Sympathy for Mr. Vengeance

All I could think of during the last 20 minutes of this amazing film is how I am feeling the exact same way I felt as the final act played out in "Taxi Driver", were the only word floating through my brain and out my mouth was "Jesus". Anyway I was blown away.

I must admit that violence has not bothered me too much in my 25 years of watching films. It did affect me when I saw "Taxi Driver" for the first time, and it did truly mess me up when I saw "Irreversible" and now this film. I don't think I can handle too much anymore. I am glad that I was not prepared for the last act of this film. I was lulled into trance while watching the film unfold, it was mesmerizing. I loved everything about it, the acting, the story, again I had no Idea where it was going, I say again because I have mentioned this point in previous reviews, Asian films kick ass because they don't pander to focus groups or near sighted Hollywood suits, they take you places you either have no Idea where your going or take you places where you may feel the need to turn back but can't.

The relationships in this film are so pure, so real and beautiful, especially between the little girl and her captures. I love the way they set up the scene that would be the catalyst for the ensuing mayhem, even until the last second you aren't sure how far they were going to take it. I don't want to ruin anything so I will stop now.

I recommend this film to anyone who appreciates a films that break all the rules, films that are not easy to digest, films that are beautiful and tragic at the same time, and guaranteed if you see this film you will feel sympathy for anyone who is put into that postion, sympathy on both sides, Vengeance is like a pebble in the water.

There aren't to many times when credits roll on a film and I want to immediately start watching it through again. This is one of the rare exceptions.

Visually stunning with artistic merit to almost every shot. Deliberate frame composition with the eye of a classical painter married to lighting that underscores the narrative with sublime control. The shots alternate between tight intimate shots with strong angles that elude to POV and deep staged shots in full focus throughout that nearly ride the axis like looking down the barrel of a rifle into the deepest darkest corners of our characters' lives.

The light and textures on screen are lush and rich and the focus generally deep like Seven or Silence of the Lambs. Solid DOP, solid Cinematographer, solid Production Designer, Solid Art Director, across the board this film stands up as tight, smart, unexpected, sometimes abusive and always engaging like a car wreck in all the charmed ways.

Dialogue, though minimal, is always apt and loaded. Sign language feels like Tai Chi, delicate here, fierce there, somehow clear I believe even without subtitles.

This gem is deliciously horrific, a complete study of tragedy and of theater grotesque. Like Scarface the film is laden with stomach clenching non-gratuitous gore which is somehow infinitely more disturbing.

The driving narrative is about vengeance, layer upon layer, constantly underscored by social commentary both direct and sub-textual addressing inequities, rights, justice and the cruelty / fairness of commerce, fate and basic karma.

Well crafted, well delivered, well done. Excellent. And absolutely NOT for people with weak gullets, true that.

What an erratic and interesting ride it has been for violence infested movies throughout the long decades of cinematic experiments so far. Whether it was combinations of drama, horror, even comedy or the fusion of all three simultaneously, their results rarely attained much impact aside from delivering pure shock value and strong cult followings. Nevertheless, such unfortunate stereotypes didn't prevent me from seeking out films that most people proclaimed to be "hard to stomach". Better luck next time; Funny Games, Fingered and countless cannibal themed films from Italy, respectively of course.

I often come upon films that try very hard to make me look away from the screen and try even harder to make me empathize with the characters who are delivering and or receiving the poorly climaxed torment. Such cinematic pretentiousness finds no place in my mind and gets discarded as soon as processed.

And then came Mr. Vengeance. Possibly to aid the ever growing genre of dramatically pragmatic films, bravely dealing with real life stories in a bold and sometimes unseen fashion.

What made Sympathy for Mr. Vengeance all that much visceral was the fact that there was no pleasant music to tranquilize the painful story and beautify the scenery, nor was there any stylish before-and-after fight facial expressions and catchy lines to make the whole experience seem out of this world and cool. Not that there is anything wrong with using those elements in film. And it needs to be noted how interesting Kang-ho Song is always to watch, whether he's playing an aspiring wrestler, a small town inspector or a father on an avenging rampage. Credible acting is essential in films that have to deal with heavy biases for being mentally hard to digest and visually difficult to appreciate, gladly SFMV had those holes covered with an ease.

The entire flow of the story seemed very effortless and drag free. Both the action and reaction of each character seemed to be traveling at such fast speed that rarely gave you time to over-analyze their motives and directions, which ultimately helped the story to signify the depth and restlessness of each person on a mission to get their revenge.

Audiences are always mercilessly expressing their distraught over revenge flicks for one reason or another, so if you still have any room and temptation left to see a serious and sophisticated side of revenge then I can't recommend a better film, by a better director, to take you on the hybrid journey of pain, retribution and more pain.

Sympathy for Mr. Vengeance is, simply put, the best film I have seen all year.

Chan-wook Park's mastery of cinematic language is stunning. I Recently saw Oldboy, and was intrigued by the style and freshness of that film. but where Oldboy sometimes degenerates (albeit in a very entertaining fashion) into simple violence and visceral satisfaction, Mr. Vengeance does not.

Those not accustomed to a slower paced film may say that there is too much postulation and ambiguity in this film, but they would be completely wrong. Never has a film managed to capture my attention so fully as this one. The majority of the time, we are left in quiet reflection of the events hat have taken place. The setting is rich and South Korea is shown in all its glory as a culture emerging from a somewhat torn past.

Every moment is beautifully framed and executed, and there are multiple ways in which the viewer is drawn into the lives of the characters that exist in this space. Colour is obviously very important to park, as each moment is perfectly balanced and flows from frame to frame in a way that would make most Hollywood directors green with envy.

The themes of vengeance and tragic fate are intertwined in such a way that almost numbs the senses after a time. Even though there is no "hero" or "villian" in this film, each character shares the spotlight in turn and the motivations for their actions are slowly revealed, justified, and then torn apart as fate intervenes to bring everything to a point of complete helplessness and futility.

A very powerful, beautiful film.

For all the right reasons, to help save a sister's life, off to a black market butcher and their double crossing knife. Through more formal operations, a matched kidney then appears, but the price is far too high for accessing the surgeons shears. A small ransom for a child, keep them hostage for a day, until the father drops a case of cash, then takes their kid away. Now the spiral has commenced, events cascade out of control, with the hope that dangled briefly, now scythed clean, no longer whole - and it doesn't make life easier if you're deaf as well as being metaphorically dumb and blind, no matter how desperate you might be.