The Dynamic Relationship between Old Boy and Sympathy for Mr. Vengeance.This research investigates the dynamic relationship between two South Korean movies, Old Boy and Sympathy for Mr. Vengeance.

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The Dynamic Relationship between Old Boy and Sympathy for Mr. Vengeance
This research investigates the dynamic relationship between two South Korean movies, Old Boy and Sympathy for Mr. Vengeance. The two are parts of the Vengeance Trilogy, with Old Boy being a sequel to Sympathy for Mr. Vengeance. From the very onset, this paper points out that there is a sharp relationship between the two movies in terms of the central themes addressed. They are keen on pursuing the roots of vengeful violence among the lead characters. In both films, director Park Chan-wook follows the violent paths of two men who destroy each other in a quest to exert revenge. This paper asserts that the two films are dynamically related in that they enunciate revenge to social stratification that is characteristic of capitalist systems. This research will show how these movies detach revenge from historical and essentialist basis and connect it to socio-economic factors.
This research will begin by revealing how Park Chan-wook represents social struggle and class divisions in South Korea. In Sympathy for Mr. Vengeance, the director uses Ryu, the lead character, to show the effects of corporate downsizing on the lives of the country’s working and middle classes. Ryu is laid off from his menial factory job and joins the unemployed in a country with a myriad of social problems, including the unavailability of proper healthcare. It is from this premise that the central theme of the film is developed. The director brings his viewers into terms with the uneasy relationship between South Korea’s lower social classes (represented by Ryu) and the corporate class (represented by Park Dong-jin). Park Dong-jin is affiliated to the factory, where Ryu faces brutality and frustrations culminating to his layoff. More disappointingly, Ryu spends all his savings on his sister, who needs a kidney transplant. He engages with black market organ dealers in an attempt to secure a kidney for his sister. The black market dealers shortchange him, and he loses all his life savings and his own kidney. This gives rise to a vengeful and bloodthirsty Ryu setting the stage for the movie’s formal relational matrix.
Similar to Sympathy for Mr. Vengeance, Old Boy explores the link between class segregation and bloody thirsty, vengeful inter-class relationships, albeit in a less straightforward manner. Both films contain a feature of restricted knowledge for the characters and the viewer. In Old Boy, the lead character’s 15 years long imprisonment represents a prison for the middle class. Oh Daesu is a middle class businessman imprisoned by a rich citizen who affords to hire a private prison facility. His prison room is a reflection of the middle class confinement in the world of consumer goods. The room has cable TV, a bed, and a toilet. His only connection to the outside world is through news stories and advertisements. The fact that he is subjected to this life by rich corporate citizens depicts how the burgeoning class is subjected to the world of simulated reality. They experience life as a mere spectacle since their experiences are dictated upon by the corporate citizens. Corporate citizens are the producers, and they further dictate trend and fashion to sell their commodities to the middle class who struggle to keep up with the latest trend and fashion.
As illustrated above, the two movies strive to establish a relational matrix between the antagonist and the protagonist who are from two opposing sides of the class divide. The oppression of a member of the lower and middle class by a member of the corporate class results into an intricate web of vengeful relationships that result into self-destruction. In both films, the director employs clever cinematic tactics to convey the pertinent themes. For instance, Old Boy opens in a scene where Oh Daesu is on a ledge of a building where he is just about to take a suicidal plunge. His shadowed countenance is revealed in an upward camera tilt. Both films are loaded with such scenes through which the director conveys the all-consuming end that is the abyss of revenge. In Sympathy for Mr. Vengeance, the antagonist gruesomely murders the protagonist, and he is, in turn, murdered by a terrorist group. Similarly, in Old Boy, the quest for revenge propels the protagonist and the antagonist into deadly ends. In this way, the two films are very similar.
In conclusion, this research has managed to articulate the relation between Sympathy for Mr. Vengeance and Old Boy. As expressed in the introductory part, they draw similarity from the fact that they both address the theme of social stratification and how it results into inter-class conflicts. The research has illustrated how this conflict results into death and destruction as a result of bloody and vengeful inter-class conflicts. There is a strong similarity between the cinematographic approaches employed by Park in the two movies to effectively convey the central theme to the viewer. Doubtlessly, there is a strong dynamic relationship between Old Boy and Sympathy for Mr. Vengeance.

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