I will say – by trying to “one-up” the ending of the OG OLDBOY, that film missed the entire point of the story, basically ruining an already lackluster re-imagining of a classic. It was different for the sake of it, turning out dumb.

The film’s supporting cast, including Yoo Ji-tae and Kang Hye-jung, also delivers strong performances that contribute to the overall depth of the narrative. Their characters add layers of complexity to the story, and their interactions with Oh Dae-su drive the plot forward. There are some points in the beginning of the film where there is some strange dialogue and characters act somewhat bizarrely, but it’s part of the later narrative. An initial viewer might scoff at a scene where a girl seemingly falls for a man that has the overall appearance of a vagrant after speaking to him a single time, and for good reason. In the end it all comes together and adds to the desperation and uncomfortable nature of the end of the film.

In addition to its captivating storytelling and visual prowess, OLDBOY benefits from a haunting and evocative score that enhances the film’s atmosphere and emotional impact. The music, composed by Cho Young-wuk, complements the narrative beautifully, adding another layer of depth to the viewing experience. Even from that very first scene, the music helps etch the film into your mind, making sure you never forget it.

OLDBOY is a cinematic masterpiece that continues to leave a lasting impression on viewers around the world. Park Chan-wook’s direction, Choi Min-sik’s powerhouse performance, and the film’s unforgettable visuals combine to create a dark and mesmerizing tale of revenge and redemption. If you’re a fan of intense and thought-provoking cinema, OLDBOY is a must-watch that will stay with you long after the credits roll.

I saw this at an AMC theater and there were a few pretty substantial bonus features – my showing contained a recorded introduction to the movie by Park Chan-wook, and a bonus Conversation with Director Park and fellow Filmmaker Nicolas Winding Refn. The film also had a gorgeous new 4k restoration that made it look better than ever.