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| Courtesy of Marjan BLan |
By David Tizzard
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But importantly, the violence carried out is seen as Korean on Korean. The people of this land are not portrayed as virtuous innocent bystanders in a game of grand power politics fought over by nuclear states. Instead it shows the visceral reality of what Korean people have done (and continue to do) to each other. It shows the necessity of that violence. The history. The trauma. The present. Gwangju.
While many movies fall into the trap of pushing a certain agenda, attempting to rewrite history on the cinema screen, the best directors in this country avoid such pitfalls. Both Park Chan-wook and Bong Joon-ho have long toyed with conventions and instead forged a form of storytelling characterized by complexity and ambiguity rather than Manichean simplicity. Who are the good guys and bad guys in "Parasite," for example? Does "Oldboy" have a hero? Lee Jung-jae treads a similar path because the division portrayed in "The Hunt" is not confined to a single faction or ideology. The right, the left, the South and the North are not just fighting their opponents, they're fighting each other. The internal divisions and cleavages are as pronounced as the external ones. An oft-repeated aphorism rings true in this regard. If you put two Koreans on a desert island, they will make three political parties: my party, your party, and our party.
The specter of communism hangs over the movie just as it once did this land. The movie reminds us how people in the South were dragged off to Namsan in the middle of the night for reading the wrong book or having the incorrect political opinion. The tern "ppalgaeng'I" (commie) thrown about readily at anyone daring to step out of line and criticize the president or establishment. And yet, despite the social shame and consequences that might arise, South Koreans have constantly gone after their leaders, whether through protests, politics, or assassination. Moreover, they've actually been very good at it. Certainly far better than the North.
South Korean viewers and those familiar with the history and politics of the past will feel and recognize this tension in the movie. I'm not sure, however, that it will resonate fully with every international viewer. This absolutely feels more like a Korean movie than a K-movie. And that's a good thing. Art should not be measured on numbers and awards despite what the modern international capitalists might tell you.
Another good thing is the casting. There is no-one in this movie just because they're pretty or an idol from the K-pop industry. Instead, there are serious actors and people performing their roles properly. Of course, they are still reasonably hot (it's a movie after all), but there seems to be a focus on getting actors capable of delivering believable performances. The start is definitely a bit ropey with the protest scenes, but once you settle into and the main cast take over, you should forget all about the early woodenness. You'll perhaps also reach for a cigarette because while society is frowning upon them more and more, this has some great scenes of Lee Jeong-jae and the rest of the crew smoking up a storm.
Although the movie focuses heavily on Korean domestic politics, there is a universal message in there we can all get behind: no country, no people, want a leader incapable and immoral. If we are to be governed, we want someone made of the right stuff. The question this film lingers on though is an important and provocative one. What are we willing to do to achieve this? And what cost are we willing to bear?
Finally, do not mistake this film for history. Yes, it might appear deep and complex. But it will never match the reality of the past. It should ignite our imagination, stir our empathy, and provoke discussions but it should not inform out history books. Bangkok is not Rangoon. And that's okay
Dr. David A. Tizzard (datizzard@swu.ac.kr) has a Ph.D. in Korean Studies and lectures at Seoul Women's University and Hanyang University. He is a social/cultural commentator and musician who has lived in Korea for nearly two decades. He is also the host of the Korea Deconstructed podcast, which can be found online. The views expressed in the article are the author's own and do not reflect the editorial direction of The Korea Times..
