He is rigid and prejudiced, without the capacity to understand differences. However, he’s 30 and sleeps with a minor, but he never questions his actions, making viewers wonder how much the repugnance old people provoke counts in his moral judgment.Īs Jeok-yo’s feelings for the girl evolve, he slowly detaches himself from Ji-woo. The same critical eye directs two more scenes: Ji-woo reproaches him later in the movie that he’s a dirty old man for liking Eun-gyo because the girl is underage. The scene begs the watcher to ask himself: if a man in his thirties, such as the writer’s younger alter-ego, is granted the right to love Eun-gyo, why isn’t a man of a doubled age too? It challenges the perception of a normal young couple by placing this image into the mind of a senior citizen. To even fantasize about Eun-gyo, he needs to imagine himself younger, partially because he feels rejuvenated, partially because the image of an old man and a young woman is unacceptable even to him. Just as your youth is not a prize for your efforts, my oldness is not a penalty for my faults. Besides linking Eun-gyo to that girl from his past, he associates her with freedom and a new beginning. By accepting her in his house, he claims his right to live as a human being and not as an afterthought to his life. He lets in our hands another confession: a 17-year old saved him from the communists. He’s meditative about his newly discovered feelings and adopts a passive, indulgent and secretive attitude towards his erotic desires and romantic attachment. The writer is fascinated by her youth, not only on the outside, but also by her versatility, will to live and kind, open heart.
The contrast between Jeok-yo’s hateful look towards his body and his speechlessness as his sight wanders on Eun-gyo’s figure anticipates the conflict. The girl is looking for a part-time job and predictably, she ends up doing chores around the house. Their dull life changes when they find a stranger asleep on the porch: Eun-gyo ( Kim Go-eun‘s first role). The link with the outside comes in the form of Ji-woo ( Kim Mu-yeol), apparently his apprentice, companion and help. The routine takes over his day and he buries himself in books, while having a little fun with writing. Only after that, we catch a glimpse at Jeok-yo ( Park Hae-il) as he undresses, looking at his reflection with an utter disgust. So let’s get to it, shall we?īefore meeting the movie’s protagonist, the camera invites us to his home: an almost isolated house, beautiful, but simple and silent. It’s a great choice in terms of cinematography, acting and narrative. If you haven’t seen the movie, I strongly recommend it. As it challenges many taboos, the story manages to raise a handful of valid questions, place some not-so-subtle social commentary and tackle uncomfortable universal truths. Earlier this year, a controversial movie heated up the world of Chungmuro: A Muse or Eun-gyo, a film whose main plot is the romance between a 70-year old man and a high school student.
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