Kim Ki-Duk is known in many film critics circles as the director of artistic ***censored***. But BAD GUY is Kim’s transitional film as he crosses the line from graphic violence to non-violent themes. 

A self-taught filmmaker, one has to give the man credit for breaking into the international film scene though his films that caused many to walk out of the cinema.  Scenes containing pencils poked into eyes and fish hooks inserted into vaginas in ADDRESS UNKNOWN and THE ISLE are examples of his excesses in sadism.  His recent 2003 film SPRING, SUMMER, FALL, WINTER AND SPRING…, however, contained none of the sort, but instead, concerned a rites of passage story of a young monk dealing with his inner demons.  But like all his films, BAD BOY contains many of Kim’s traits.  His protagonist barely speaks (in THE ISLE, the female protagonist is mute), rejection or isolation from society (SPRING concerns monks) is a central theme but the crux of it all is often an obsessive love story told in the way only Kim Ki-Duk knows how.

BAD GUY is a doomed love story from the very start.  When the two lovers Han-gi (Cho Je-Hyun) and Sun-hwa (Seo Won) initially meet, she spits in his face and he gets beaten up by soldiers for forcing a kiss on her in public.  When Sun-hwa is forced into prostitution for picking up a wallet (long story, Kim Ki-Duk style here), the bad guy turns out to be a pimp with a heart of gold.  After several beatings, rapes and abuses later, the two consummate their relationship. It is interesting to note that Kim’s characters often have no input or contribution to the events occurring around them.  Sun-hwa is forced into her state of affairs as a result of the fate of finding the wallet.  The attempt by the lovers to break the mould of despair represents a somewhat impossible trial.

All of Kim’s films move at a snail’s pace, this one included.  Kim’s camera is mostly statically placed, with the action moving into the frame.  At times, there is a zoom in or zoom out.  But when there is not much material to ponder about, BAD GUY slacks along in pace.  But worse in BAD GUY is the decision of Kim to make BAD GUY Han-gi immortal.  When Han-gi gets stabbed, he is shown in the following scene running up and about.  Why Kim strays from traditional narrative structure is puzzling. 

BAD GUY tells the time when Kim should amend his bad violent ways and opt for new material.  Which he did thankfully!  SPRING SUMMER et al. was well made, handsomely photographed, pensive and intelligent.  His new 3-IRON to be released in Canada May 27th should be a welcome wait.