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Stephanie Bunbury is a film and culture writer for The Age and The Sydney Morning Herald.
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Park Chan-wook’s Decision to Leave charts a detective’s fixation with his prime suspect.
When people told director Park Chan-wook they expected provocative sex scenes in his new film, he “decided to do exactly the opposite”. Credit: AP Photo/Chris Pizzello
No one who saw Korean director Park Chan-wook’s 2003 film Oldboy will forget the scene in which actor Choi Min-sik eats a live octopus. Even more shudderingly horrible was the story, soon circulating at the Cannes Film Festival, where it made a considerable splash, that Park had insisted on shooting it four times. Oldboy was a revenge drama, full of scorching violence of both a physical and emotional kind. Among other distinctions, it established him as a director of graphic, taboo-busting extremes.
In more recent years, Park has gradually turned his attention to drama that is more tightly wired, suspenseful and female-focused. Sex and gore were still running hot among the sinister family dynamics in the English-language Stoker (2013), but his next feature, three years later, was an adaptation of Sarah Waters’ Victorian chiller, Fingersmith , renamed The Handmaiden and set in 1930s Korea. It was notorious not for violence, but for its vivid lesbian sex scenes.
With his new film, Decision to Leave , Park shows a restraint that would almost have passed muster under the Hays Code. This is a love story, he says, for and about adults. Nudity was not necessary. “I started the movie thinking I would like to tell a story that only experienced people will understand,” he told the Korean press later. “But when I told people I would make a love story about adults, they immediately responded by saying, ‘it will be a movie with provocative sex scenes’. That was when I decided to do exactly the opposite.”
Park has always cited Hitchcock’s 1958 classic, Vertigo, as a reference point. Decision to Leave concerns a conscientious male detective who becomes entranced by a beautiful female suspect; it often feels like a deliberate callback, although he says he never connected the two until critics in Cannes pointed out a few parallels. Both are melancholic stories of obsession, guilt and deception. Both also feature a detective with a greater or lesser fear of heights.
Detective Hae-jun (Park Hae-il) and widower Song Seo-rae (Tang Wei) act out a delicate dance in Decision to Leave. Credit: Madman Films
Hae-jun (Park Hae-il) is introduced as Busan’s most accomplished detective. A very different customer from the hard-boiled cops who kickbox their way through most Korean thrillers, he is disciplined, courteous, cultivated and happily married to a witty, pretty and equally high-achieving nuclear scientist working at a power station in Ipo, a few hours’ drive away. They see each other only at weekends, which gives Hae-jun leeway to work nights at stake-outs. That suits him: he is a habitual insomniac. The only decent sleep he ever gets is in the front seat of a car, huddled under his coat.
When an experienced climber is found at the bottom of a rock column, possibly murdered, Hae-jun takes it upon himself to watch the man’s widow. She seems an unlikely wife for the deceased, a much older man given to making brash, boastful vlogs about his outdoor adventures. A Chinese immigrant who came to Korea illegally, Song Seo-rae (Tang Wei) is young, beautiful, dignified but girlish, dressed in a succession of colourful fluffy jumpers and swishing skirts. She is suspiciously unmoved by her husband’s death, but she could not have pushed him off that rock. Seo-rae works as a visiting carer with the very elderly. On the day her husband died, she was with her favourite old lady.
Hae-jun interrogates her by day – a process that becomes a kind of courtship – and watches her through binoculars by night. She knows he is watching; he knows she knows. As their intimacy thickens, she will tell him she finds it comforting to know he is out there, guarding her. She is nothing like a femme fatale, an expression Park says he deliberately avoided using. On the contrary, she is warm, charming and flirts with him so openly that it doesn’t feel like manipulation – not to him, anyway. Meanwhile, he unpacks the case, one detail at a time.
When her alibi crumbles, so does Hae-jun’s professional certainty, confidence and moral compass. No matter what he discovers, he knows now he will never arrest her. That is his undoing and the romantic clincher.
I wanted to make something classically refined where the characters’ emotions are swirling internally, but on the outside they are quiet.
“From the point of view of Seo-rae, knowing what kind of man he is, what kind of detective he is, that kind of choice is stronger than saying ‘I love you’ a hundred times,” says Park. “That is the moment when her love towards him starts. You could say she used the detective with her own agenda but, by the second act, this changes completely – to the point where she gives him evidence against her.”
Of course, she gives him her phone. One of the film’s many incidental strengths is that mobile phones – so central to everyday life, so resented by scriptwriters trying to concoct mysteries – are pivotal to every plot twist. There may be a nod to Vertigo , but Park certainly isn’t stuck in its world.
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Except, perhaps, by its voluntary restraints. Most of the drama is contained in looks. The most we see the couple do is sniff each other – they are both fond of toiletries – or rifle through each other’s pockets for a chapstick. Their desire is set to a perpetual simmer.
“I wanted to make something classically refined,” says Park, “where the characters’ emotions are swirling internally, but on the outside they are quiet.” That turmoil is expressed through scenes of nature, which is also unusual for Park, with a culminating scene on a wild beach. “The ocean is dynamic, at one moment calm and then in the next moment there are these huge waves you feel could consume you,” he says. “That was a good analogy for the emotions of my characters.”
Tang Wei and Park Hae-il in Decision to Leave. Credit: Madman Pictures
He made the detective’s quarry Chinese because he wanted to work with Tang Wei, who is mesmerising in the role; the important thing was that she was an outsider with only basic, hesitant Korean. “It would make her feel lonely and there would be many inconveniences she would have to go through,” he says. “And I wanted to set it up so that there would be a distance between them when they first meet and a sense of curiosity about each other. Seo-rae’s Korean sounds different. Her accent, her pronunciation and word choice are unique. All of that creates a tension.”
When a conversation heats up, she turns to her phone, speaking in Chinese and using a translation app to communicate. “Then Hae-jun – along with the audience – has to wait for the translation machine to work,” says Park. “What is she saying? We are so curious, because clearly it is something important: she is so emotionally aroused, so excited. But we have to wait. That waiting time is crucial. And when the machine does translate what she said, it comes out as so flat, so dry – and in a man’s voice. That irony was very important to me.”
Park writes his scripts with a female writer, Seo-kyeong Jeong, whom he also describes as his best friend. Many of his films are concerned with giving space to women to speak, be heard and act on their own behalf, even if they do abominable things. Here, we meet a woman who needs a machine to speak for her, which could be taken as a pointed metaphor. Park has never been a polemicist. Not that he is one now, but Decision to Leave certainly does show him in a new light.
Decision to Leave opens in cinemas on October 20.
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