It's hard to encapsulate what Memories of Murder stands for as a movie, but I would say it's a sorrowful, but human experience, portraying various emotional stages throughout a harsh story which we, the audience, are going to live with the protagonists.
Cinematographically mesmerizing, it makes the most out of the scenery of everyday life on rural South Korea. Rain, solitude, quietness, the vastness of the grassland, the depth of a tunnel, all tainted by sepia colored lenses.
In this film Bong Joon-ho proves that he not only is an incredible storyteller, but also master in composition and camera movement. One of the finest examples is the scene where a new body is discovered. Here, the director unfolds the situation with a long take through the grassland, taking us on a trip in the disaster that Detective Park Doo-Man is going through as reporters get into the murder scene, a tractor erases a footprint, police officials falling as they try to get to the place, etc.
One of the biggest achievements resides in its pacing, achieving a subtle and brief change of moods, the film takes its risks with the ludicrous methods of Detective Cho Yong-koo without making the viewer think that some particular scene is out of place. The chase scene inevitably comes to my head as another prove of Bong Joon-ho ability with the camera, as he doesn't abuse any resource, he sneaks it by switching between quick cuts and long takes.
Bong's films are always impregnated with a political background that includes class struggle, heavy bureaucracy, corruption & civil guard brutality. The Host, Mother, Snowpiercer, Okja are clear examples of this and Memories of Murder isn't an exception. South Korean police force is depicted as an inefficient and arrogant law enforcement political arm that isn't capable of accepting the case is beyond their capabilities and these feelings of discomfort and anger caused by the police's negligence are exacerbated by the political scenario South Korea was experiencing.
My final word on this masterpiece is the tunnel scene. It makes the film's final transition from what began as a crime thriller to an exasperating psychological and sorrowful cinematic experience as we grow fond with our desperate protagonist, in what seems to be his last try to see through the eyes of the number one suspect, which ends in a frustrated attempt to solve the case. This takes us to the ending of Memories of Murder, which I will say is one of the most powerful ever seen on film... as detective Park Doo-Man looks straight into the camera, breaking the fourth wall and sorrowfully starring at the audience, looking one last time for those indistinct murderous eyes within the average crowd.
10/10.
Cinematographically mesmerizing, it makes the most out of the scenery of everyday life on rural South Korea. Rain, solitude, quietness, the vastness of the grassland, the depth of a tunnel, all tainted by sepia colored lenses.
In this film Bong Joon-ho proves that he not only is an incredible storyteller, but also master in composition and camera movement. One of the finest examples is the scene where a new body is discovered. Here, the director unfolds the situation with a long take through the grassland, taking us on a trip in the disaster that Detective Park Doo-Man is going through as reporters get into the murder scene, a tractor erases a footprint, police officials falling as they try to get to the place, etc.
One of the biggest achievements resides in its pacing, achieving a subtle and brief change of moods, the film takes its risks with the ludicrous methods of Detective Cho Yong-koo without making the viewer think that some particular scene is out of place. The chase scene inevitably comes to my head as another prove of Bong Joon-ho ability with the camera, as he doesn't abuse any resource, he sneaks it by switching between quick cuts and long takes.
Bong's films are always impregnated with a political background that includes class struggle, heavy bureaucracy, corruption & civil guard brutality. The Host, Mother, Snowpiercer, Okja are clear examples of this and Memories of Murder isn't an exception. South Korean police force is depicted as an inefficient and arrogant law enforcement political arm that isn't capable of accepting the case is beyond their capabilities and these feelings of discomfort and anger caused by the police's negligence are exacerbated by the political scenario South Korea was experiencing.
My final word on this masterpiece is the tunnel scene. It makes the film's final transition from what began as a crime thriller to an exasperating psychological and sorrowful cinematic experience as we grow fond with our desperate protagonist, in what seems to be his last try to see through the eyes of the number one suspect, which ends in a frustrated attempt to solve the case. This takes us to the ending of Memories of Murder, which I will say is one of the most powerful ever seen on film... as detective Park Doo-Man looks straight into the camera, breaking the fourth wall and sorrowfully starring at the audience, looking one last time for those indistinct murderous eyes within the average crowd.
10/10.