Memories of Murder: Part IV - Subversion of Genre

Bong Joon-ho is well known for his deft handling of generic conventions; he not only understands and respects their limitations but know how to manipulate them to his advantage without compromising their effectiveness. Memories draws heavily on the long line of detective thrillers that have spewed forth from Hollywood consistently for decades on end. It is a very established genre with extremely recognizable codes and characters: the dual protagonist detectives, the patterns, the anticipation of the next murder, all these things form part of what has consistently remained one of the most popular filmic formulas worldwide. With Memories Bong creates a visceral and extremely effective detective thriller that highlights all of these codes and yet subverts many of them to very satisfying effect.

First of all, it is worth examining the position of this genre within contemporary South Korean cinema. Memories is not the only recent example and it is also not the only one that has some fun with it. An early commercial example after the boom in the industry before the start of the new millennium is Tell Me Something, which stars Han Suk-kyu, easily the biggest star at the time (it was the year after he made Shiri which broke box office records at the time). It was a thorough success and it even garnered an audience overseas and is now available in many countries. In his essay on Tell Me Something, Kim Kyu-Kyun credits how “director Chang skillfully manipulates the expectations of the audience to a generic melodramatic plot in which Su-Yon would fall in love with Detective Cho, only to shock us with the revelation that the serial murders are motivated by a gender-related reason", the director engages with the genre in a very conscious way and ends up subverting it. Since then there has been a rush of modern Korean films that have featured male victims and female antagonists instead of the other way around. In these examples the denouements often show the audience the various motivations behind the brutal murders which often include scarred pasts where fathers or other authoritarian figures end up as the narratives’ real villains. Princess Aurora is an excellent example of this; the end features a flashback sequence that inculpates all of her victims in the murder of her daughter. This revenge formula is quite prevalent in South Korean Cinema, and can be found in Beautiful Boxer and the internationally renowned Park Chan-wook film, Lady Vengeance, both of these films also deal with mothers having to cope with the loss of their daughters and how society has placed them in their precarious situations.

Beyond these serial killer narratives, there are also films like Public Enemy, starring the inimitable Sol Kyung-gu, as a gruff detective who has difficulty juggling his professional and personal life and treads the narrative without ambiguous morality. He is a character who is corrupt, violent and very unprofessional. From a western perspective it is difficult to understand how he could have risen to his current position but this is not unfamiliar in Korean cinema. Much like Det. Park in Memories, his journey is a much more progressive one, which ends in a tidy resolution where he earns the respect of his colleagues and there have now been two sequels to date where he is no longer so incompetent. These subsequent films are not as interesting but were successful at Korean box office although not as popular overseas. Another point worth noting in Public Enemy is the mention of the immensely popular television show Chief Inspector which aired in the 1980s and featured a very famous opening credits song. In Public Enemy, an internal affairs inspector is being shooed away from the homicide department by the chief inspector and in defense he then recites a plotline from a Chief Inspector episode to intimidate him, as if he were reciting from a police manual. The show is so engrained in South Korean pop culture that in this send-up it is taken as fact. Similarly, early in Memories, the local inspectors and Baek (the first big suspect) take a moment to eat and commune in front of the television set as Chief Inspector starts. They all hum along to the tune and comment on it. It’s a great piece of dark humor to see homicide detectives watching a cheesy police show in the midst of investigating Korea’s first reported series of serial murders. In both Public Enemies and Memories, the mention of Chief Inspector speaks volumes about the perceived credibility of law enforcement by the general Korean populace.

Watching Chief Inspector during an interrogation

In Memories, many generic codes litter the screen and while they are often recognizable they are twisted in a way to serve to emblematize the post-traumatic nature of the main protagonists. The second scene of the film is a deliberately generic Hollywood thriller montage in which a theme straight out of a 1980s action film plays over a series of intercut shots of Det. Park interviewing suspects at his police headquarters. He is giving it his best shot but his questions do not seem to be getting him anywhere. His insecurities lead him to insulting the suspects, constantly referring to them as “Damn punks!” or making fun of their physical appearance. He is constantly undermined by the general inefficiency of his procedural skills. Even at this early stage it is easy to see that Park is very much a part of a societal system that he has very little control over. As a detective he has some authority which he exerts by acting rough with younger, less intelligent or less privileged people but once he is confronted by a suspect in suit his tone is immediately more respectful, as if speaking to an elder. He is embarrassed as he tries to mention the female victim’s sexual attractiveness.

