film

Review Catch-Up: Memories of Murder (2003)

Written by Sung-bo Shim and Bong Joon Ho, based on a play by Kwang-rim Kim, and directed by Bong Joon Ho, “Memories of Murder” is a loose adaption of the events surrounding South Korea’s first recorded serial killer. The film follows the detectives in charge of the case, though while it’s more of an ensemble in nature we do mostly focus on two of the detectives, namely Park Doo-man (Kang-ho Song) and Seo Tae-yoon (Kim Sang-kyung). If there was a lead for the film, it would undoubtedly be Park Doo-man, he’s the detective that discovers the first body, and the one whose life we see most of outside of the Police Station. Detective Deo Tae-yoon isn’t brought in until later, he’s the young Detective sent from the big city to assist in analysis of, and the search for, the killer. There are other important characters that layer the proceedings and give the story crucial beats, like Detective Cho Yong-koo (Roe-ha Kim) who serves as an example of the extreme frustration the Detectives are dealing with as the film’s protagonists become more strained and drained as the case lingers on without progress. There’s also the steadfast chief of police in the elder Shin Dong-chul (Jae-ho Song), and the frustratingly ignored Officer Kwon Kwi-ok (Seo-hie Ko), the only female cop involved in the proceedings whose more diligent intuitions are scoffed at a bit. Set in the early 1980’s when the majority of the killings took place, the themes and tone of the story match the ebb and flow of the film perfectly, even down to the color grading. The film opens on a golden field with Park Doo-man stumbling across a dead body straight out of a David Lynch film, something truly horrifying lurking just beneath a sunny disposition.

Okay, so I know in my last article I noted that I’d be attempting to get caught up in the recent Oscar winners and nominees that I haven’t seen yet- but the Criterion Collection went and released a physical copy of this hard-to-find Bong Joon Ho classic and after a first watch I knew it had to be the next thing I wrote about here. So, the Oscar movies will come eventually- some are hard to find though. In the meantime, we have this gloriously crafted film to tide us over (and possibly the ‘Samurai trilogy’ starring the legendary Toshiro Mifune if I can’t hold back from the 3 film binge-watch). Anyways, back to the film at hand. “Memories of Murder” is essentially a police procedural about police with no procedures. I can’t take credit for that line specifically, but it rings so true to the essence of the film that I lifted it for this review- though I cannot remember the initial place I heard or read it. There’s so much I could cover in this review, but as a whole the one thing that stood out to me above all else, over and over again, was that there was an auteur behind the camera lens. “Memories of Murder” feels like an instant classic, even to a greater degree than Bong Joon Ho’s later films like “Mother” or “The Host”. I’ve included a link at the bottom of this review from the legendary YouTube channel “Every Frame a Painting” where the video essayist tackles a crucial aspect to “Memories of Murder”, ensemble staging. I highly recommend giving that a watch, it’s one-hundred percent on point in my opinion. Bong Joon Ho masterfully places his actors with an emphasis on character evolutions, the power dynamics of any given scene, and a critique on the systems of power that allowed this insanity to thrive in the first place. It’s all there on the screen if you’re looking for it. None of it feels forced, or overly cheeky, it doesn’t call attention to itself either. It’s just damn good directing. Beyond the directing, the film excels in drawing you in with a lighter tone overall in the first half of the film. There’s some truly comedic stuff at the beginning, a whole crime scene is upended by a lack of protocols, no control over the situation from those in charge, and destruction of evidence from locals and unruly reporters barging in. That scene also has some masterful camera movement, keep any eye out for stumbling forensic agents, you’ll know it when you see it. The second half is where it truly steps into a whole other level of film though. Things are getting tough, the team not only attacks their suspects out of complete lack of progress and a struggle to keep any witnesses they do acquire alive (don’t worry, no deliberate killing from the police force), they strike out because they don’t know how to handle the situation. The whole tone of the film running into the third act feels unnerving. Characters who scoffed at brutal tactics earlier in the film resort to the cathartic but unsuccessful methods, and other characters that were incredibly confident become mired in doubt and hesitancy.

