The Shameless review [LKFF 2015]: “A tight and brilliant exploration of complex love.”

The Shameless review: Not accessible at just any time, but profoundly moving in a sombre and melancholic way.

You’d think with the number of Korean cop dramas, they’d eventually start repeating themselves. Although this is true for a lot of the genre pieces, Korea is still keeping it fresh by installing different genres as the core focus, or by inserting rounded and believable characters. Oh Seung Uk, who has co-written with Lee Chang Dong on the exceptional Green Fish, and directed his first and only other feature, Kilimajaro, 15 years ago, finally returns behind the camera for this very involving romantic noir.

Park Joon Gil (Park Sung Woong) kills a man out of duty to his lover Hye Kyung (Jeon Do Yeon), hunted by the police who are also in the pockets of Joon Gil and Hye Kyung’s creditors, a morally strong but violent cop, Jae Gon (Kim Nam Gil), is sent undercover to get close to Hye Kyung and discover the location of Joon Gil. This simple story becomes emotionally complex, as you might imagine, as the characters and the audience begin to question who loves who, and where each character’s loyalty lies.

The cinematography of Guk Hyun Kang in their feature length debut, is the most striking aspect of the film. It’s mostly dark or muted in colour, but the greys of early mornings are captured perfectly. For the majority of the film our characters live in darkness, twilight, or in dimly lit apartments. It isn’t until Oh wants us to question the relationship of characters that we are treated to intensely bright sequences. Such scenes are carefully placed and prove very powerful.

WIth romance at the centre, it’s a clever decision to never make things too obvious. We’re never certain as to whether Hye Kyung is a trapped victim, emotional mess, or strong and determined antagonist. It keeps us on our toes and makes it far more enjoyable to watch. Similarly, there are clues to suggest that Joon Gil may be a victimised scapegoat who truly loves his woman, but then he may very well be deceitful and using her. Finally there’s Jae Gon, who is terrifying when he allows himself to explode, but also has a caring side. His refusal to take bribes at first shows some form of moral compass, and going undercover doesn’t sit well with him. There are also stirring parallels as Hye Kyung may sell her body and use her sexuality to get what she wants, while Jae Gon goes against his morals and heart to complete his job.

The performances truly bring these characters alive. With Jeon Do Yeon being at times a brittle flower, and elsewhere a firm rock that could destroy anyone that gets in her way. Whether breaking down in tears, manipulating men, being forceful, or drunk off her ass, she’s always convincing as an ultimately strong and unpredictable character. Kim Nam Gil is also convincing as both an ethical cop, a violent hoodlum, and a conflicted romantic. Both the leads have nuanced facial ticks that add much to the calm and insightful dialogue.

The Shameless attacks both the criminal world and a corrupt and violent police force. The title applies to just about every character in the film, with many of them having a breaking point, an area they are willing to look the other way, or a weakness that can be used against them. Sometimes all three. The rare action sequences are fantastically choreographed and viscerally brutal, and although the rest of the film is much slower, it is kept alive by such exquisite writing and dedicated acting. Not accessible at just anytime, but profoundly moving in a sombre and melancholic way. A tight and brilliant exploration of complex love and how it can twist the fabric of our character and ideals.

The Shamless review by Luke Ryan Baldock, November, 2015.

The Shameless screened at the London Korean Film Festival 2015 as part of their Hits of 2014/15 strand.