Joint Security Area

It's been a few years, but I saw this in a Singapore theatre a day or two after it opened there. A Korean friend had mentioned it was good, so I went to check it out assuming it would be good. OH MY GOSH! This was an excellent movie and it seems so unfortunate that it didn't get a wide-release in North American (or not that I know of) as I think it would have done really well! This was #1 in Korea beating out Spider Man!! In fact, the North Korean leader even requested a copy for his viewing pleasure -- perhaps to get his own look at what South Korea might be plotting, or maybe simply to be entertained with some great film-making.

The movie combines a very likable Hollywood touch with compelling plot action, in contrast to some very personal moments and an amazing sense of suspense in this movie. I was floored.

The whole location of where the movie takes place -- in the demilitarized zone between North and South Korea -- and the acute tension was certainly captured and sure made for great story-telling. I can't remember another movie where I saw and experienced more tension in a story than in this movie! It fit the story perfectly, and really got the movie off to a great start. Then, as the characters were introduced, piece by piece, we explored action, emotion, and thought. The movie examined, re-examined and really brought us close not only to the events, but to the people in the story. I felt a range of emotions in this story culminating in a really great movie!

This is a must-see!

JOINT SECURITY AREA is pretty amazing, but the less said about the plot, the better to insure your full enjoyment, surprise and emotional connection. Another member puts the film down for its sentimentality. I don't know about that: When a country has been as divided as has Korea for the past half-century, a movie like this must have really knocked the socks off of a lot of South Koreans (I doubt it could be shown in the North). I'm trying to think of some equivalently themed American film, but nothing comes to mind. "A Midnight Clear"--or a film about comradeship on either side of, say, America's Civil War-- just couldn't provide the sense of long-term division/separation that Korea has experienced. Beautifully filmed, with flashbacks and varied points-of-view, this puzzle movie eventually comes together, offering some of its best moments toward the end. The last shot is astonishing: simple and reminiscent, but now seen with enough clarity and irony to open mouths and overflow tear ducts.

After a general moratorium on film exports, JSA was amongst the first few Korean films to appear in west, to be associated with the emerging Korean 'New Wave' cinema. It was also one of the most successful and expensive films made in the country at the time, and as such was director Chan-Wook Park's breakthrough film. Park has since gone on to direct such cult items as Oldboy, in which he combines a sure sense of staging with a visual, kinetic flamboyance all of his own. A compelling and moving work in its own right, JSA makes something haunting and memorable out of a situation which, in outline, could easily have proved propagandist and dull.

It takes place entirely at the Panmunjom, the Korea DMZ peace village where North and South Koreans face off under the terms of 50-year-old treaty, glaring at each other across a thin stretch of ground, huddled over spyglasses and rifle barrels, or staring each other down across a borderline. The bitter division of the country provides a frequent background to much of its cinema just as, in its way, the spectre of past nuclear destruction has haunted that of the Japanese. But there is a difference. Japanese cinema often shows the dangerous unity of clan, kin or country in the face of crisis. In Korean cinema, brothers are often divided whilst, around them, a fractured society threatens and fights itself. Sometimes the violent resolution of the country's famous stand off promises mutually assured destruction, as is presented symbolically at the climax of Attack The Gas Station! (1999). In other films it can appear as part of an action thriller (Shiri), or as the basis of a recent war film (Taegukgi, 2004), and so on. In the more profound JSA, national division provides a starting point for an examination of the human condition, as soldiers on either side of the line discover what it is to establish warm, normal interaction - even at terrible cost.

"There are two kinds of people in this world - Commie bastards and the Commie bastards' enemies" says a South Korean officer to the Swiss investigator Major Sophie Jean (Yeong-ae Lee) at the start of Park's film. Jean works for the Neutral Nations Supervisory Commission. Previously her superior has warned her that her real job is not to investigate, "who, but why," and that "the outcome is less important than the procedure." But as Jean delves deeper into recent events with an insistence born of her own family history, revelations prove Rashmon-like, proving that the truth is by no means black and white. In fact the opening scenes, containing the harsh protocols for her work, are the least satisfying of the film. (A fact exacerbated by the poor spoken English of actress Lee and the woodenness of her Swedish companion). It is only once the viewer enters the experience of the soldiers - a process gradually revealed through a number of sometimes-gnomic flashbacks - that JSA becomes interesting.

