"Oldboy" is Spike Lee's updated version of a popular 2003 South Korean revenge flick by director Park Chan-Wook. This is Lee's first remake -- in fact, it's his first non-original work of any kind as a director. It trades in most of his films' social commentary for a straightforward tale of vengeance. And it's the first time a movie of his has been billed as "A Spike Lee Film" instead of "A Spike Lee Joint". What prompted this sudden shift in the legendary director's career? We may never know Lee's motivations, but we can at least examine the results.
Much has been said (and decried and cursed) about the fact that this film exists at all. The original "Oldboy" is arguably South Korea's most internationally-famous film: Roger Ebert raved that it's a "powerful film not because of what it depicts, but because of the depths of the human heart which it strips bare." It won the Grand Prix award at Cannes in 2004. That's a lot of admiration to go up against, so you have to wonder why anyone would even try. But instead of mercilessly pitting this version against its unbeatable predecessor, let's examine Lee's film on its own merits.
Star Josh Brolin ("No Country For Old Men") is fantastic in the lead role of Joe Doucett, a man who is mysteriously imprisoned in a hotel room for 20 years and then just as mysteriously released. Brolin makes a compelling hero with his gravelly voice, imposing physicality and steely determination. He doesn't exactly start as a likable character, but his transformation-through-imprisonment yields a surprisingly sympathetic protagonist whose desire for answers is only outmatched by his desire to atone for past sins. Elizabeth Olsen ("Martha Marcy May Marlene") is equally terrific as Marie, the young woman drawn into Joe's path. She's remarkably approachable and gives the audience an entrance to the bizarre story as we travel along with him in her shoes.
Lee executes some remarkable imagery throughout the film. In one memorable scene, Brolin emerges from a trunk in a green field, a pink figure holding a yellow umbrella in the distance (pictured in the poster above). It's a striking image that perfectly encapsulates the gorgeous/grotesque tone of the film. A fight scene midway through the film recreates the original's most famous long-take sequence while also one-upping it: it's still an elaborately-choreographed, uninterrupted scene, but this time it takes place fluidly across three levels of a warehouse instead of just one.
Unfortunately, some of the performances and imagery are about all the good that can be said for this "Oldboy". Aside from Brolin and Olsen, the rest of the performances range from hammy (Samuel L. Jackson as Joe's captor) to downright bad (Sharlto Copley of "District 9" as the villain). For such a violent tale, the film feels remarkably safe. Perhaps it's because audiences have become so inundated by movie violence since the original premiered in 2003 -- the violence that would have been shocking a decade ago feels cartoonish now. (For the most part, that is. The very first fight sequence between Joe and some unsuspecting jocks is jarringly effective.) And while the story's big twist remains intact, the ending is softened. While by no means a "happy" ending, it doesn't succeed in being particularly memorable or challenging for the audience.
Spike Lee's next film is entitled "Da Blood Of Jesus". It was shot in 16 days for a mere $1.4 million that was raised on Kickstarter, and it's being billed as "A Spike Lee Joint". It seems like the director is already back to his usual tricks. Maybe "Oldboy" was a one-off experiment by a director who has never been afraid to be bold or try new things. And as anyone knows, not every experiment can be successful. Lee is still an important filmmaker, and we shouldn't hold one misstep -- however glaring -- against him.
[youtube]https://www.youtube.com/watch?v=lEfFjEmA8kc[/youtube]
