Lost in Translation or See it Again?

Rating: 7/10 (2 December 2005)

"Old Boy" is a damned tough movie to review. Its strengths and its weaknesses seem to become apparent only upon reflection. The disjointed plot is distracting and can lead viewers to lose interest in precisely what is going on. But pay close attention to this one; the pay-off is worth it.
The film's greatest weakness involves poor pacing, slowing to the point of boredom at times before throwing mountains of information at the viewer in a few seconds. But Park Chan Wook is a masterful director on the cutting edge of the new wave of Asian film-making with many important titles to his credit. So perhaps this "weakness" is intentional.
"Old Boy" employs extraordinary cinematography, one of Park's trademarks. When dialogue and plot drag, unique camera angles and unusual presentation keep one's attention. The film starts with great promise. The protagonist, Oh Dae Su, is well-defined and supremely well portrayed by Choi Min Sik. As a viewer, I was compelled to want to go along with Oh Dae Su on his bizarre journey. Its bits of satirical humor generate particular enjoyment. The early escape scenes are superbly presented; I cried out in delight.
Sadly, after the escape, the movie begins to lag. While I was expecting more in the area of Oh Dae Su's revenge (characters utter his name as if it's a horrible invocation), the story instead dives deeply into an uncertain psychological exploration that eventually loses me.
I guess I could say that I just didn't get it and I'm an idiot. But the film IS sophisticated enough to be difficult to tackle. It is quite slick, its performances excellent, its presentation powerful. I just wish I could have followed the complexity of the story as it gained momentum and that the film would not have fallen into near sleep mode at too many important junctures.
In all, the film is a special treat despite its drawbacks. I would venture to say that Korean cinema, and Park in particular, has reached a point similar to that of 20th century Scandinavian, Polish and French cinema in its penchant for decidedly dark (film noir) approaches. "To hell with any concern that the audience might not be able to follow the story; just do the film." In this respect, "Old Boy" succeeds supremely, although I don't find it as subtly beautiful as, say, "Spring, Summer, Fall, Winter and Spring." I suspect Park had that film in mind when he made this film. Similarities in style, such as vast understatement, abound.
"Old Boy" is original, daring, bizarre and purposefully entertaining. I believe only that the screenplay could have been improved; I will also concede that some vital components may have been "lost in translation."