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In Seoul, parts not matching of severed copses of three men are found in cars and bags left in public spaces. Detective Cho, who is under investigation of the Internal Affairs, is assigned to lead the investigation with his team. When the identities of the men are discovered, the police finds that the artist Su-Yeon Chae, who lives with her friend Seungmin Oh, had been lover of the men. Detective Cho and his force protect Su-Yeon and follows the leads based one the information she tells, while the killer executes other victims. However, Cho discloses very dark secrets in the end, finding the real motives of the murderer. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The best scene in this movie involves a big plastic garbage bag left in an elevator. I don't want to spoil it, but let's just say that while I was pretty anti-elevator beforehand, now I wouldn't THINK of using one. There are some other good scenes involving garbage bags but they lack the sheer claustrophobic intensity of the elevator scene.
This is a sleek little thriller with elements borrowed in a truly cosmopolitan manner from Takeshi Kitano, Jean-Jacques Beineix and Quentin Tarantino, among others. In classic Noir tradition, it never seems to stop raining. (Back in the army I served with some guys who had just returned from Korea which, they informed me, has three kinds of weather: "Hot as a m'f'er, cold as a m'f'er and wet as a m'f'er." This movie confirms at least one-third of their insight.) It's a series of serene surfaces punctuated with corpses mutilated to some extent or other, but even the corpses exude a kind of serenity. It struck me as a good movie to watch on an airplane if you're afraid of flying, especially with a dubbed soundtrack like maybe "Genetic World" by Telepopmusik. (Most of you have probably heard at least one tune from that CD, "Breathe," it's in that car ad with the black guy driving around hallucinating various passengers.) The exotic stylized violence in the movie will distract you from the possibility of a mishap with the plane while you become tranquilizd by the almost beatific atmosphere and of course some really cute Korean chicks to look at. Best of all, the movie ends on an airplane, so your movie reverie should transfer smoothly to real life, especially if the stewardess comes gliding up to offer you a drink---hold on though, I haven't been on an airplane since the Eighties: do they even still serve alcohol?
As for the plot: oh hell, who knows, or cares. For the first five minutes it was fascinating with the cop getting grilled by the Korean equivalent of Internal Affairs because, apparently, a gangster named Park had been paying for his mother's nursing care. This gangster, if I remember right, was never actually seen, or mentioned again. Then they introduced another promising theme with a serial killer playing "musical body parts," but that also seemed to fall by the wayside once the "heroine" was introduced; most of the rest of the flick was the cop swooning over her in various ways. I stopped taking it seriously shortly afterwards. In one sequence that was so bizarre I'm not even sure I remember it right, the cop handed her his gun and then wandered off somewhere so he could get into some trouble for which his gun would have come in handy. In an American or European movie it would've been funny, but here it just left me scratching my head: "Gee, I don't know, they must have some unusual police procedures in the Orient...." There's no such thing as "calling for backup," it would seem. Maybe that makes an Asian cop "lose face"?
The film briefly threatened to come to life again in some late flashback scenes involving the heroine's eccentric artist father, but these elements didn't pan out. Ultimately we're left to draw our own conclusions. Hey, maybe the cop himself was the killer???? Or maybe he was dreaming the whole thing ... or the heroine was ... or the Red King ... or Roy Orbison .... Damn, I still miss him.
Maybe we need an English-language remake to straighten it all out?
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