A look back on “Oldboy” By Otis Hixon W hat does it mean to be human? Some might identify more with their intellect, others with their morality, but the 2003 South Korean film “Oldboy” argues something different: that although these may be traits of humanity, our species is defined by nothing more than our perception of reality. In other words, we are “humans” because we are taught it from infancy, and often believe it. Note that we often believe it. There are cases of humans who reject this shared reality. (I say shared in the loosest of connotations, as the nature of our existence prevents our realities from being experienced by multiple people.) These cases’ realities deviate from the “norm,” and the rest of our species intervene, rejecting this alternate truth. However, if this person were isolated from the rest of their species, their alternate reality would be free to grow. relies Because our label of “humanity” on outside projection, this isolation first deconstructs personal and social identity. “Oldboy” argues that deep beneath our programmed behavior lurks “The Beast,” and it’s exactly what it sounds like: a wild animal. The film takes a regular man, convinced of his humanity, and strips the polish away, freeing The Beast on his enemies as well as himself. Dae-su is that man. Washed up, he drunkenly roams the streets with his friend until mysteriously vanishing, kidnapped by an unknown enemy. Dae-su then spends fifteen years in a single room, isolated from any human interaction. His only connection to the outside world is a television, and the few channels it contains. Soon after he first wakes, he learns his wife has been murdered, and he’s the prime suspect. 25 The Jolly Roger | April 2020 At first, he attempts to maintain his old identity, but it quickly withers away, leaving only boiling determination and revenge beneath. What follows his escape is a desperate hunt for his unknown captor. What it takes to find him, however, is a heavier price than he could’ve guessed. Using imaginary training from when he was imprisoned, The Beast is unleashed on the mystery, going so far as to pry the teeth out of a man’s mouth with a hammer to get the information he needs. The only good thing in his life is his girlfriend Mi-do, who he meets on his journey of redemption. One of the many highlights of “Oldboy” is how emotive Dae-su is. During the film, switching between practically every emotion, often immediately after each other. The best example of this is his meeting with his unknown rival, who’s name is revealed to be Woo-jin. During this confrontation, Dae-su learns that his 15-year punishment was for a mere slip of the tongue in high school, exposing Woo-jin’s incestious relationship with his sister, who commits suicide due to the controversy. Despite the hatred Woo-jin feels for Dae-su, he doesn’t break character. He just calmly explains that while Daesu had been imprisoned, he and Mi-do had been hypnotized. That Mi-do is Dae-su’s daughter, and that he will tell her everything. What happens next is a breathtaking display of desperation. First, Dae-su begs like a dog. Then he grows angry, screaming threats. Next, he begs for forgiveness. Finally, he offers to cut off his own tongue, just as long as he doesn’t tell Mi-do. The deal takes place, and finally Dae-su’s transformation is complete. He is no longer human, only beast. “Oldboy” is a story of alternate truths and the implications of their existence. The viewer is left to decide how they feel about the characters and their actions in the film, just like the characters themselves. Dae-su chooses to attempt to forget the truth, and Mi-do never learns it. The film leaves it up to the audience to judge: is one truth more true than the other? Does it matter? There is only one unflinching truth in “Oldboy.” Human nature may be more civilized than the nature of the beast, but it isn’t the truth. Human nature is, in actuality, composed of tiny alternate truths, little lies we tell each other so as to hide our true nature. That inside everyone, there is a beast.
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