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Everyone Could Start Again Not Through Love but Through Revenge at Arabian

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2003 motion picture directed by Park Chan-wook

Oldboy
Oldboykoreanposter.jpg

Theatrical release poster
Hangul 올드보이
Revised Romanization Oldeuboi
McCune–Reischauer Oldŭboi
Directed by Park Chan-wook
Screenplay by
  • Hwang Jo-yun
  • Lim Jun-hyung
  • Park Chan-wook
Based on

Old Boy
by

  • Garon Tsuchiya
  • Nobuaki Minegishi
Produced by Lim Seung-yong
Starring
  • Choi Min-sik
  • Yoo Ji-tae
  • Kang Hye-jung
Cinematography Chung Chung-hoon
Edited by Kim Sang-bum
Music by Cho Young-wuk

Production
company

Prove East
Distributed by Prove East
CJ Entertainment

Release engagement
  • 21 November 2003 (2003-xi-21)

Running time

 120 minutes[ane]
State South Korea
Linguistic communication Korean
Budget $3 1000000[2]
Box role $15 million[3]

Oldboy (Korean: 올드보이 ; RR: Oldeuboi ; MR: Oldŭboi ) is a 2003 South Korean neo-noir activity thriller film[four] [5] directed and co-written by Park Chan-wook. A loose adaptation of the Japanese manga of the same proper name, the film follows the story of Oh Dae-su (Choi Min-sik), who is imprisoned in a cell which resembles a hotel room for fifteen years without knowing the identity of his captor or his captor's motives. When he is finally released, Dae-su finds himself all the same trapped in a web of conspiracy and violence. His own quest for vengeance becomes tied in with romance when he falls in beloved with an attractive young sushi chef, Mi-exercise (Kang Hye-jung).

The picture won the 1000 Prix at the 2004 Cannes Film Festival and high praise from the president of the jury, managing director Quentin Tarantino. The film has been well received by critics in the United states of america, with film critic Roger Ebert stating that Oldboy is a "powerful movie not because of what it depicts, but because of the depths of the human heart which it strips bare".[half-dozen] It also received praise for its action sequences, virtually notably the single shot fight sequence.[7] It has been regarded equally one of the best neo-noir films of all time and listed amongst the all-time films of the 2000s in several publications.[viii] The film has been remade twice, an unauthorised 2006 Hindi pic and a 2013 American picture show.

The film is the 2d installment of Park'south The Vengeance Trilogy, preceded by Sympathy for Mr. Vengeance (2002) and followed by Lady Vengeance (2005).

Plot [edit]

In 1988, a man of affairs named Oh Dae-su is arrested for drunkenness, missing his girl'due south fourth birthday. Afterwards his friend Joo-hwan picks him upwards from the constabulary station, Dae-su is kidnapped and wakes upward in a sealed hotel room, where food is delivered through a trap-door. Watching Telly, Dae-su learns that his wife has been murdered and he is the prime number suspect. He passes the fourth dimension shadowboxing, planning revenge and attempting to dig a tunnel to escape.

Fifteen years later, in 2003, Dae-su is suddenly released afterwards being sedated and hypnotized. He wakes up on a rooftop and sees a homo on the ledge ready to jump to his decease, who he tells his story of imprisonment to before leaving him to his fate. After Dae-su tests his fighting skills on a group of thugs, a mysterious beggar gives him money and a prison cell telephone. Dae-su enters a sushi restaurant where he meets Mi-practice, a immature chef. He receives a taunting telephone call from his captor, collapses, and is taken in by Mi-do.