The film playfully references Body Heat as Det. Park types up his report at a snail’s pace with his indexes. The content of the report seems trivial and the length of time it will take him to complete point to an inefficient use of time and resources. What’s worse is that when the ribbon is stuck it is the suspect beside him who is cowering in his chair that help him fix it. Instead of thanking him, Park berates him and calls him a “damn punk”. This is the first in a long line of instances where Park will be undermined by those around him when he doesn’t do something right. His reaction to this sort of emasculation throughout the narrative is invariably verbal abuse or physical violence.

The well-constructed montage continues with quick editing and the fast tempo theme as he makes his way through various odd-looking potential suspects. He is friendlier to his last interviewee and this could be for two reasons: he respects a youth that is trying to enter the Military Academy; or he is happy that his lunch is arriving. He argues with the delivery about having asked for a receipt at which point a colleague offers him another one, but this turns out to be a receipt for a bicycle shop and during this time the delivery boy has left. The same shot crossfades to the late in the evening where Park is now alone and sleeping at his desk, he wakes up briefly but goes right back to sleep. He does not seem too pressured to produce results in this murder investigation.

Det. Park asks for his receipt

Detective Such, who is Parks’ much more capable foil in the narrative is a carefully utilized character who at first embodies but later undermines typical generic codes. He is a investigator with a degree who comes from the big city (Seoul) to help with the case. He is very quiet, intelligent, he is a good detective and he is also quite cool, often looking very mysterious while crouched in the background smoking a cigarette. At first he makes many significant breaks in the case and identifies patterns and predicts further murders. However, at around the halfway point of the narrative he begins to hit dead ends and becomes increasingly frustrated by his inability to catch the killer. Early on he demonstrates an unwavering faith in the bureaucratic system when he says that "Documents never lie", but this stance is compromised at the end when he receives the forensic test results that he believes will condemn the suspect that he is certain is guilty of the killings. When the results turn out to be negative he suffers a breakdown and says "this document is a lie, I don’t need it" and tries to administer vigilante justice only to be foiled by Det. Park, the characters have swapped roles in a way.

One scene in particular in the middle of the film is very effective in the way that it depicts both of the Detectives and their affiliation with the generic codes that helped to create them. Having followed bogus leads based on idiotic conjecture and superstition Det. Park and his equally pea-brained partner Inspector Jo have returned to one of the murder scenes at night in an attempt to decipher the face of the killer with the aid of a shaman’s scroll, some ink and some dirt. Clearly, for Park the investigation has hit rock bottom. They hear someone coming into the clearing and hide. It is Detective Suh, he lights a cigarette and begins to survey the crime scene, he has a tape player in his hand and turns it on. It plays the pop song that the killer has been requesting on the radio on those rainy nights before he commits a murder. Det. Park rightly, although hypocritically, points out to his partner that this is a ridiculous technique and it isn’t going to achieve anything when he says "we need science here!" as he hides evidence of his own folly by stuffing the shaman’s scroll into his jacket. Jo then points out "Still, he’s got style"; Suh may not be using a great investigative technique but he looks cool as he doesn’t achieve much, Bong is making light of the proclivity exhibited by Hollywood thrillers of mostly favoring style over substance. Bong injects a great deal of substance into his “generic" narrative but he utilizes the codes so well that he can make fun of the material while also using it to its fullest potential.

Soon another man is heard approaching and Suh ducks away also. This time it is an unknown man who removes a woman’s bra and panties from his underwear and lays them out carefully on the ground and begins to masturbate. It is our natural inclination to assume this might be the killer returning to the scene of the crime, Park even says so. Jo accidentally steps on a twig and after a pause, the man runs off and the Detectives give chase in a thrilling scene through the narrow back alleys of a rural village. They lose his trail and Park begins to berate Jo for scaring him off, he surprises them however by following the sound of dog barks and managing to find the trail of the suspect. This chase leads them into a busy rock mine, where everybody looks the same. Here it is Park who recognizes the man, against the odds, when he catches a glimpse of his red underwear.

Det. Park spots the suspect

Suh has been in control and successful with his techniques up to this point but in this scene it is the other detectives who succeed in apprehending the suspect. Park gloats with his eyes when Suh looks at him, surprised at his skill. Of course, during a ridiculous confession it becomes very clear that this man is most certainly not the killer and we are back where we started. The juxtaposition of these events is very interesting as after having criticized and subverted some generic tropes, Bong immediately injects a huge contrivance with the improbability of catching a sexual deviant at the exact spot of the crime while both detectives are there unaware of the presence of the other. It is most certainly an improbable scenario, yet it shows that Bong engages with these conventions (returning to the scene of the crime, psycho-sexual nature of the suspect, etc.) in a very affectionate manner and knows how to evince an effective thriller from them.

Previous: Part III - The Evolution of the Post-Traumatic Male

Next: Part V - Female Representations

Memories of Murder: Part I - Introduction

1
Introduction

 “There is a sight of horror that invokes the loss of… …memory and sanity.”

