filmbore pick of the week - JSA: Joint Security Area

JSA: Joint Security Area

Director: Park Chan-Wook
Screenplay: Jeong Seong-San, Kim Hyun-Seok, Lee Mu-Yeong, Park Chan-Wook
Starring: Lee Yeong-Ae, Byung-Hun Lee, Song Kang-Ho, Ha-Kyun Shin, Tae-Woo Kim
Year: 2000
Languages: Korean/English
UK rental release: July 2002

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I'm definitely due a visit to one of my favourite go-to countries for world cinema: South Korea. Those who have followed my site for some time may remember my review for Park Chan-Wook's I'm A Cyborg, But That's Okay (see the review here) but I want to introduce you to one of his earlier pieces, of his pre-Stoker and Oldboy days. Overlooked in recent years, I implore you to watch JSA: Joint Security Area.

A section of the demilitarised zone splitting the Korean peninsula is our arena. Fear of North Korea's nuclear programme, as present then as it is today and episode involving border guards have illuminated this fact.

A Swiss and Swedish embassy style border control acts as a neutral zone for this affair. It is the home of the NNSC - the Neutral Nations Supervisory Commission who are to handle this special case. South Korean soldier Sgt. Lee Soo-Hyeok (Byung-Hun Lee, I Saw The Devil, The Good, The Bad, The Weird) has been taken into military custody for taking uncalled action against soldiers on the other side of the border and he has already provided a confession stating to this fact.

Major Sophie Jean (Lee Yeong-Ae, Lady Vengeance, One Fine Spring Day), a half Swiss, half Korean officer of the NNSC has been brought in to stand as a neutral investigator. It's important that she represents an impartial view to the proceeding so that this incident doesn't spark war between the North and the South.

Lee Soo-Hyuk's colleagues paint him as an astounding soldier of superb ability. Nevertheless, for reasons unknown he had stepped over the border, leading to his kidnapping. In escaping he took out two of the North Korean soldiers and injuring another to make his getaway. Yet, this scenario seems a little too manufactured to Sophie, suspecting something else at play here.

Sophie visits the injured soldier to question his deposition on the incident, as it contradicts Lee Soo-Hyeok's account. Sgt. Oh Kyeong-Pil (Song Kang-Ho, The Host, Thirst) is just as silent on the matter, not wanting to expand on the events at all. His statement claims that Lee Soo-Hyuk attacked intentionally. This attack meant the death of Sgt. Oh's comrade Jeong Woo-Jin (Ha-Kyun Shin, Sympathy For Mr.Vengeance), a young soldier still settling within the polemic effervescence in existence post-civil war.

The depositions just don't match up. Interviews with Soo-Hyuk's colleague Nam Sung-Shik (Tae-Woo Kim, Woman Is The Future Of Man) doesn't shed any further light either, instead leading to a shocking act that envelops the investigation into even further into it's near impenetrable conundrum.

What really happened that night at the DMZ? Is the truth shielded in some sort of conspiracy? Or is it just the secrets of companionship that drive the soldier's silence?

At a relatively moderate $3 million budget, Park Chan-Wook was really onto a winner with JSA: Joint Security Area. It may not hold the vibe of the alternative and bizarre that most of his canon exudes, but it was crafted prior to his "Vengeance Trilogy", where his definitive style and watermark are more obviously in attendance. Nevertheless, this didn't stop this feature becoming, at the time, the highest grossing movie in Korean film history

A key to this success is down to a great script, complied by a team of Park's companions, including himself. Based on the novel DMZ by Park Sang-Yeon it's a touching tale that holds some surprises.

Surprises that are paired with some real drama, handled with absolute acting dexterity by our leads. Lee Yeong-Ae is great as Major Sophie Jean, but it's our four key leads on both sides of the border's bridge that really hold this film together. Each one of them is as equally fantastic as the other, allowing you to see past their respective region's history; opening a pathway to their souls.

And is we understand each persona throughout this story, the tension is slowly simmered, clouded by the natural connection between all four protagonists. When we see the final moments, while the facts unfold, it's not that revelatory. You'll know what to expect. Instead, you'll be awed and swarmed with emotions, wowed by the each actor's performance. It's not the truth of the situation that's of relevance here but the reality of their feelings and cultures.

From a mutual connection uncovered from an unusual event we see the beginning of an unusual kinship across borders. What develops between these men are some beautiful friendships, despite the looming war and polarised politics dressed against the backdrop of their opposing nations...in complete of the division between capitalism and communism. 

It also demonstrates strengths and the lengths one would stretch to for friendship. Sacrificing your own life or deceiving your country are insignificant next to the importance of brotherhood. Instinctual responses to this fact brings to light interesting interconnections between the soldiers. The more experienced guards have an understanding of each other, a pure respect, while the two younger men seem more intrinsically connected, their youth appealing to each others humorous side.

There's a lot at play when seeing the characters interact, more figuratively when seeing them interact with the thin strip that represents the border between these two nations, in both comedic gestures and cinematic moments. In fact, it's wonderfully shot and filmed with such consummate spirit. Frequent use of handheld camerawork gives a unique, intimate feel - not exactly relevant when considering the nature of this story but grants the picture with an individual presence. It's a true gem, with an essence of art house about it.

At certain, poignant moments you can see Park Chan-Wook's present early in his career. Those more familiar with his cinematic output these days will recognise certain motifs still present in his more recent work (e.g. a particular shot of an octagonal building dissolving into the mirrored image of an umbrella harks also reminiscently to that "hair" shot everyone speaks of in Stoker).

What is clear from this particular outing however, is that it does take a while to get going. Through flashbacks to the events through the reports and interviews the pace at the early stages is gradual. Then you realise what this picture is truly about. 

The mystery behind the incident isn't as relevant in this film as the relationships that evolve between our characters. The core central act to the piece is filled with the growing friendships that the soldiers endure and nurture, delivering an altogether different story to the one you may be expecting.

It may start averagely, but it gets increasingly better as we get to understand these individuals, and by the end you'll be so absorbed by this bittersweet tale you'll forget the slightly shaky start. I hope you'll be as moved as I was.

What's appealing about JSA: Joint Security Area as that it doesn't take sides; a brave move that works. There's no right or wrong here, represented by the NNCS as a symbolic entry for our own witnessing of these events. This invitation into such unknown territory affirms more personal essence that can be snatched away with the salute of a comrade, or the drawing of a gun. Humanity should win overall but the presence of war, unfortunately, doesn't allow it to.

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