In a frenzy, Dae-su tries to force himself on Mi-Exercise in the bathroom of her flat; however, she is armed with a knife and successfully fends him off. Dae-su attempts to flee the apartment, but a sympathetic and intrigued Mi-do confronts him. Mi-do explains to Dae-su that she is romantically interested in him, but that they hardly know each other and she is not ready to be intimate. They reconcile and begin to course a bond. After he recovers, Dae-su makes an attempt to find his daughter. Discovering that she was adopted, he gives upwards trying to contact her. Now focused on identifying his captors, he locates the Chinese eating place that made his prison food and finds the prison past post-obit a deliveryman. It is a individual prison, where people tin pay to have others incarcerated. Dae-su tortures the warden, Mr. Park, who reveals that Dae-su was imprisoned for "talking besides much". He is then attacked by guards and is stabbed but manages to defeat them.

Dae-su's captor is revealed to be a wealthy homo named Lee Woo-jin. Woo-jin gives him an ultimatum: if Dae-su tin can uncover the motive for his imprisonment within five days, Woo-jin will impale himself. Otherwise, he will impale Mi-exercise. Dae-su and Mi-practise go close and have sex. Meanwhile, Joo-hwan tries to contact Dae-su with important information but is murdered past Woo-jin. Dae-su eventually recalls that he and Woo-jin had gone to the same high schoolhouse, and he had witnessed Woo-jin committing incest with his own sis. He told Joo-hwan what he had seen, which led to his classmates learning near it. Rumors spread and Woo-jin's sis killed herself, leading a grief-stricken Woo-jin to seek revenge. In present 24-hour interval, Woo-jin cuts off Mr. Park's paw, causing Mr. Park and his gang to bring together forces with Dae-su. Dae-su leaves Mi-practise with Mr. Park and sets out to face Woo-jin.

At Woo-jin's penthouse, Woo-jin reveals that Mi-do is actually Dae-su's daughter. Woo-jin had orchestrated everything by using hypnosis to guide Dae-su to the restaurant, arranging for them to meet and fall in love so that Dae-su volition experience the same pain of incest that he did. He reveals that Mr. Park is withal working for him and threatens to tell the truth to Mi-do. Dae-su apologizes for his involvement in the death of Woo-jin's sis and humiliates himself by imitating a canis familiaris and begging. When Woo-jin is unimpressed, Dae-su cuts out his ain natural language as a sign of penance. Woo-jin finally accepts Dae-su's apology and tells Mr. Park to hide the truth from Mi-do. He then drops the device he claimed was the remote to his pacemaker and begins walking away. Dae-su activates the device to impale him, but to find it is really a remote for loudspeakers, which play an audio recording of Mi-do and Dae-su having sex activity. Every bit Dae-su collapses in despair, Woo-jin enters the elevator, recalls his sister's suicide, and shoots himself in the head.

Some time later, Dae-su finds the hypnotist to erase his knowledge of Mi-do existence his daughter then that they can stay happy together. To persuade her, he repeats the question he heard from the man on the rooftop, and the hypnotist agrees. Afterward, Mi-do finds Dae-su lying in snowfall, but there are no signs of the hypnotist. Mi-practice confesses her honey for him and the two embrace. Dae-su breaks into a wide smile, which is then slowly replaced by a look of hurting.

Bandage [edit]

  • Choi Min-sik as Oh Dae-su; he has been imprisoned for about 15 years. Choi Min-sik lost and gained weight for his function depending on the filming schedule, trained for six weeks and did most of his own stunt piece of work.
    • Oh Tae-kyung as young Dae-su
  • Yoo Ji-tae equally Lee Woo-jin: The man behind Oh Dae-su'south imprisonment. Park Chan-wook's ideal choice for Woo-jin had been thespian Han Suk-kyu, who previously played a rival to Choi Min-sik in Shiri and No. 3. Choi then suggested Yoo Ji-tae for the role, despite Park thinking him as well young for the function.[9]
    • Yoo Yeon-seok as immature Woo-jin
  • Kang Hye-jung as Mi-do: Dae-su'due south dear interest
  • Ji Dae-han as No Joo-hwan: Dae-su's friend and the owner of an internet café.
    • Woo Il-han as young Joo-hwan
  • Kim Byeong-ok as Mr. Han: Babysitter of Woo-jin.
  • Yoon Jin-seo as Lee Soo-ah, Woo-jin's sister.
  • Oh Dal-su as Park Cheol-woong, the private prison's manager.