Kim Kyung-hyun, one of the foremost scholars on the depiction of masculine identity in contemporary South Korean cinema, argues for the “narcissistic recasting of masculine figures”  in the new wave of Korean cinema as a means of dealing with post-traumatic identity in a heavily emasculated culture. For him, this was a prevalent trait in South Korean cinema in the 80’s through to the 90’s but beyond this point, as he states:

“The Korean film industry since 1999 has scrupulously followed the path of Hollywood and has shown more interest in making deals and formulaic genres than in innovating and devoting itself to the creation of art.”

A young boy snatches a cricket

Kim’s arguments for representation of masculine identity in Korean cinema before this point are brilliant and insightful but I would argue that they do not stop at the dawn of the most popular era of Korean cinema. The male characters constructed by New Wave auteurs such as Park Kwang-su, Lee Chang-dong, Jang Sung-woo and Hong Sang-soo still exist in the more generic Korean cinema of today. I will try and demonstrate this through a detailed examination of Bong Jong-Ho’s 2003 masterpiece Memories of Murder (hereby Memories), which, while ostensibly a film about the chase for an elusive serial killer in a provincial town in northern South Korea, is in fact a revisionist exploration of a post-traumatic and confused South Korean society which is attempting to come to terms with its scarred national identity but ultimately fails to do so due to its stunted cultural and political growth. However, Memories, which was an enormous box office hit in Korea, is in fact a hugely effective thriller which affectionately engages with all of the codes and tropes associated with its genre.

Since 1999, the South Korean film industry has positioned itself in a more commercial direction and has subsequently become one of the most successful industries in the world and one of the only ones to best Hollywood domestically. To dismiss its social relevance on this basis however, would be a mistake. Within the limitations of genre and tried and tested formula, contemporary South Korean films have had an equally articulate social agenda and with higher production values and attendance rates they have arguably been more successful in conveying their ideas to Korean and international audiences than previous art house fare that may have never found an audience beyond the festival circuit. From Joint Security Area (Park, 2000) to The Host (Bong, 2006), South Korean films that have successfully engaged with social issues have consistently broken records and topped the domestic box office.

Memories opens by stating that the following events are based on a true story in a time set under a military dictatorship. This information is key to understanding Bong’s motives, the fact that the story happens in 1986, in a difficult period of South Korea’s history, informs almost all of the narrative at an implicit level. Camouflaged under the guise of formulaic genre, there lies an extraordinarily dense sociological narrative.

The man tries to shoo the children away

Before the first shot, we hear the wind and bustle of a field. As the image fades in, we see a young boy crouched in the field examining a lone cricket before snatching it. Then we hear a tractor coming from the distance, the young boy also does, so he gets up and the camera moves up with him. At this point, when we see the golden wheat field in the summer eve, a nostalgic melody seeps into the soundtrack. The boy walks out onto the dirt trail where down the road he sees the tractor and some children playing beside it in a burnt out car. As the tractor passes them, they follow it and jeer its driver with taunts of “Junk car!”, all the while the music and beautiful cinematography evoke a heavy and heady nostalgia. Next we see that a man is riding in the back of the tractor. He is middle-aged, a little chubby and he is smoking a cigarette, he tries to shoo the children away but this only inspires more raucousness on their part, so he taunts them back with hand gestures. As the tractor nears the young boy, it stops and its driver and passenger disembark and walk past him. The man in the back ruffles the child’s hair as he passes. He then crouches down at a roadside ditch that is partially covered in concrete. The music stops.

Aside from being an extraordinary display of cinematic technique, these opening few minutes hint at a lot of the themes that will be explored throughout the narrative. The style employed evinces a highly effective nostalgic air, which is universal but ultimately very specific to South Korea. The film is set in 1986, in a troubled time of recent South Korean history. So while the music and cinematography imply a sweet reminiscence, the sight of a burnt out car, decrepit tractor and youths that seemingly do not respect their elders injects a bitter tone into what ultimately becomes a very bittersweet narrative. Aside from the tone, the location itself is foregrounded and very central to the film's ideological motives. Not only do we start in a wide open space and a wheat field but on a small dirt road that may not have a real destination.

