A detective falls for a debt-ridden bar madam while trying to track down her murderer boyfriend…
Korean writer director Oh Seung-uk returns with his second directorial effort The Shameless, having taken rather a long break since his 2001 debut Kilimanjaro. Also known for his screen writing work on the likes of Lee Chang-dong’s Green Fish and the serial killer drama H, Oh this time tries his hand at film noir, with a dark and twist-filled tale of tortured love and betrayal. With Jeon Do-yeon (Memories of the Sword) and Kim Nam-gil (The Pirates) in the lead roles, the film won multiple awards, and screened to acclaim at festivals around the world, including playing in the Un Certain Regard section at Cannes.
Kim Nam-gil plays world-weary detective Jung Jae-gon, still suffering from a divorce and in need of money to cover his alimony payments. A shady opportunity comes his way when he’s offered a large sum to track down and cripple a murder suspect called Park Joon-gil (Park Sung-woong, For the Emperor), who embezzled money from corporate investor Park Jong-ho (Yoon Seung-won). Deciding to go ahead with the job, Jung first looks up Park’s girlfriend Kim Hye-kyung (Jeon Do-yeon), who runs a bar and escort service as a means of paying off a huge debt of her own. After following her around for a while and bugging her flat, Jung goes undercover as her new manager, though matters become complicated when the two start to get close.
Although its basic premise is familiar, and its destination never really in any doubt (it’s hard to imagine anyone expecting a happy ending after the first few scenes), The Shameless nevertheless makes for gripping viewing. There’s certainly a lot going on, Oh Seung-uk showing an attention to detail that makes the film far more believable than others of its type, with its plot twists being woven skilfully into the narrative rather than simply tossed in for effect. Jung’s morally-dubious investigation is an interesting one, driven by a mix of detective work and tough decision making, and the film is both suspenseful and intelligent, if grim and depressing in a way which may turn off some audiences looking for more popcorn-friendly thrills.
At its heart, the film is very much character rather than narrative-driven, a brave decision from Oh considering that while vaguely sympathetic, none of his characters are particularly likeable, the two leads included. The script offsets this through some very strong writing, really going to lengths to get under their skins, if not quite inside their heads, with much of their motivation for their actions remaining ambiguous, likely even to themselves. The relationship between Jung and Kim, though tense and pained in the expected manner, is fascinating in the way it unfolds, being a paring between two wounded and distrustful souls, neither of whom seem particularly capable of happiness. Some impressive acting really helps in this respect, and though Kim Nam-gil is on good form as the angst-ridden Jung, successfully conveying inner turmoil through stoic silences and broody stares, it’s ultimately Jeon Do-yeon’s film, the actress being well-deserving of the accolades she won for her performance at the Director’s Cut Awards, the Buil Film Awards and the Korean Film Reporters Association Awards. Making Kim far more than the usual kind of femme fatale figure who inhabits the noir genre, Jeon brings a combination of toughness and jaded resignation to the role, powerfully displaying a range of emotions in often startling fashion.
Oh’s direction is up to the standard of his writing, and the film is very well-made, with a deliberate though unyielding pace. Whereas many modern noir films go over the top with style and flashy technique, here he takes a different route, keeping things grimy and grounded and with most of the drama playing out in dark alleyways, rundown apartments or under dingy neon lights. Atmospheric and at times claustrophobic, the film also packs in a few lashings of bloody violence, a handful of fights, and a number of graphic sex scenes, all of which serve to give it an appropriately hardboiled and adult edge.
The Shameless is certainly a superior noir, and a triumphant return for Oh Seung-uk, who hopefully won’t leave audiences waiting another 14 years for his next film. Bolstered by some highly accomplished writing and direction, the film’s success is nonetheless down in no small part to the always-mesmerising Jeon Do-yeon, who again proves herself one of Korea’s most talented and versatile actresses.