Production [edit]

The corridor fight scene took seventeen takes in three days to perfect and was one continuous have; there was no editing of any sort except for the pocketknife that was stabbed in Oh Dae-su's back, which was computer-generated imagery.

The script originally called for total male person frontal nudity, just Yoo Ji-tae inverse his mind after the scenes had been shot.

Other calculator-generated imagery in the film includes the pismire coming out of Dae-su's arm (according to the making-of on the DVD the whole arm was CGI) and the ants crawling over him after. The octopus being eaten alive was not computer-generated; four were used during the making of this scene. Actor Choi Min-sik, a Buddhist, said a prayer for each one. The eating of squirming octopuses (chosen san-nakji (산낙지) in Korean) equally a effeminateness exists in East asia, although it is ordinarily killed and cut, not eaten whole and live. Usually the nerve activity in the octopus' tentacles makes the pieces however squirm posthumously on the plate when served.[10] [11] [12] When asked in DVD commentary if he felt pitiful for Choi, director Park Chan-wook stated he felt more sorry for the octopus.

The final scene's snowy landscape was filmed in New Zealand.[thirteen] The ending is deliberately cryptic, and the audience is left with several questions: specifically, how much fourth dimension has passed, if Dae-Su'south meeting with the hypnotist really took place, whether he successfully lost the knowledge of Mi-do's identity, and whether he will continue his relationship with Mi-do. In an interview with Park (included with the European release of the film), he says that the ambiguous catastrophe was deliberate and intended to generate discussion; it is completely up to each individual viewer to translate what isn't shown.

Reception [edit]

Disquisitional response [edit]

Oldboy received mostly positive reviews from critics. Review aggregation website Rotten Tomatoes gives the film a score of 81% based on 151 reviews with an average rating of 7.40/10. The site's consensus is "Violent and definitely not for the dainty, Park Chan-Wook's visceral Oldboy is a strange, powerful tale of revenge."[xiv] Metacritic gives the pic an average score of 77 out of 100, based on 32 reviews.[xv]

Roger Ebert of the Chicago Sun-Times gave the film four out of four stars. Ebert remarked: "Nosotros are so accepted to 'thrillers' that be just as machines for creating diversion that it's a shock to find a movie in which the action, all the same trigger-happy, makes a statement and has a purpose."[6] James Berardinelli of ReelViews gave the film 3 out of four stars, saying that it "isn't for everyone, but it offers a breath of fresh air to anyone gasping on the fumes of too many traditional Hollywood thrillers."[16]

Stephanie Zacharek of Salon.com praised the flick, calling it "anguished, beautiful, and desperately live" and "a dazzling piece of work of pop-culture artistry."[17] Peter Bradshaw gave it 5/5 stars, commenting that this is the first time in which he could really place with a small live octopus. Bradshaw summarizes his review by referring to Oldboy as "picture palace that holds an edge of cold steel to your pharynx."[18] David Dylan Thomas points out that rather than simply trying to "gross us out", Oldboy is "much more interested in playing with the conventions of the revenge fantasy and taking united states of america on a very entertaining ride to places that, conceptually, we might non want to become."[19] Sean Axmaker of the Seattle Post-Intelligencer gave Oldboy a score of "B-", calling it "a bloody and brutal revenge film immersed in madness and directed with operatic intensity," but felt that the questions raised by the film are "lost in the battering assault of lovingly crafted brutality."[20]

