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#607 - Memories of Murder
Bong Joon-ho, 2003
In 1986, a volatile group of detectives must try to catch a serial killer operating in and around a rural Korean town.
On paper, the plot of Memories of Murder seems all too familiar. Two dead women are discovered within the area surrounding a rural town, appearing to have been killed in very similar ways. The local detectives are dedicated to catching the person responsible. A detective from the big city is sent to assist in the investigation since the murders are similar in nature to one that happened there. Though the contrast between city and country causes friction between not within the detectives' ranks but also among the townsfolk, the main characters still work together to chase down whoever is responsible. When put like that, it's pretty standard. In Memories of Murder, it's very different. The local detectives are corrupt and are not only willing to torture suspects during interrogations but also work to prompt them into making confessions regardless of their actual guilt (often using falsified evidence). The big city detective may disagree with the methods, but he's not staunch enough in his principles to take a huge stand against the locals' activities. The townsfolk don't fare much better as they prove to be constantly unreliable or obtrusive to the detectives, whether it's by driving tractors through crime scenes or apathetically throwing away pieces of evidence even after being contacted by the police. Against this kind of backdrop, how can anyone hope for the killer to be caught?
The only other Bong film I've seen is his international dystopian thriller Snowpiercer, which also demonstrates how well he can flesh out a seemingly simple premise with the right characters and developments. The main detectives slot into some fairly recognisable archetypes - the city guy's naturally more reserved in his attitudes compared to the much more impassioned locals (though one is harsh out of pragmatism while the other is harsh out of sheer brutality). Even seemingly minor characters get decent characterisation and carry it off well - of note is the case's prime suspect, a physically disfigured and mentally challenged young man who goes through more than his fair share of torment throughout the film. In addition to the compelling main narrative provided by the detectives constantly trying to close the case by tracing whatever leads they can (especially when the killer's modus operandi involves certain observable events), there are various smaller plots that are brought up and resolved throughout the film, which does make the film feel especially grounded as a result. It doesn't go on for too long and makes sure to earn its tension in the scenes that require it, plus Bong captures the proceedings with sharp camerawork that manages to deftly mix clinical coldness with fiery confrontation (especially during one of the film's many rain-swept sequences). Definitely recommended for people who can handle a grim murder mystery where the more graphic moments are powerful without coming across as needlessly sensationalised.
Bong Joon-ho, 2003
In 1986, a volatile group of detectives must try to catch a serial killer operating in and around a rural Korean town.
On paper, the plot of Memories of Murder seems all too familiar. Two dead women are discovered within the area surrounding a rural town, appearing to have been killed in very similar ways. The local detectives are dedicated to catching the person responsible. A detective from the big city is sent to assist in the investigation since the murders are similar in nature to one that happened there. Though the contrast between city and country causes friction between not within the detectives' ranks but also among the townsfolk, the main characters still work together to chase down whoever is responsible. When put like that, it's pretty standard. In Memories of Murder, it's very different. The local detectives are corrupt and are not only willing to torture suspects during interrogations but also work to prompt them into making confessions regardless of their actual guilt (often using falsified evidence). The big city detective may disagree with the methods, but he's not staunch enough in his principles to take a huge stand against the locals' activities. The townsfolk don't fare much better as they prove to be constantly unreliable or obtrusive to the detectives, whether it's by driving tractors through crime scenes or apathetically throwing away pieces of evidence even after being contacted by the police. Against this kind of backdrop, how can anyone hope for the killer to be caught?
The only other Bong film I've seen is his international dystopian thriller Snowpiercer, which also demonstrates how well he can flesh out a seemingly simple premise with the right characters and developments. The main detectives slot into some fairly recognisable archetypes - the city guy's naturally more reserved in his attitudes compared to the much more impassioned locals (though one is harsh out of pragmatism while the other is harsh out of sheer brutality). Even seemingly minor characters get decent characterisation and carry it off well - of note is the case's prime suspect, a physically disfigured and mentally challenged young man who goes through more than his fair share of torment throughout the film. In addition to the compelling main narrative provided by the detectives constantly trying to close the case by tracing whatever leads they can (especially when the killer's modus operandi involves certain observable events), there are various smaller plots that are brought up and resolved throughout the film, which does make the film feel especially grounded as a result. It doesn't go on for too long and makes sure to earn its tension in the scenes that require it, plus Bong captures the proceedings with sharp camerawork that manages to deftly mix clinical coldness with fiery confrontation (especially during one of the film's many rain-swept sequences). Definitely recommended for people who can handle a grim murder mystery where the more graphic moments are powerful without coming across as needlessly sensationalised.