I'm an American living in Gwangju, South Korea, and had the distinct pleasure of being one of the first westerners to see Chan-Wook Park's latest film, "Thirst." I've actually seen it twice (two rainy weekends in a row, alas).
Right off the bat, this is not as great a "first experience" as Oldboy. It lacks the immediate, sugar rush mindblowing fellation that that glorious picture provided. "Thirst" lacks the same energy, the vitality of that film. But, this isn't Oldboy's story either. Befitting the more solemn, less cartoonish principle character Sang-hyun (the careful western viewer will note that "sang" means "blood" in the romance languages), who is a priest, the first act of the film is very reserved...and while picturesquely framed, the picture has a much more somber, restrained atmosphere.
However, once our priest, having sacrificed himself to human testing in hopes of curing a disease (in Africa, to a vaguely ebola-like virus that commits also sorts of brundlefly atrocities to his face) dies, he's suddenly returned to life... and the same can be said of the film itself.
The main action of the film takes place in the home of a friend of Sang's, a sickly man (the same actor played the deaf-mute in Sympathy for Mr. Vengeance, an interesting opposition, as the actor who plays the Priest was the vengeful father in that film) whom he provides spiritual support for. And then there's his initially unassuming wife, who Sang, under the influence of his new vampiric lust, becomes infatuated with. After a midnight encounter, things become heated and complicated between the two, and "Thirst" definitely pushes the envelope in this regard.
The two eventually conspire to kill her sickly husband, drowning him during a midnight fishing trip (really just an excuse to drown him). This was probably the only moment in the movie I wasn't really sold on visually. Visually, this is a very solid, grounded film, but this sequence on the lake seemed limited by the use of greenscreen, which makes the mise-en-scene less "Godfather Part II" and more like like an unimaginatively-framed cartoon. Since when did filming people sitting in a boat in the middle of the night become so complicated to justify filming it against greenscreen?
This sequence aside, the film is solid. It's easily Park's most impressive and polished looking film, forgoing the (admittedly admirable) grungy, MTV-esque qualities of Oldboy and forging a more mature style. The film is essentially about the interactions between these two guilty lovers, and often recalls Tarkovsky's "Solaris" in not only its focus but its restraint (and a final moment with a blood red ocean including blood spouting whales reminded me humorously of "Solaris" as well, but that's probably just me).
In guilt over killing his friend, Sang kills his newly single and unrepentent girlfriend, but then, realizing that he's simply compounded his evil acts, revives her as a vampire like himself. Which of course is a complete mistake.
As things spiral out of control, and Sang moves into his dead friend's old house and his dead friend's bed, he realizes he cannot escape his guilt. He is ensnared by and must atone for his evil acts.
It is this sense of "atonement" that pervades Sang's character that ties "Thirst" spiritually to "Sympathy for Lady Vegeance." This is not some kill-crazy guy like Oh Dae-Su, this is a fragile human being-cum-vampire with deep thoughts of right and wrong tormenting him with his every depraved act. Despite the more formulaic aspects of the film, it is this central character that makes it extremely memorable.
Chan-Wook Park has crafted a character in Sang that I consider on par with that of Eli in the remarkable "Let the Right One In." This is a vampire who is afflicted with vampirism, not delighted by it, who feels deep guilt over his incidental craving for blood. "Thirst" works best on an allegorical level, a remarkably spiritual story about temptation, corruption and redemption possible in everyone. And moreover, one cannot help but see the film as an exegesis on the phrase "the road to hell is paved with good intentions." However, despite its serious intentions, "Thirst" lacks the imaginative verve of Park's previous efforts, and one cannot help but feel let down by its slightly conventional nature. Fortunately, this strange and visceral film is charged with enough intimate intensity between the two principal characters that it remains as memorable as his previous efforts, although for different reasons. It's certainly not a great film, but it is a very worthy one.
Right off the bat, this is not as great a "first experience" as Oldboy. It lacks the immediate, sugar rush mindblowing fellation that that glorious picture provided. "Thirst" lacks the same energy, the vitality of that film. But, this isn't Oldboy's story either. Befitting the more solemn, less cartoonish principle character Sang-hyun (the careful western viewer will note that "sang" means "blood" in the romance languages), who is a priest, the first act of the film is very reserved...and while picturesquely framed, the picture has a much more somber, restrained atmosphere.
However, once our priest, having sacrificed himself to human testing in hopes of curing a disease (in Africa, to a vaguely ebola-like virus that commits also sorts of brundlefly atrocities to his face) dies, he's suddenly returned to life... and the same can be said of the film itself.
The main action of the film takes place in the home of a friend of Sang's, a sickly man (the same actor played the deaf-mute in Sympathy for Mr. Vengeance, an interesting opposition, as the actor who plays the Priest was the vengeful father in that film) whom he provides spiritual support for. And then there's his initially unassuming wife, who Sang, under the influence of his new vampiric lust, becomes infatuated with. After a midnight encounter, things become heated and complicated between the two, and "Thirst" definitely pushes the envelope in this regard.
The two eventually conspire to kill her sickly husband, drowning him during a midnight fishing trip (really just an excuse to drown him). This was probably the only moment in the movie I wasn't really sold on visually. Visually, this is a very solid, grounded film, but this sequence on the lake seemed limited by the use of greenscreen, which makes the mise-en-scene less "Godfather Part II" and more like like an unimaginatively-framed cartoon. Since when did filming people sitting in a boat in the middle of the night become so complicated to justify filming it against greenscreen?
This sequence aside, the film is solid. It's easily Park's most impressive and polished looking film, forgoing the (admittedly admirable) grungy, MTV-esque qualities of Oldboy and forging a more mature style. The film is essentially about the interactions between these two guilty lovers, and often recalls Tarkovsky's "Solaris" in not only its focus but its restraint (and a final moment with a blood red ocean including blood spouting whales reminded me humorously of "Solaris" as well, but that's probably just me).
In guilt over killing his friend, Sang kills his newly single and unrepentent girlfriend, but then, realizing that he's simply compounded his evil acts, revives her as a vampire like himself. Which of course is a complete mistake.
As things spiral out of control, and Sang moves into his dead friend's old house and his dead friend's bed, he realizes he cannot escape his guilt. He is ensnared by and must atone for his evil acts.
It is this sense of "atonement" that pervades Sang's character that ties "Thirst" spiritually to "Sympathy for Lady Vegeance." This is not some kill-crazy guy like Oh Dae-Su, this is a fragile human being-cum-vampire with deep thoughts of right and wrong tormenting him with his every depraved act. Despite the more formulaic aspects of the film, it is this central character that makes it extremely memorable.
Chan-Wook Park has crafted a character in Sang that I consider on par with that of Eli in the remarkable "Let the Right One In." This is a vampire who is afflicted with vampirism, not delighted by it, who feels deep guilt over his incidental craving for blood. "Thirst" works best on an allegorical level, a remarkably spiritual story about temptation, corruption and redemption possible in everyone. And moreover, one cannot help but see the film as an exegesis on the phrase "the road to hell is paved with good intentions." However, despite its serious intentions, "Thirst" lacks the imaginative verve of Park's previous efforts, and one cannot help but feel let down by its slightly conventional nature. Fortunately, this strange and visceral film is charged with enough intimate intensity between the two principal characters that it remains as memorable as his previous efforts, although for different reasons. It's certainly not a great film, but it is a very worthy one.