MovieGazette lists x features on its "It's Got" list for Oldboy and summarizes its review of Oldboy by saying, "Forget 'The Punisher' and 'Homo on Fire' – this mesmerising revenger's tragicomedy shows just how far-reaching the tentacles of mad vengeance can exist." MovieGazette also comments that information technology "needs to exist seen to be believed."[21] Jamie Russell of the BBC moving picture review calls information technology a "sadistic masterpiece that confirms Korea's current status equally producer of some of the world's most exciting movie house."[22] In 2019 on The Hankyoreh, Kim Hyeong-seok said that Oldboy was the 'zeitgeist of the vigorous Korean movie theater in early 2000s', and a 'boiling indicate that led history of Korean cinema to new state'.[23] Manohla Dargis of the New York Times gave a lukewarm review, saying that "there is non much to think most hither, outside of the choreographed mayhem."[24] J.R. Jones of the Chicago Reader was likewise not impressed, saying that "there's a lot less here than meets the heart."[25]

In 2008, Oldboy was placed 64th on an Empire list of the pinnacle 500 movies of all fourth dimension.[26] The same year, voters on CNN named information technology ane of the ten best Asian films ever made.[27] Information technology was ranked #18 in the same magazine'due south "The 100 Best Films of Earth Cinema" in 2010.[28] In a 2016 BBC poll, critics voted the film the 30th greatest since 2000.[29] In 2020, The Guardian ranked it number iii amidst the classics of modern S Korean Movie house.[30]

Oedipus the King inspiration [edit]

Park Chan-wook stated that he named the main character Oh Dae-su "to remind the viewer of Oedipus."[31] In one of the film'due south iconic shots, Yoo Ji-tae, who played Woo-jin, strikes an extraordinary yoga pose. Park Chan-wook said he designed this pose to convey "the paradigm of Apollo."[32] It was Apollo's prophecy that revealed Oedipus' fate in Sophocles' Oedipus the Male monarch. The link to Oedipus King is just a small-scale chemical element in most English language-language criticism of the pic, while Koreans accept fabricated information technology a fundamental theme. Sung Hee Kim wrote "Family seen through Greek tragedy and Korean picture show – Oedipus the King and Sometime Boy."[33] Kim Kyungae offers a different analysis, with Dae-su and Woo-jin both representing Oedipus.[34] Too the theme of unknown incest revealed, Oedipus gouges his eyes out to avoid seeing a world that despises the truth, while Oh Dae-su cuts off his tongue to avoid revealing the truth to his world.

More parallels with Greek tragedy include the fact that Lee Woo-jin looks relatively young as compared to Oh Dae-su when they are supposed to exist contemporaries at school, which makes Lee Woo-jin await like an immortal Greek god whereas Oh Dae-su is merely an aged mortal. Indeed, throughout the flick Lee Woo-jin is portrayed as an obscenely rich fellow who lives in a lofty belfry and is omnipresent due to having placed ear bugs on Oh Dae-Su and others, which once again furthers the parallel between his character and the secrecy of Greek gods.

Mido, who throughout the moving-picture show comes across every bit a potent-willed, young and innocent girl, which is not as well far from Sophocles' Antigone, Oedipus' daughter, who, though she does not commit incest with her father, remains faithful and loyal to him which reminds u.s. of the bittersweet ending where Mido reunites with Oh Dae-Su and takes intendance of him in the wilderness (cf. Oedipus at Colonus, the second installment of the Oedipus trilogy). Some other interesting graphic symbol is the hypnotist, who, autonomously from being able to hypnotise people, besides has the power to make people fall in beloved (due east.m. Oh and Mido), which is characteristic of the power of Aphrodite, the goddess of love, whose classic human activity is to make Paris and Helen fall in love earlier and during the Trojan War.[35]

Box office performance [edit]

In Southward Korea, the film was seen by iii,260,000 filmgoers and ranks fifth for the highest-grossing motion picture of 2003.[36]

It grossed a total of Us$xiv,980,005 worldwide.[3]

Awards and nominations [edit]

Soundtrack [edit]

Original Move Picture Soundtrack from Oldboy
Soundtrack anthology by

Jo Yeong-wook
Released 9 December 2003 (2003-12-09)
Recorded 2003 Seoul
Genre Contemporary classical
Length 60:00
Label EMI Music Korea Ltd.
Producer Jo Yeong-wook
Shim Hyeon-jeong
Lee Ji-soo
Choi Seung-hyun

Virtually all the music cues that are composed past Shim Hyeon-jeong, Lee Ji-soo and Choi Seung-hyun are titled later films, many of them film noirs.

