I don’t think it’s possible to make a movie like “Han Gong-Ju” (2013), here in India. If such a movie was made, encompassing a similar haunting incident, either the government or our courts might ban the movie, citing that ‘such movies could provoke people and disturb the peace’. Even the director and producer of the movie could be arrested for ‘shaming the nation’. Then, you also would hear from few Indian intellectuals, saying ‘All Indian men aren’t rapists; the number of rapes in our country is far less than that of US or UK, so why should we talk about it?’ I wonder how the South Korean Ministry of Security and Ministry of Tourism react to their blistering films which brings dark, dismaying truths to light. First time director Su-jin Lee’s “Han Gong-ju” takes one such acerbic, traumatic incident and turns it into an intimately observed character study about a recuperating teenage girl. At its core, the film makes a biting commentary on the wretched societal values and Korean justice system (like other recent Korean movies “Silenced”, “Bleak Night”, and “The Attorney”).
“Han Gong-ju” is a multiple award winner in the festival
circuits (it’s also one of the most commercially successful Korean independent
movies of all time) and won the top jury prize in Marrakech Film Festival from
the hands of Scorsese. The legendary American film-maker was highly impressed
of the film’s ‘mise-en-scene, performance, and lamentable visuals’. Such praise
from the greatest director may provoke some of us to watch it immediately. But,
be prepared for one of the most devastating and emotionally draining movie
experience.
The movie starts with Gong-ju (Chun Woo-hee) sitting in
front of her teachers telling how much she likes singing and states she hasn’t
done anything wrong. But, the unsympathetic teacher informs her of the school
board’s decision to relocate her to some faraway school. Gong-Ju former teacher
Mr. Lee (Kyoung-jin Min) calls in for a favor to her enrolled at a new school.
Gong-ju wearing a forlorn look is given a cell phone and asked to attend only Mr.
Lee’s call. He even asks to ignore her father’s call. Mr. Lee finds a place in
a school and doesn’t say caused her exile to the new principal. He also begs
his mother (Yeong-ran Lee), living in the same town, to let Gong-ju stay in his
childhood room. Gong-ju is wary of making friends in her new school. She
remains anxious and even the sound of a staple gun startle her.
She volunteers to work on the super-market shop, run by Mr.
Lee’s mother, who’s having an affair with a local, married policeman. The
school and the shop brings back some of the repressed thoughts, hidden inside
her. She often thinks about her dead close friend Hwa-Ok (So-Young Kim) and
Hwa-ok’s browbeaten boyfriend. Her hands shake when asked to divulge her sexual
experience while filling in a form for swimming classes. The swimming suit she
chooses hides the injuries at her back. She also makes a journey to visit her
mother, who only throws her out. Gong-ju’s alcoholic dad visits her one time
and is haunted by what’s happened to his daughter. Gong-ju’s passion for
singing gains her an optimistic new friend, Eun-Hee (In-seon Jeong). But, she
freaks out whenever her friend films the recordings. Soon, the dark past comes
back to wreck Gong-ju’s new rejuvenated life.
Spoilers Ahead
The magnificence of Su-jin Lee’s directorial debut lies in
the way he cleverly withholds the right amount of information from the
audience. He subtly condemns the society that pressures the victims of sexual
assault and rape to feel shame for the heinous actions of monstrous human
beings. We could also feel the director’s rage against an unjust system which
protects the perpetrators. In “Han Gong-ju”, director Lee is more nuanced in exhibiting
his thoughts. He never strays into the sentimental territory by extracting loud
cries from his protagonist. Director Lee is very empathetic and amazingly
sensitive towards the victimized character. The incendiary flashback scenes are
mostly handled with tactfulness. However, these distressing scenes would have a
very strong impact that would take many days to wane (especially, the abrupt scene
that happens after an hour into the film). Some of the visuals – the ones
towards the end -- are slightly exploitative (or intricately detailed) which
only conveys shock.
The movie isn’t without flaws (the ‘swimming’ metaphor is
hammered incessantly), but some of those could be overlooked considering the
fact that it is a directorial debut. The script drifts a little as it veers
out of Gong-ju’s life to provide insights about the middle-aged Ms. Lee. The friendship
between Gong-ju and Eun-Hee does threaten to veer into the Korean cutesy drama
series territory, but the emotionally draining third act keeps things together.
Some viewers could feel that the central horrific incident isn’t plausible
enough or that it’s taken from a home-invasion horror movie. But, the real ‘Miryang
gang rape case’ of 2004 (on which the movie is loosely based) is more brutal
and infuriating. The parents of the culprits and even the local police
investigator threatened the girls and their parents. One police officer from
Miryang town is said to have stated that ‘weren’t you girls waving your asses
and went there because you liked it? You girls have now destroyed my town’s
reputation’. The victimization of the girls caused outrage among the Korean
netizens and media outlets. The movie also portrays a similar local police
officer, who says “her (Gong-ju) friend committed suicide. If she’s innocent,
why….”
Apart from the nuanced direction and script, the one vital
element that holds out attention from the first to last is the extraordinarily
sensitive performance of Wo-Hee as Gong-ju. Her silent gaze wonderfully conveys
those restrained emotions and the internal struggle. She confronts her victim-hood with a dignity and silence that only showcases the character’s strong-will. Wo-Hee’s traumatized demeanor isn’t constantly working to bring out our
tears. She rather masterfully explores how such a lonely girl would get on in
this cynical society. She shows how her character’s trust level is shattered
after such an incident, making the social interaction very hard. There are some
delicate scenes (“Why when they are apologizing, I have to run away?”) where I
wished to reach out to this persona, on-screen and tell her that things will
get better.
“Han Gong-ju” (112 minutes) offers a deeply unsettling and
indelible movie experience. It courageously and furiously indicts a society that
treats victims of sexual violence with an unforgivable hostility.
Trailer
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