Geuddae geusaramdeul

US release: fall 2005. Shown at the New York Film Festival at Lincoln Center, October 2005

After Park Chunghee became President of South Korea by military coup in 1961 he made major contributions to the country's industrialization and economic development – but became a dictator by altering the constitution and declaring martial law. He must have had many enemies, and there had already been other assassination attempts by 1979, the moment depicted in the film, when Kim Jaegyu, his KCIA chief, shot him and several of those closest to him at a private bacchanal held at a palatial KCIA safe house. The events are depicted from Kim's point of view. "The President's Last Bang," which is brutal in its unreflective, intense, present energy, is half political film and half violent actioner. It amply shows how corrupt and cynical Park was; how much Koreans at this point enjoyed kicking, punching, and slapping their subordinates in front of others; their abusive and demeaning treatment of women; and their penchants for smoking and chewing gum. After the killings – which went on to include military guards and even cooks – there was a brief period of chaos, also well covered in the film. Kim expected to get away with it, but he and his closest accomplices are soon apprehended. Director I'm includes humor amid the horror, showing the clumsiness and confusion and sheer incompetence of some of the participants. It's interesting to observe how impulsive and improvised the shootings were, and how often the ruling class shifts in their conversation to the Japanese language to be more elegant or avoid being understood by underlings. The film is effective technically and illustrates South Korean cinema's growing sophistication, but it may leave non-Korean viewers cold; the film-making style feels as hard and brutal as the events.

My feeling on the overall direction of the Presidents Last Bang was that it was all done; it seemed to flow right along pretty well. Although it was not nearly as good of a film as Oldboy was. This film used many different ways of keeping you interested in the film. I also thought that it was interesting all the different locations they used, and the actors and wardrobe. Wow you can see how much work it took to make this film, almost every scene was so illustrated, it was amazing. One thing I noticed a lot of was the movie jumped a lot from one location to another, causing some confusion for myself at times. However I truly enjoyed this film mainly because of the actors. There were so many different actors, with different personalities, and a little horseplay that went along with the film. The lighting of this film, was well done as well, I wasn't so much impressed by that but just by the art of each scene that the director showed. If I had to rate this film, I would give it a 7. Because of all the work that went into making the film, the storyline was good, and the actors were great. The camera work was also neat. He used so many different angles and movements. It gave you a lot better quality. This also played into the production quality which was also great. This was a well done film. Props to the Director and his crew.

Dramatic event but narrated like ordinary life with a spoonful of comedy. I like 'The President's Last Bang' because it is comical. I know the history already, and the assassination of Park has been told in so many ways, and everytime it results to be super political while the work itself may not be. However, I do not like the narration part at the end being funny, light, and sarcastic as well. It goes overboard and decreases the whole quality of a movie. That narration sounds even condescending and patronizing toward the audience.

Another thing that makes me uncomfortable is how women are treated in that time period and in the movie as well. Unnecessary nude scenes and lines that degrade and shame women sexually come from women. I'm not sure if the director intended this or not, but it implies that men are blameless for how women are mistreated at that time because women put blame on each other.

In the United States we claim to have a long tradition of free expression which we hold dear, or at least insist we do. I say the words "we claim" because the ability to print Communist propaganda in Minnesota, sell gangsta rap in Arkansas and dunk a crucifixes in urine and call it art aren't exactly things that have been blithely accepted by America's moral majority. But while these things have been met with controversy, protest and even litigation, for the most part we as Americans enjoy a pretty wide birth when it comes to things we're willing to accept in the public square. This is not the case in other more draconian nations. "They hate us for our freedom," I hear some of you cry. Indeed, they're the countries we think about least; the Eastern Bloc kleptocracies, the South American socialists, the ultra-conservative caliphates and, of course, the bulwark remnants of Communism.

You wouldn't expect South Korea to be high on that list of freedom hating dystopias. Sure our understanding of the Korean peninsula is largely centered on the 1950-1953 era, but we all know South Korea is the "free" Korea, right? Well in 1961-1979, South Korea was actually under the leadership of Park Chung-Lee, a former military general turned President for life after a coup d'etat left the country in his power. Within a controversial 18 year reign, Park's expansion of emergency powers, curbing of constitutional rights and overall gestapo-ism led to large-scale student protests resulting in chaos and bloodshed.

It is under those conditions we first meet Korean Central Intelligence Service (KCIA) Agent Ju (Han). Ju is the head of President Park's (Song) security detail and along with Director Kim (Baek) doesn't seem to like the libertine political figure too much. They along with Colonel Min (Kim) plan to assassinate the President at one of his luxurious villas. The entirety of the film takes place within the golden hours before the assassination attempt and twilight hours after the deed. It is at this point the history of the event gets a little hazy. If you're watching The President's Last Bang in the United States, you're used to true stories being fudged. But in South Korea, the events in the film comes with baggage.

The movie itself is menacing and uneasy in it's voyeurism. The feeling evoked by the cinematography is somewhere between bemusement and revulsion; it's otherworldly and murky all at once. The camera has a habit of peering out behind fences, and tilting and buzzing into the four corners of the room like a spying gadfly. Other times the camera seems to stand at attention, squinting up at grimacing generals and bookish bureaucrats. The only person we tend to view at eye level is Agent Ju, probably the only person in the group who's heart is in the right place.

Of course it's not that clear at first. Agent Ju calmly converses with fellow agents knowing full well he's likely going to kill them. We're thrown right into the action with Ju, Colonel Min and Director Kim never really explaining their actions. To those with familiarity on the subject, the feeling must have been similar to the gentle wisp of wind that pre-impacts a mousetrap. I, knowing nothing still tasted the bitter taste of adrenaline pumping through my veins.

The cynicism, bitterness and inspired bits of gallows humor all work in the film's favor serving a surprisingly literal film that, like the event itself, leaves you with more questions than answers. With judging eyes primed by President Park's bacchanalian vices we're chained to characters left either dead or disappointed and no one, including the audience is wiser for it.

It is arguably for that reason the reaction following the film is so polarizing. The Colonel and Director Kim state their reasons for the coup with identical democratic log lines. They along with their targets the President, Bodyguard (Jung) and Chief Secretary (Kwun) act unilaterally callous and equally despicable. Meanwhile President Park's legacy, which includes being Korea's "greatest president" according to actual Koreans, is thrown in the air like a flank steak being fed to pitbulls. The Park family successfully sued the production company for $105,000 over the President's portrayal. And before you go saying $105,000 is a tiny amount to a studio, also consider the Park family includes current president Park Geun-Hye.

The President's Last Bang is quietly and assuredly one of the murkiest political statements ever committed to the screen. While speaking a story that offers little resolution, the images on the screen clearly pierces a wound into the psyche of contemporary Korea. Seeing the American DVD release, I was not aware until later that the Korean release purposely left blank screen for images deemed offensive. While that technical detail was left out of the American release, what's left out of both are 4 minutes of documentary footage of the student demonstrations that revealed Park for a despot.

I saw this recently at the Toronto International Film Festival to a packed house with the director present. I liked it.

It comes across as a fictionalized account of the events leading up to the the 1979 president's assassination. It was believable, suspenseful, and occasionally funny, if you can imagine that! This was the work of someone who really cared to bring a defining historical moment into the modern psyche, to raise some important questions about Korean society.

In my mind, this is what movies should be about -- defining moments of time. And crafting a story that allows the viewer to be drawn into the circumstances, to be shown a view of how things may have happened without being dogmatic or overly judgmental. Kudos to the director to crafting an even-keeled drama that, I suspect is accessible to a large international audience.