While the characters make some progress in tracking down the killer, what they do achieve feels superficial at best. While attempting to understand the serial killer’s process, they discover that the killer only comes out to prey on women when it’s raining, and he always calls in a specific song to the local radio station. The film converts you into believing that a specific suspect who fits several of their collective hunches so incredibly well, that when concrete evidence denies them that satisfaction of closing the case, you may find yourself siding with the detective who’s about to shoot an innocent man. The film has a lot going for it from the more analytical filmmaking notes like blocking, shot framing, ensemble staging and color grading, to the purely popular entertainment value in these detectives’ search for justice and just how fiercely this wrought their very lives and the mindset of South Korea as a whole. I knew going into the film that the real killer had not been caught or discovered by the time the film was released in 2003- in fact the South Korean public wouldn’t get an answer until 2019 when Bong Joon Ho’s international fame was hitting an incredible high for winning Best Picture and Best Director for “Parasite” (review here: https://spacecortezwrites.com/2020/01/30/review-parasite/) The killer had apparently already been imprisoned for another crime later in the 1990’s and he revealed that he had actually seen this film, but in typical serial killer fashion, the guy was a weirdo with a weird response. Check out the following link to an article that the Criterion Collection wrote up about that subject (spoilers for this film and others in Bong Joon Ho’s oeuvre: https://www.criterion.com/current/posts/7361-memories-of-murder-in-the-killing-jar#:~:text=Thirty%2Dthree%20years%20after%20the,a%201994%20crime%20in%20another).

There’s not really much more I can say without revealing all of the film’s secrets and nuances, but it is one I highly recommend you give a chance. It’s smart, quite funny at times, harrowing, incredibly sad, and the last shot of the film will leave you with horrific implications of unchecked evil in the world. Oh, and I can’t leave without noting the incredible number of dropkicks performed by nearly all of the Detectives at one point or another throughout the film. Each one elicited a euphoric laugh from me personally, no one expects the dropkick. If you’re a student of film, I urge you to watch and learn.

Final Score: 3 Detectives

film

Old School Review: “The Naked City” (1948)

Written by Albert Maltz and Malvin Wald, based on a story by Wald, and directed by Jules Dassin, “The Naked City” is a police procedural that follows the NYPD Homicide department as they investigate the murder of a beautiful young woman who was drowned in her own bathtub. This dogged detective story was a delightful surprise, the film seems to have been ahead of its time in several departments, perhaps most notably with it’s depiction of darker content alongside a sort of docu-fictional representation of New York City and the many characters who populate it’s streets and buildings. Though the film has a huge cast of smaller roles that layer the story quite well, we chiefly follow Lieutenant Dan Muldoon (Barry Fitzgerald) the head of the Homicide department, and the latest recruit in Detective Jimmy Halloran (Don Taylor) who does most of the legwork on the case.

Mark Hellinger, producer of the film and former journalist, had a lot to do with the production. Not only did he conceive the idea of shooting the film on location instead of on a Hollywood set (revolutionary at the time), he’s even our omniscient narrator that pipes in throughout the film to give our heroes and villains prodding suggestions and commentary. While the narrator can be a bit dated and cheesy at times, the film does use narration in inventive ways that keeps the pace trotting along at an amicable pace. I was also surprised to hear the narrator give the villain words of encouragment in the third act after he’s been outed, which was an interesting touch- I wouldn’t have expected the narrator to care about the health of our murderer at all. Indeed, the film doesn’t shy away from the ugly side of criminality and that only makes the investigative work of the NYPD that much more dire as they put their feet and their minds to work in sniffing out the culprit. Inbetween shots of children playing in the open fire hydrant, women chatting while window shopping, and mothers tending to their crying babies, the film also shows us criminal partners offing each other in the east river and cleverly hides our villain in plain view several times. Muldoon’s gallows humor also supports this notion while subtely showcasing his years of experience in handling tragic cases such as this.

This film may have been the originator of many staples of the police procedural genre, so it’s worth a watch in that regard, but really it’s the character work that makes it noteworthy. Muldoon and Halloran make an excellent team but the ensemble work is where the film truly shines. The tiny flourishes of individuality given to all of the major players are something special, like the suspicous Frank Niles (Howard Duff) who’s brought in for questioning early on in the film- but is quickly found out to be a spectacular liar. You can find this film on the Criterion Collection’s streaming service (the criterion channel) or in their shop if you’re looking to purchase a physical copy. At an hour and a half, this was a charming and enjoyable noir-lite Detective tale that I encourage you to check out!

Final Score: 8 Million Stories