Park Chan-wook’s cult classic Oldboy has become an inspiration to many action films as a pioneer in its unique theatrical take on martial arts, creating an immersive experience for viewers. This 2003, South Korean thriller was recently played at the Paramount Theatre in Kamloops. The strong emphasis on determination and vengeance, integrated with its moody Mise en scene provides the ultimate theatrical experience for any movie fanatic.
In this scene, Dae-Su has just been released from a drug-induced and senseless 15 year imprisonment, his deliriousness and determination are reflected through a two minute continuous shot. In the scene, Dae-Su fights his way through a crowded, eerily green-toned hallway of assailants with nothing but 15 years of isolated training and tenacity. Before and after this substantial one-take, we see a variety of shots and cuts, working to set up the scene and later, letting viewers digest it. The first cut after the continuous take jumps to a close-up of Dae-Su (depicted above); still focused on him but a stark contrast to the previous full body visuals. This image demonstrates the emotional turmoil experienced by Dae-Su and emphasizes the psychological aspect of the film, giving audience members an opportunity to connect with the character emotionally. In this shot, Dae-Su fills the majority of the screen, allowing the audience to see the background of half-dead bodies left in his wake. The scene is shot from a high angle, emphasizing his victory and skewing the perspective to reflect his delirium, adrenaline, and relief. Dae-Su has finally proved his strength, not only to himself but the audience too. This wavering still shot gives the audiences a second to familiarize with his character and feel his relief. Circling back to before the action begins, we see a total of 6 different cuts, all from different perspectives. This establishes the space they’re fighting in (crowded hallway), the weapons they have (Dae-Su drops his knife), how many people are involved (one man vs. an “army”), and any potential motives (Dae-Su, in a revengeful stupor, has just humiliated and beaten their boss). As soon as the action picks up we jump into a continuous one-take, side-scrolling on a dolly to follow Dae-Su as he fights down the hallway. The camera smoothly moves and stops with him, unlike the dominant shaky and rapid edits of the action genre at the time.(1) While the latter claims to put the audience in the middle of the action, this style forces us to watch every move. We know just as much as the fighter, creating an immersive comradery between the audience and main character. As a result of seeing this fight in its entirety, we also notice Dae-Su’s lack of real-world experience and his struggle to keep up. It’s ugly, clumsy, and built entirely on his refusal to give up – a strong indication of Dae-Su’s character and setting a tone of determination that drives the film.(2)
During opening weekend, the film earned a worldwide gross of $14,980,005, including $707,481 from its domestic opening.(3) While those numbers seem modest when up against Hollywood’s billion-dollar blockbusters, the film exceeded its $3 million budget and quickly became a cult classic in the film industry. Action is a unique genre of storytelling that feeds our “cultural ecology,” and revels in the opportunity to create instinctual reactions in audience members.(4) The philosophical theory, Pharmakon, becomes relevant as we explore the effects of action genres on its viewers. Pharmakon denotes both remedy and poison, and avoids distinguishing between the two. Through this lens – using drugs as an example – discerning what’s poisonous and medicinal is unclear(5), similar to action films that simultaneously dispel fear while also creating it.(6) By layering deeper meanings into seemingly senseless conflicts, the industry has the ability to disseminate “biopolitical pressures”(7) amongst the public. Movies wield the unique capability to connect with audiences on a subterranean level “by participating in the textures of everyday life.”(8) As seen in Oldboy, strategically utilizing Mise en scene and focusing on the intricate relationships between body, sound, pace, and tone creates a riveting action sequence that pushes the movie’s agenda and hooks the viewer.(9) Whether films like this are purposefully used to desensitize the population to certain conflicts – or even to justify them – immersive, hot media such as action films, have a significant impact on its viewers. They may not incite violence, but they generate fear while simultaneously managing how we should interact with it. This is just one example of how movies have the unique ability to engage most, if not all, of our senses. Film is a powerful tool for generating empathy and giving us a sense of the “whole picture.” Even when a story feels far removed from our own lives, every song, style choice, colour, and line works to alleviate our subconscious biases; sometimes challenging them, reinforcing them, or even creating new ones. Without critical and diligent engagement we may not realize the messages encoded within a film, and the instinctual reactions they draw from us.
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