Park Doo-man crouches down at a roadside ditch

Memories is a film that is part of the new, more commercially viable trend of Korean cinema. It is of a very high production calibre and was ultimately hugely successful but its roots are clearly evident from the start as it harkens back to the New Korean Wave that manifested itself in the mid to late 1980s and probably finished with the release of Peppermint Candy (Dong) in 2000. A lot of the films in this movement were road movies that followed emasculated males that suffered from post-traumatic anxiety and wandered aimlessly and ultimately towards death or insanity. Kim in his seminal exploration of male post-trauma, The Remasculinization of Korean Cinema, states "The loss of homes or the fragmentation of families suffered by many then amplifies the meaning of the road as a site of neither transit or freedom. It is where people suffer: traumatized beyond recuperation, disenfranchised without a place to return, and the prospects of leaving behind the road unrealizable" , much of this anxiety stems from the difficult separation of the Korean peninsula but also speaks of the emasculation of males during the Korean War and other military occupations throughout the 20th century. Especially that of family men whose families were broken as wives became prostitutes for foreign soldiers and the men could do nothing but look on.

In Memories, the central protagonist is Detective Park Doo-man, played by Korea's biggest star, the surprisingly normal and bumbling Song Kang-ho, who effectively took on the mantle of Park Joong-hoon, the mainstay star of the New Korean Wave. His character, like so many that he plays, is not particularly attractive. Although not wholly unmasculine, he isn't very smart and is easily moved to jealousy or ridicule. However, he is an affable character who is not completely lost and is therefore indicative of a legion of post-traumatic males, at least coming from the perspective of New Korean Cinema filmmakers.

A cricket on the mutilated body

Back to the opening sequence, as we watch with the child as Park investigates the scene of what turns out to be a gruesome crime when we see a young women's naked body in an advanced state of decomposition, this is the first of many examples of visceral contrast in the film. It clearly places us in a state of discomfort that can't be shaked throughout the narrative. Within these opening minutes it is quite clear the direction that the film wishes to pursue. We are entering a time in history that would have coincided with the youth of the filmmaker and while beginning in a nostalgic tone we are quickly subjected to the horrors that allegorically represent the time. On top of this, Bong also challenges the masculine character created by New Korean Cinema, so what we have is a highly revisionist exploration of history from the male perspective of the 386 generation, which is the term for people who were born in the 60’s, went to college in the 80s and are now in their 30s (this terms can be labelled on most contemporary Korean filmmakers). The opening scene also adds another link between these two states of nostalgia and revisionism: the opening shot has the boy snatching a cricket, a minute later we see that he is holding a jar full of crickets and just afterwards, once the mutilated body comes into focus, we see that there is a cricket on it. Not only does this contrast the two states of remembrance but it also associates death with the past as well as informing the narrative of the military dictatorship that the film’s story unfolds under. The boy can in fact represent both nostalgia and the military dictatorship, this becomes more pertinent when he is shooed off but refuses to leave. This could represent the omniscient presence of the government and its reach into everybody’s affairs. He also never says anything, save mimicking every word of detective Park: symbolic of a government which refuses to explain itself and subjugates all its civil employees. Park clearly feels unable to do anything about this mockery and lets it lie. The scene ends with him looking at the corpse and then directly at the boy. He tilts his head and squints his eyes and then the boy does the same. Park looks defeated already and is clearly terrified of the task of finding the killer which now faces him. At this point the nostalgic melody comes in again and we cut to the title shot which is a perfect postcard image of the wheat field and the huge space in which it lies.

The title shot, a perfect postcard

As any good opening scene should, this one hints at all of the major themes that will be explored throughout the narrative and is therefore a good sounding board to start off a discussion about post-traumatic masculine identity in contemporary South Korean cinema. Since there are many small strands that need to be addressed in order to get a full picture of the representation of males and Bong’s sociological motives throughout the running time of Memories, I have broken down this essay into six short chapters followed by a more comprehensive conclusion. The first thing to look at and what has already been mentioned in the dissection of the opening scene is the loss of home and it’s impact upon a male generation in South Korea and how the principal protagonist is used to elucidate upon this phenomenon. Next I will discuss the evolution of the character of the post-traumatic male from its first notable appearances in the films of the 1980s up to its most modern incarnation in Memories. Following on from this, a look at Bong’s use, adherence to and subversion of generic staples and codes and how his approach strengthens the sociological impact of the film. Then we will look at the compromised representation of females within these male-dominated narratives and specifically whether or not they are only symbolic and cannot be seen as whole characters. In the next chapter, I will present a case for Bong’s use of psychoanalysis as a means of representing a scarred national identity within a very specific historical framework and how the films’ specific genre ultimately leads to this. Before the conclusion I will briefly examine Bong’s subsequent film The Host and determine whether or not his sociological agenda has continued into an equally important aspect of Korea’s society, namely by representing family with melodrama. Finally in the conclusion I will wrap up all of the arguments presented throughout with a detailed analysis of the closing scenes of the film which serves as an excellent bookend to the film and closing point to the essay.

Next: Part II - The Wandering Male