Track listing
No. Title Length
1. "Look Who'southward Talking" (opening song) 1:41
2. "Somewhere in the Night" 1:29
3. "The Count of Monte Cristo" ii:34
iv. "Jailhouse Stone" 1:57
5. "In a Lonely Place" (Oh Dae-su's theme) 3:29
half dozen. "Information technology's Alive" 2:36
7. "The Searchers" three:29
eight. "Expect Back in Anger" 2:11
9. ""Vivaldi" – Four Seasons Concerto Concerto No. 4 in F small, Op. eight, RV 297, "L'inverno" (Winter)" 3:03
ten. "Room at the Top" ane:36
xi. "Cries and Whispers" (Lee Woo-jin's theme) iii:32
12. "Out of Sight" 1:00
13. "For Whom the Bell Tolls" ii:45
xiv. "Out of the Past" ane:25
xv. "Breathless" (Lee Woo-jin'southward theme [reprise]) four:21
sixteen. "The Former Male child" (Oh Dae-su's theme [reprise]) 3:44
17. "Dressed to Kill" 2:00
18. "Frantic" 3:28
19. "Cul-de-Sac" one:32
20. "Kiss Me Deadly" iii:57
21. "Indicate Bare" 0:27
22. "Farewell, My Lovely" (Lee Woo-jin's theme [reprise]) 2:47
23. "The Large Sleep" 1:34
24. "The Concluding Flit" (Mi-do's theme) 3:23
Total length: 60:00

Remakes [edit]

Oldboy (2003)
(Korean)		 Zinda (2006)
(Hindi)		 Oldboy (2013)
(English language)
Choi Min-sik Sanjay Dutt Josh Brolin
Kang Hye-jung Lara Dutta Elizabeth Olsen
Yoo Ji-tae John Abraham Sharlto Copley

Controversy over Zinda [edit]

Zinda, the Bollywood film directed by writer-director Sanjay Gupta, also bears a hit resemblance to Oldboy merely is non an officially sanctioned remake. It was reported in 2005 that Zinda was nether investigation for violation of copyright. A spokesman for Show East, the distributor of Oldboy, said, "If we find out at that place's indeed a strong similarity between the ii, it looks similar nosotros'll accept to talk with our lawyers."[43] Prove East, the producers of Oldboy, who had already sold the film's rights to DreamWorks in 2004, initially expressed legal concerns merely no legal action was taken every bit the studio had shut down.[44] [45] [46]

American picture show remake [edit]

Steven Spielberg originally intended to brand a version of the flick starring Volition Smith in 2008. He commissioned screenwriter Marking Protosevich to piece of work on the accommodation. Spielberg pulled out of the project in 2009.[47] An American remake directed by Spike Lee was released on 27 Nov 2013.[48] The remake generally received negative reviews with a 39 percent on Rotten Tomatoes.[49]

See also [edit]

  • E Asian movie theatre
  • Greek tragedy
  • Kafkaesque
  • List of Korean-language films
  • List of South Korean films of 2003
  • Revenge play
  • List of cult films

References [edit]

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External links [edit]

  • Oldboy at IMDb
  • Oldboy at the Korean Movie Database
  • Oldboy at HanCinema
  • Oldboy at AllMovie
  • Oldboy at Rotten Tomatoes
  • Oldboy at Metacritic Edit this at Wikidata
  • Oldboy at Box Office Mojo

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Source: https://en.wikipedia.org/wiki/Oldboy_%282003_film%29

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