Cinema on the Park Review: Joint Security Area (Park Chan-wook, 2000)

J.S.A: Joint Security Area is directed by renowned South Korean director, Park Chan-wook, who would later direct Sympathy for Mr Vengeance and the Cannes Grand Prix winning classic, Oldboy. I watched the film as part of the program at Cinema on the Park, this month covering ‘Birth of the Blockbuster’. In 2000, when this film debuted in Korea, it broke the box office records previously set by Shiri. I had relatively high expectations going into the film, but despite some loose ends and plot threads that didn’t serve as much purpose as intended, I was not disappointed. An impressive production, JSA is technically proficient – both in the inventive photography and spectacular mood score – and ensuring the film is compelling through elegant, yet unexpected, shifts in tone. This is the film recognized for placing Park Chan-wook on the map, and he presents both a thrilling mystery, and a charming tale of unsanctioned ‘brotherhood’ within the tumultuous centre of struggle in North and South Korean military relations.

Set within the Korean Demilitarized zone (DMZ), a secured and heavily fortified border separating North and South Korea, and the only one where soldiers from both forces stand face-to-face, the film chronicles an investigation into a shooting incident at the DMZ. Two North Korean soldiers are dead, and one South Korean soldier wounded.

Sgt. Lee Soo-hyeok (Lee Byung-hun, I Saw the Devil), a South Korean soldier on border duties, is found running from the North side with a serious leg injury. Amidst the alarms and gunfire he is rescued by South Korean troops. The fragile relationship between the two Koreas rests on a special investigation into the incident, conducted by Swedish and Swiss investigators, and led by intuitive Swiss Army Major Sophie E. Jang (Lee Young Ae, Sympathy for Lady Vengeance), who has Korean heritage.

No ones story seems to check out. Was Lee Soo-hyeok kidnapped and held hostage in the base, as he claims, or did he barge into the North Korean border house unprovoked and start shooting as the sole North survivor, Oh Kyeong-pil (Song Kang-ho), suggests. The bullet wounds on the dead are inconsistent with the accounts, and suggests there may have been more than one South Korean shooter. Perhaps Lee’s border colleague, Private First Class Nam Sung-shik (Kim Tae Woo) has some involvement? The story flashes back to the night of the incident (and before) to relay the testimonies, before spending a lengthy stretch acquainting us with those involved in the incident. But, there is always a mystery weighing on our minds. How did this happen, and who is telling the truth? Neither? The answers are more complex and personal than anyone could have expected.

The film establishes a really compelling mystery in the opening 30 minutes - and as Sophie begins to draw attention to the inconsistencies in the evidence, it is clear there are going to be surprising twists. What disappointed me a little initially – but the slower pacing, and direct tonal shift into a touching human drama that Chan-wook makes in the middle, justifies this – was the swiftness that Sophie unraveled key parts of the mystery. It does become pretty clear what happened, but raises more questions of how it came to be?

The films structure requires strict attention because the narrative is told in non-linear style and there is quite a lot of shifting between time periods. I think the less said about the middle is better. The revelation holds massive emotional weight because of what we learn about each of the characters and the surprising bond that builds between them. This transcends politics and conflict, and captures these men interacting not as enemies, but simply as men. There are some very funny moments, which juxtapose the prevalent tension and Chan-wook’s usual bloody violence.

I think what let the film down a little bit was the over-complication of including a story near the end about Sophie's father, and the distracting shift between Korean and English - and some pretty bad English at that - during the investigation sequences. But, I did like all of the performances - Lee Byung-hun, in particular, was exceptional - and this is a beautifully photographed film. 

With inventive camera manoeuvres, stellar framing and great use of light, Chan-wook's stylistic flourishes, which he would continue to perfect, are all evident. A lot of the sequences take place at night. The use of light in these sequences is really impressive and on par with the work in a couple of other Korean I have seen - Oldboy and I Saw the Devil (Kim Ji-woon). I loved the use of music during the climax, and I think the blend of mood score, and the songs used in the soundtrack greatly enhanced the impact of the images. 

This is a film that blends compelling mystery, and as an audience you also work to put the pieces together, and emotionally affecting human drama. The final shot in the film gave me shivers. Certainly one of my favourite Korean films I have seen so far, and justifiably a big hit with audiences. I recommend seeking it out.

My Rating: ★★★★ (B+)