This woman is the mother played by Kim Hye-ja. The performance of Jin Huizi in the film is undoubtedly touching. This old actor, who is known as the "Mother of the Nation" in South Korea, did not use a single line in the one-man show for more than 2 minutes at the beginning of the film. It grabs the audience's attention and touches the audience's heart. Jin Huizi in the shot stopped in the wilderness, looked around, and started dancing. She waved her arms lightly, shook her waist, her face was blank and sad, as if she was about to cry. This is an emotion that no language can express, and it belongs to a mother's despair and cry. But all this is carried out in soothing music. The volcanic eruption-like emotions of the characters form a sharp contrast with the soothing movie music, which constitutes Bong Joon-ho's delicate movie language. Bong Joon-ho, the South Korean director Quentin called "Steven Spielberg in the 1970s", joined hands with Kim Hye-ja and Won Bin to perform for the audience three years after his last blockbuster "Han River Monster" A different story about my mother.
In the film, Jin Huizi lost the grace and splendor of the empress dowager in "Gong" and became a real "Mother". The role played by Jin Huizi has no name, and she is called either "mother" or "aunt". All her actions in the film are related to her son, no one calls her by name, she is only born as a mother. Not a wife, not a daughter, her identity is only a mother. In contrast, her son Taiyu, because of his stupidity, can only be a son, and cannot have other identities, whether it is a husband or a father. But it is precisely because of his stupidity that his mother can have him forever. The mother treats the silly son in every possible way, pampers him, and loves him, so that he can only be a child forever, instead of becoming an inspirational legend like Forrest Gump. In one scene, Taiyu lay down on the bed after returning home late at night, snuggled up beside his mother, and touched his mother's breast, just like a child in the past. We can imagine how many nights 20 years ago, the mother and son came here like this, but now it is different. Tai Yu is no longer a child. Although he is innocent and naive like a child at heart, he is already a 28-year-old man physically. This also makes Tai Yu different from Leonardo's silly brother in "A Different Sky". Yani is still a child, but Tai Yu is physically mature. It is this physical maturity that makes him more and more thirsty for women, whether it's flirting with the bartender's daughter or stalking Wen Ya.
Speaking of which, I have to mention Won Bin, who plays the son Tae Woo. Compared with Jin Huizi's radiant performance, Yuan Bin's performance is more subtle and restrained, and Jin Huizi's three-point performance is also brilliant because of Yuan Bin's foil. "Mother" is Won Bin's first screen work after he was discharged from the army. There is no playboy in "Blue Life and Death", and no tough uncle in "Lonely Agent", only the stupid Taiyu, and the only one my mother has. silly son. In the film, in Taiyu's life, the role of the father is forever missing, only the mother and son, who depend on each other, live day after day in the small town. Until Tae-woo accidentally got involved in a murder case, breaking the boring but peaceful life of mother and son. Tae-woo, who doesn't know anything, is arrested and imprisoned, and his mother embarks on the road of finding the real murderer and clearing up his injustice for his son. This kind of story is not unfamiliar in movie works, we can imagine that the follow-up story should be that the mother found the real murderer after untold hardships, and the son was released from prison, everyone was happy. However, in this film, Feng Junhao presents us with a different ending. With the help of my son's friend Zhentai, the mother gradually approached the truth of the case. As the truth surfaced, we, like the mother in the movie, had a little bit of hope in our hearts, but we were killed by the director at the end. . From the old people who collected the rubbish, we were stunned to find that it was Taiyu who killed Yazhong. Although it was an unintentional fault, he still violated the law. When it is about to reach the other side of hope, hope has extinguished all the light, shrinking into a dry core of despair, stuck in the mouthpiece of fate. So, a desperate and crazy mother killed the only witness to the case. This goes back to the beginning of the film, and we also learn what it is that makes a mother so miserable and hopeless that she can't even express her grief in words.
In the end, it was Xihan'er who took the blame, another fool who didn't even have a mother. "How about closing the case with attempted rape?" "Yes." In just two sentences, an innocent person was charged as if he were chatting. The fairness and justice of the society, the judicial system is just a joke here. Bong Joon-ho has been paying attention to the ruthlessness of South Korean social mechanisms since his famous work "Memories of Murder". The sanctimonious lawyers, irresponsible police officers, and hit-and-run professors in the film are all portrayals of ruthless social mechanisms. And in Wenya, the direct victim of this case, why did the justice ever give her justice? Wen Yazhong died on the roof. The police talked about the victim's situation in a chatty tone. They had no respect for the deceased, and no sympathy for the dying girl's life in the blooming season. Some were just cold and indifferent. The family supported by Yazhong is her grandmother who always holds a rice wine barrel. Even Yazhong's death didn't arouse her much nostalgia. Her life was nothing but rice wine. Every grain of rice accumulated at home was bought by Yazhong by selling her body. It was this thin little girl who provided her rice wine. A dull life. Wen Yazhong, the girl with clear eyes in the photo studio, is easily reminiscent of Tsuda in Shunji Iwai's "All About Lily". However, she went away without any turbulence, died in an unclear manner, and did not even receive the respect she deserved after her death.
From the beginning to the end, the murders in the film involve people in the deep fringes of society, two fools, a girl who helped to make friends, and an old man who collected tatters. They have never been taken seriously and survived like insects and ants. But are they deprived of their due rights just because they are in the margins? Who dares to say that he will not be the next marginalized person?
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