After Rampant, we checked the time for the (now working) crime drama, Dark Figure of Crime and we had just enough time to catch it (after a very hastened lunch of noodles) and—well, it’s completely different from Rampant, that’s for sure. It’s actually a kind of low-key film that sorta sneaks up on you with its based-on-a-true story.
Hyung-min (Yoon-Seok Kim of 1987: When The Day Comes) is a vice detective trying to get some information out of his unstable and creepy informer Tae-oh (Ji-hoon Ju, the male companion of the underworld guide in Along with the Gods: The Last 49 Days and its sequel, as well as The Spy Gone North), when Tae-oh is suddenly confronted and captured by Homicide. Turns out, he killed his girlfriend.
Hell of a thing. And it’s made worse by a clever legal trick resulting in a sentence of only 15 years.
But wait, Tae-oh says he’s actually killed a lot of people. Six others. And he’ll tell Hyung-min where they are, in exchange for a few niceties. Hyung-min is suspicious, but since he knows Tae-oh is crazy and not especially bright, he figures its worth it to bribe him into cooperating.
Tae-oh, while not that bright, is rather cunning and spends a lot of time in jail studying law books. He gives Hyung-min enough information to convince him that he’s telling the truth, but a lot of that information is just slightly off, leading to a series of embarrassments for the detective, who has himself transferred to Homicide to pursue these cold cases.
This is another funny Korean trope, as seen in The Negotiation and many others: If you’re a bureaucrat—and the police essentially are—you’re expected to do things that keep your statistics up, while nobody cares about cold cases. At points, Tae-oh’s data is vague enough or wrong enough to utterly humiliate Hyung-min, and it appears like what he’s trying to do is discredit the entire investigation to get off on the one murder charge he’s been convicted of.
Hyung-min is a “rich-enough” guy. He doesn’t need to be a cop, and this comes up a lot. He has to choose between silently letting the case go, or doing what he thinks is right even at the cost of his dream which, as it turns out, is being a cop. Nobody cares, as has been pointed out, and he has the chance to resolve issues for a lot of people missing loved ones. This haunts him and gives his character depth. Kim plays the part very low-key and for the most part, its the character’s actions which speak, and the emotion that escapes tends to carry some heft.
Ji-hoon Ju plays his character more broadly, as he must, but even there we’re not sure what’s going on. He’s crazy, he’s dumb, he’s cunning, he’s energetic, he’s capricious. He’s not without a depth, but he’s a far cry from a movie villain, like a Hannibal Lechter (though this movie is not without parallels to Silence of the Lambs).
The Boy was inclined to like this one less than Rampant, at least at first. It doesn’t bowl you over, but it does stay with you. You think about it. You reflect on it. The characters’ motivations really do feel strongly informed by real life, and there’s a weird kind of chemistry in the principle’s cat-and-mouse game, which flips back and forth enough to feel less cartoony than, say, Silence.
He came back three or four times to tell me he’d revised his opinion upward, and I tend to agree. It’s a different film that doesn’t rely on a lot of traditional movie tropes. It’s not spectacular, and the suspense is rather organic to larger issues (will the police find a body before someone pulls the plug?). But as I say, you can’t rightly complain about things being the same all the time and then bitch about it when you get something different.
Worth a watch, definitely.