Sympathy for Mr. Vengeance is Beautiful and Somber

Sympathy for Mr. Vengeance (2002)

The first in Park Chan-wook’s vengeance trilogy (followed by Oldboy which was reviewed here), Sympathy for Mr. Vengeance is particularly unique. While Oldboy demonstrated the unique style which Chan-wook is now known for (lush orchestrated music, dark visual humor, beautifully composed shots which are framed as though each still could be considered art, unique color schemes which make each scene interesting to look at), Sympathy for Mr. Vengeance shows fragmented glimpses of the style he was gradually beginning to form. 

The plot is simple, but effective. Protagonist Ryu is a deaf and mute young man who is desperate for money in order to help his older sister have a life-saving kidney transplant. Encouraged by his radical political activist girlfriend, he kidnaps the daughter of his former boss for ransom, only for things to fall apart the moment he seems to be getting his way. Despite the simplicity of the plot, Sympathy for Mr. Vengeance is unique in that it tells a story of revenge in which the antagonist is the one struggling to have his revenge, it is also unique in that this shift of perspective provides a strong sense of empathy and compassion toward both the kidnapper and the man hunting him down.

Sympathy for Mr. Vengeance displays restraint, more than anything. In fact, if two words were used to summarize the film as a whole they would be restrained and somber. Violence is only shown when it absolutely needs to be, which makes it all the more gruesome (and it certainly is gruesome in those instances that it’s shown, this film is not one for those with a weak stomach). Music is also only played when it absolutely must be, which makes it far more intense and noticeable. Throughout the course of the film there are only two instances within it which use music, which provides an effective example of just how striking and intense something can seem when used sparsely. Due to the film’s striking lack of soundtrack, the instances which do have music become all the more intense and horrifying, because whether the viewer realizes it or not, something has changed.

The film is effective in carrying a similar message to the rest of the vengeance trilogy: revenge is empty. The film is particularly good in displaying this fact, and showing the hopelessness and sorrow which often follows revenge, rather than ending with joy and celebration as some revenge movies might. Perhaps this explains the emptiness of the title. The title is not the only thing which suggests emptiness.

Admittedly, this film is quite a slow burn, and while the payoff is great it's hardly as great as it could have been. While I would never go as far as to describe this movie as boring (especially not once the first thirty minutes have passed), it isn't quite as fast-paced as films such as the later released Oldboy, perhaps because of Park Chan-wook's then lack of experience as a director. 

If you are interested in seeing a somewhat slow-paced character-driven drama which explores the themes of revenge and dares to question if anyone is truly good or evil, then I recommend this film, but if you're looking for something fast paced which bears a striking resemblance to the work of Quentin Tarantino, I recommend you check out Oldboy (well, truth be told, I recommend Oldboy regardless of what you're interested in, it's fantastic).

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