The five minute excerpt which I've chosen to analyze takes place from 1:07:37 to 1:12:37. Here, Dae-su and Mi-do trace their target's clues to Dae-su's old school, Evergreen High School, where he and the antagonist--discovered to be his former classmate Lee Woo-jin--were fellow "Old Boys" (that being the school's mascot). Dae-su's investigation and cell-phone conversation with high school friend Joo-hwan digress into a discussion of Woo-jin's sister, Soo-ah, and her whorish ways. Enraged, Woo-jin, who had been listening during the entire conversation, murders Joo-hwan. Both hero and villain subsequently suffer emotional breakdowns.
I chose this section because it serves as a sort of transition from the mystery "whodunit" atmosphere of the Oldboy's second act into the third act, in which Dae-su gains his vengeance and redemption. In creating this scene, director Park Chan-wook incorporates nearly all of the film's most prominent themes as well as some of its most genius screenwriting, beautiful cinematography, engaging score, and fantastic performances.
The significance of this selection as far as the overall narrative is that it bridges the gap between the film's mystery and its resolution. Dae-su and his companion Mi-do, in the beginning of the scene, follow the antagonist's clues to his alma mater, where they discover the identity of Dae-su's imprisoner. Woo-jin's motive is hinted at but not revealed in its entirety as he has an emotional outburst at the implication that his sister was, to put it appropriately, very sexually active.
Oldboy utilizes the narrative structure atypical of film: the three-act structure. In its first act, Dae-su is imprisoned and released. Its second act comprises, as stated, of Dae-su's frantic five-day search of the city for his previous captor. Finally, the third act depicts Dae-su's action upon confronting and defeating Woo-jin.
The film's narrative is heavily plot driven. However much we care about the film's characters, plot progression is undoubtedly the driving force of the narrative as it is what draws in and ultimately retains the audience. Additionally, the film is organized by time, although flashbacks and surrealistic sequences also occur.
The nature of our attachment to the characters is one of genuine sympathy given the improbability of one idolizing or disliking the them. We honestly care about these characters and the events that unfold during the film. Oldboy, being a thriller, derives much of its appeal from the excitement of plot progression. Finally, the characters exemplify many themes such as revenge, violence, salvation, love, and time.
I chose this section because it serves as a sort of transition from the mystery "whodunit" atmosphere of the Oldboy's second act into the third act, in which Dae-su gains his vengeance and redemption. In creating this scene, director Park Chan-wook incorporates nearly all of the film's most prominent themes as well as some of its most genius screenwriting, beautiful cinematography, engaging score, and fantastic performances.
The significance of this selection as far as the overall narrative is that it bridges the gap between the film's mystery and its resolution. Dae-su and his companion Mi-do, in the beginning of the scene, follow the antagonist's clues to his alma mater, where they discover the identity of Dae-su's imprisoner. Woo-jin's motive is hinted at but not revealed in its entirety as he has an emotional outburst at the implication that his sister was, to put it appropriately, very sexually active.
Oldboy utilizes the narrative structure atypical of film: the three-act structure. In its first act, Dae-su is imprisoned and released. Its second act comprises, as stated, of Dae-su's frantic five-day search of the city for his previous captor. Finally, the third act depicts Dae-su's action upon confronting and defeating Woo-jin.
The film's narrative is heavily plot driven. However much we care about the film's characters, plot progression is undoubtedly the driving force of the narrative as it is what draws in and ultimately retains the audience. Additionally, the film is organized by time, although flashbacks and surrealistic sequences also occur.
The nature of our attachment to the characters is one of genuine sympathy given the improbability of one idolizing or disliking the them. We honestly care about these characters and the events that unfold during the film. Oldboy, being a thriller, derives much of its appeal from the excitement of plot progression. Finally, the characters exemplify many themes such as revenge, violence, salvation, love, and time.
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