The Chaser (추격자, Na Hong-jin, 2008)

The chaser movie posterWhen it comes to law enforcement in Korea (at least in the movies), your best bet may actually be other criminals or “concerned citizens” as the police are mostly to be found napping or busy trying to cover up for a previous mistake. The Chaser (추격자, Chugyeogja) continues this grand tradition in taking inspiration from the real life serial murder crime spree of Yoo Young-chul , eventually brought to justice in 2005 after pimps came together and got suspicious enough to make contact with a friendly police officer.

Former cop turned petty pimp Joong-ho (Kim Yun-seok) has a problem. His girls keep skipping out on their debts. Or so he thinks – rousing one of his last remaining “employees”, Mi-jin (Seo Young-hee), from her sickbed (and unbeknownst to him calling her away from her seven year old daughter), Joong-ho finds a phone belonging to a missing girl and realises the last number called is the same as the one he’s about to send Mi-jin off to. Suspicious, Joong-ho rediscovers his detective skills and notices this particular number all over his books. Thinking the john is kidnapping his girls to sell them on, Joong-ho hatches a plan to track Mi-jin and have a word with this bozo but unsurprisingly nothing goes to plan. Mi-jin has fallen into the grip of a vicious serial killer, Young-min (Ha Jung-woo), but may still be alive if only Joong-ho can find her in time.

Joong-ho is not a good guy. Maybe he’s not the worst of his kind but as a former law enforcement official turned unsentimental exploiter of women, Joong-ho is an unlikely saviour. His primary motivation is, unsurprisingly, commercial as the look of concern he gives to one of his ladies encountering a dangerous client betrays, the kind of irritation a taxi driver might display on noticing a large scratch on his expensive car rather than a recognition of the pain and suffering those cuts and bruises bear witness to. He never stops to consider that something untoward has befallen the missing women and is, in one sense, relieved when he thinks they’ve been sold on rather than just skipping out on him. Throughout his quest to find Mi-jin which sees him forming an unexpected paternal bond with her young daughter, Joong-ho begins to rediscover his humanity as he’s forced to confront the similarities between himself and this deranged psycho killer.

Like his real life counterpart, Young-min, is a sexually frustrated misogynist who begins his social revenge through killing off the wealthy before moving on to the less easily missed including local prostitutes which is what ultimately proves his downfall when the various area pimps begin to connect the dots. In actuality it turns out Young-min has previously been questioned in connection with a murder but was released due to lack of evidence. Likewise, this time around the police are not very interested in capturing him and Young-min is once again returned to society due to some political concerns which result in pressure from above. As if having charmed luck with the police weren’t enough, Young-min also exploits the other cornerstone of South Korean society – the church, through which he recruits his victims, subverting their trusting religiosity with his violent perversion.

For a film which largely lives on the chase, winding through the darkened, rain drenched backstreets of downtown Seoul, Na adds in plenty of twists and turns as the case proceeds down one dingy alleyway after another. Joong-ho’s gradual reawakening as a human being rather than cold blooded human trafficker is accompanied by the gradual reveal of his counterpart’s dangerous need for validation through violence but also by the realisation of his total powerlessness in the face of such a nebulous and faceless threat. The police won’t help (perhaps if they’d investigated those parking violations a little more assiduously all of this could have been avoided), the Church is just an ironic distraction, and the politicians are busy squabbling amongst themselves. Joong-ho is an unlikely figure of salvation, but he remains the last best hope for justice so long as he can avoid becoming that which he seeks.


Original trailer (English subtitles)

The Prison (프리즌, Na Hyun, 2017)

prison poster bigPrison can be a paradise if you’re doing it right, at least if you’re a top gangster in the movies. Na Hyun’s The Prison (프리즌) paints an interesting picture of incarceration and the way it links into his nation’s infinitely corrupt power structures. When investigators wonder why a crime spree suddenly came to an end, one of the frequently offered explanations is that the perpetrator was most likely arrested for another crime but what if you could turn this obviously solid alibi to your advantage and get those already behind bars to do your dirty work for you?

Disgraced policeman Song Yoo-gun (Kim Rae-Won) has wound up imprisoned alongside several of the men he himself helped put away. Like many cops who suddenly find themselves on the other side of the bars, Yoo-gun’s life is not easy. Badly beaten, tortured, and threatened with amputation Yoo-gun eventually starts fighting back and seizes the most likely path to prison survival – allying himself with the inside’s big guy, Jung Ik-ho (Han Suk-Kyu). Ik-ho, a notorious gangster famous for eating the eyeballs of his enemies, is the one who’s really in charge around here, not least because he’s the one running the gang of prison based hitmen trotted out to take care of the bad guys’ hit list.

What starts out as an intriguing idea quickly descends into predictability as Yoo-gun and Ik-ho face off against each other, finding common ground and camaraderie but ultimately existing on the plains of good and evil. Yoo-gun has his own reasons for landing himself in prison but his policeman’s heart still loves truth and justice even if he’s forced to become a prisoner whilst in prison. While he goes along with Ik-ho’s crimes, joining in the violence and intimidation he practices, he also wants to take Ik-ho down even if it means becoming him in the process.

While the interplay between the two men forms the central axis of the film as they develop an odd kind of grudging friendship which may still end on the point of a knife at any moment, Na tries his best to recreate the world of the grim ‘80s action thriller. Technically speaking, The Prison is set in the ‘90s (not that viewers outside of Korea would notice aside from the external lack of mobile phones, computers, internet etc) but wants to be the kind of tough, bruisy, fight heavy action movie they don’t make any more in which a righteous hero defeats a large-scale conspiracy by jump kicking hoodlums. He almost succeeds in this aim, but never quite manages to anchor the ongoing background conspiracy elements with the intense pugilism of the prison environment.

Yoo-gun and Ik-ho are obviously a special case but aside from their efforts, prison life in Korea is not too bad – the guards are OK, the warden is ineffectual, and the inmates are running the show. Nevertheless the prison is the centre of the conspiracy as elite bad guys take advantage of put upon poor ones who’ve found themselves thrown inside thanks to ongoing social inequality, trading cushy conditions to guys who’re never getting out in return for committing state sponsored crimes. Needless to say, someone is trying to expose the conspiracy which would be very bad news for everyone but rubbing them out might prove counter productive in the extreme.

Na lets the in-house shenanigans drag on far too long, pitching fight after fight but failing to make any of his punches land with the satisfaction they seem to expect. Flirting with the interplay between Yoo-gun and Ik-ho in wondering how far Yoo-gun is prepared to go or whether he is destined to become his criminal mentor rather than destroy him, Na never fully engages with the central idea preferring to focus on the action at the expense of character, psychology, or the corruption which underlines the rest of the film. Nevertheless The Prison does have the requisite levels of high-octane fights and impressive set pieces including the fiery if predictable prison riot finale. Life behind bars isn’t all it’s cracked up to be after all, the corrupt elites of Korea will have to actually pay people to off their enemies. Predictable and poorly paced, The Prison is best when it sticks to throwing punches but might be more fun if it placed them a little better.


The Prison was screened at the 19th Udine Far East Film Festival.

International trailer (English subtitles)