JSA was a controversial success in Korea. The action is set very precisely, at the borderline between two societies and Park was concerned to make it as realistic as possible, spending $1 million on building his own Panmunjom. As a narrative his film is just as deliberately less exact, hovering between military thriller, patriotic tragedy, personal loyalty tale as we learn more about the soldiers, now tight-lipped under independent interrogation. Enemies, then friends, comrades and brothers, the men's deepening relationship also suggests a more taboo attraction, one which proved unsettling to home audiences. Ultimately the 'Joint Security Area' becomes less a site of military stalemate than a place where emotional ties ought to provide their own justification and balance.

The structure of Park's film is an intriguing one: a straightforward, and reasonably suspenseful investigation of an outrage frames a sequence of flashbacks and reminiscences, often presented in non-linear manner, fleshing out the main story. In between there is some newsreel footage as well as some exploration of Major Jean's motivations, while the feelings of the soldiers concerned are never elucidated, merely explored through past events. The director's achievement lies in tying all this into a reasonably convincing whole, moving the audience from the coldness of a military tribunal to the warm realm of human feeling.

There are several moments in JSA to savour, some of which occur within the no man's land between the two societies itself - a neutrality which seems to encourage a self reflection and recognition between main participants: the snowy, wordless encounter between two border patrols for instance, where tension is dissipated with a single cigarette; or the first encounter on a cold night between Sergeant Oh and Sergeant Lee, surrounded by mines, their breath freezing in an field. Elsewhere Park's camera records the absurdities of petty border etiquette, at one point shooting from overhead the dividing line where soldiers square off against one another, placing figures in some lunatic grid of their own devising. (At one point Park has two of the soldiers mock the solemnity and rigidity of the border by playing spitting games across the line.) There's a similar overhead shot later, this time looking down at a fallen soldier face up in the rain. The camera also plays a memorable part in the last scene of the film, as an ordinary snapshot is transversed by a slow pan, which pulls out of the composition a final, mute commentary of its own.

Asked earlier why one of the soldiers had deserted his post just to relieve himself, the blithe answer comes back as: "People with constipation should seize the chance when it comes." It's a philosophy that informs a good deal of JSA. Not to put too fine a point on it, the film suggests that, blocked by its own political impasse, Korea needs to loosen up and seek relief as it can. Park's film shows one way, perhaps not the best, but a memorable story all the same.

After a shootout at the common security area at the border of the two Koreas, when two soldiers were murdered, Maj. Sophie E. Jean (Yeong-ae Lee) is assigned by the Neutral Nations Supervisory Commission to investigate the incident. The smart Major finds lack of consistency in the statements of the survivors, and in spite of being pressed by her superior, she interviews South Koreans Sgt. Lee Soo-hyeok (Byung-hun Lee) and private Nam Sung-shik (Tae-woo Kim), and the North Korean Sgt. Oh Kyeong-pil (Kang-ho Song), disclosing a tragic story of friendship. In the end, peace and Sgt. Oh are preserved hiding the truth in her report.

"Gongdong Gyeongbi Guyeok JSA" is a magnificent and touching antiwar movie. Directed by Chan-wook Park, the director of the cult "Oldboy", only now this film was released in Brazil, after the success of "Oldboy". This movie has a fantastic screenplay that keeps the interest in the impressive story until the very last scene. I was moved with the sad story of friendship between brothers in this polemic theme. The Common Security Area, created on 27 July 1953 with the armistice between the two Koreas after three years of war, and their reunification, seem to be a taboo for these peoples and I appreciate the courage of this group of excellent actors and actress in approaching such theme. In the Extras of the DVD, the cast and director give interviews about the story but never give their opinion about the reunification of these nations. The stunning cinematography and camera work are also very beautiful. My vote is nine.

Yitle (Brazil): "Zona de Risco" ("Zone of Risk")

I must admit when i first saw the cover of this movie my initial thoughts were "oh man another pointless testosterone military driven movie", how wrong i was.

This is a wonderfully crafted masterpiece that evokes the strongest emotions in a person's heart. The movie is set in Korea and portrays how different people can set asides their differences and be able to see each other in the purest form, that we are the same, brothers and sisters.

I found myself on a roller coaster ride of emotions, laughing one minute, in with tears in another. All the actors and actress have done a superb job in this one. The most emotionally powerful scene was the last scene. Only a photograph but conveys so much meaning and emotions.

Definitely a must watch movie, no matter what nationality you are, you will be enchanted and inspired by this movie's magic, and understand a bit more about what it means to be a person.