It is possible to say the movie Memory of Murder directed by Bong Joon-ho lacks closure because the viewers do not learn the identity of a person who committed horrible murders. More importantly, at the very end, the main character discovers that the serial killer might have recently visited the crime scene.
To a great extent, this ending contradicts the conventional canons of detective stories in which the names of the main villain are usually disclosed. This is why some of the viewers may feel disappointed.
It should be noted that this movie reflects the trends which were widespread in the Korean cinematography. In particular, one can speak about the rejection of traditional plot structures. For instance, traditional thrillers enable the audience to see how a conflict is resolved. In turn, this approach to narrative structure could often be rejected by Korean film-makers.
Additionally, many of them adopted different attitudes towards archetypical characters such as police investigators who are usually depicted as confident and competent individuals. In turn, the characters lack these qualities. They can deserve sympathy, but they cannot be idolized. To some degree, the authors seem to be ironical about the characters who often seem virtually helpless. This is one of the details that should be considered.
To a great extent, this movie represents some of the techniques which were typical of the post-crisis Korean cinema. Much attention should be paid to the exploration of such themes as uncertainty, insecurity, and irrationality.
Similarly, the film Memories of Murder also throws light on these motifs. In particular, the film highlights the irrationality of murders. This is one of the details that completely puzzle police detectives who cannot resolve the horrible mystery.
Korean Cinematography: Memories of Murder
There are certain cinematographic conventions that shape the expectations of the viewers. Sometimes, these peculiarities are related to the genre of the movie. In turn, sometimes film-makers reject these rules. This argument is particularly relevant if one speaks about the movie Memories of Murder. It is a thriller depicting the efforts of police officers to investigate serial killings.
The main issue is that the authors do not disclose information about the person who killed many girls. Thus, the viewers do not learn whether the suspicions of the main characters were justified. Moreover, the criminal eventually remains unpunished. This is one of the details that distinguish this film among others.
This movie illustrates the typical attributes of the post-crisis Korean cinematography. In particular, one can speak about the willingness to challenge many of the stereotypes that the audience can have. For instance, one it is possible to mention the belief that a criminal will eventually be found and punished for his/her crimes.
In turn, Bong Joon-ho, who is the director of the movie, refutes this stereotype by changing the structure of the movie. Moreover, the film-makers seem to be rather skeptical about the police officers who seem to be rather ineffective. Thus, the expectations of the audience are not met.
In turn, this movie can be related to the common experiences of people who lived through the Korean economic crisis. For example, one can speak about such cases as the lack of confidence and feeling of uncertainty. Korean cinematographers lay stress on the absence of logical narratives that can explain people’s behavior. These themes play a critical role in the Korean films such as Memories of Murder.