The early films of Park Chan-wook such as "Joint Security Area" (Gongdong gyeongbi guyeok JSA, 2000) and the so-called "Vengeance trilogy" - "Sympathy for Mr. Vengeance" (Boksuneun naui geot, 2002), "Oldboy" (Oldeuboi, 2003), and "Lady Vengeance" (Chinjeolhan geumjassi, 2005) - brought South-Korean cinema to western awareness and made Park an acclaimed auteur of world cinema. The trademarks of Park's films, which have sometimes seemed to become equivalent with the reputation of South-Korean cinema in general, are shocking violence, the eccentric portrayal of love, and complex narratives that employ surprising twists. The latest film from the director probably will not disappoint the dedicated global audience of such films, but "Decision to Leave" (Heojil kyolshim, 2022) is also something much more.
Hae-jun (Park Hae-il) is a married police officer who suffers from insomnia as he keeps driving between two cities on misty roads. His work is in Busan, but his wife (played by Jung Yi-seo) awaits him in Ipo. When a businessman dies in what seems to be a mountain climbing accident, the police immediately pick up the businessman's Chinese wife Seo-rae (Tang Wei) as a primary suspect. The case seems clear to most, but Hae-jun's feelings for Seo-rae cloud his vision and judgment. In typical Park fashion, the situation quickly turns more complicated, Hae-jun's feelings become obsessive, and soon there seems to be no way out from the mist of emotions.
There is a touch of Masumura's "A Wife Confesses" (1961) and, obviously, Hitchcock's "Vertigo" (1958) in the film's premise, but Park has stated that "Decision to Leave" was in fact inspired by a Korean love song "Angae" (or "Mist") sung by Jung Hoon Hee in the 1960's. In the song, someone, who has lost their lover in the past, gets lost in the fog. We speak of "brain fog" or "clouding of consciousness" when describing the experience of indecisiveness and lack of focus, which are also signs of depression. Hae-jun is not necessarily clinically depressed, though his compassionate if a bit over-caring wife is concerned. After all, Hae-jun, a middle-aged man, belongs to a high-risk group. His wife thinks that Hae-jun needs violence and death in order to be happy, but the cop, who has dedicated a wall in his Busan flat to unsolved cases, does not seem jovial. Hae-jun needs his job or, more specifically, the attempts at solving mysteries to feel a sense of meaning in his life. This is the reason he initially falls for Seo-rae; she would fit perfectly on his wall of unsolved cases. She is a walking enigma.
Alongside Hae-jun, the spectator must constantly guess whether Seo-rae is leading the cop on or not. Some of Seo-rae's behaviours, actions, and decisions may remain a bit unconvincing, which casts a faint shadow of implausibility to the film. On the other hand, the inability to fully grasp the character fits this film like a glove. An additional air of mystery is added to the character for the simple reason that she is Chinese. Since Seo-rae does not speak perfect Korean, she and Hae-jun must occasionally rely on apps on their smart phones for translation. As is well known, of course, things get lost in translation. And the multiple screens between them are not helping. In the end, the spectator is -- just like Hae-jun -- left incapable of having the final verdict on Seo-rae, this ephemeral character in the foggy landscape.
Communication is thus clouded not just between characters but also the film's narration and the spectator. Both Park's style and narration obfuscate the sense of space and time. The complex plot is told in a fast pace, and narration keeps jumping back-and-forth between scenes, many of which have been executed with unprecedented innovation. For just one example, there is a scene where Park is able to combine Hae-jun in bed with his wife, him staring at mold on the corner of their wall, Seo-rae watching a Korean soap opera, and x-ray images related to the crime. Even if Hae-jun and Seo-rae were in different places in different times, Park constantly cuts their looks together. As a result, there is this continuous impression of a gaze that defies dimensions of space and time in the poetic space of the film. By means of editing, Park creates a luring kaleidoscope of ambivalent emotions. At times, this formal approach might make the following of the story a little challenging for the spectator, but the facts of the story do not in the end seem to matter that much. The atmosphere of Park's neo-noir melodrama is clouded by a brain fog in which it is difficult to concentrate and make decisions.
Although "Decision to Leave" treads on familiar terrain for Park, as a film about love and obsession, I must say that I enjoyed it more than any other film from him. Even with his best films, I have always found Park's complicated narratives and his shocking violence somewhat self-deliberate, self-indulgent, and a bit bloated. Here, there are less gimmicks, and the film just feels more earnest, even though it is still a complex story. Given that "Decision to Leave" resembles "Vertigo", some might have presumptions regarding Park's eroticism, which invaded his previous film "The Handmaiden" (Ah-ga-ssi, 2016), but such reservations are unfounded. Curiously, "Decision to Leave" holds back in its portrayal of romance and erotic tension. In the film's most intimate scene, Hae-jun and Seo-rae exchange a bit of lip balm. "Decision to Leave" may not persuade completely, but it is still, to my mind, Park's most intriguing work. Form and content merge into a hazy cloud of fog which one finds difficult to leave behind.
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