Korean director Kim Ki-duk's
3-Iron relates the odyssey of a macho teenager who breaks into people's
homes when they are away in order to provide a "presence" in an empty house.
It is a moody suspense thriller and "existential" love story that moves
from one cruel and violent scene to another interspersed with interludes
of meditative calm and ersatz mysticism. Jae Hee turns in a bravura performance
as the enigmatic drifter Tae-suk. He does not utter a single word throughout
the film but conveys layers of meaning through facial expressions and body
movements, often breaking into a puzzling smile. A college graduate, Tae-suk
finds little to do with his life other than riding his BMW motorcycle to
attach pizza flyers to the front door of people's homes. When he goes back
over his route, he discovers which people have not removed their flyers,
concludes that they are not at home, and surreptitiously enters their house
using a set of master keys.
Apparently not concerned
with whether or not they are away for a day, a week or a few hours, he
enters their place of dwelling and simply helps himself to what is available
without stealing anything. As one critic remarked, the film should have
been titled Zen and the Art of Breaking and Entering. We never find
out what this character's motivations are but it is irrelevant, as he is
only one of many symbols that Kim substitutes for real people. Shortly
after entering a wealthy home, he finds a morose battered woman Sun-hwa
(Lee Sueng yeon) and feels an immediate connection. When her husband returns
and begins abusing his wife again, the teenager comes to her rescue by
pounding golf balls into the man's stomach, some sort of Zen lesson I presume.
The two silent partners
now form a connection and join together in their silent breaking and entering
ritual. Reminiscent of Tsai Ming Liang's Vive L'Amour, they have
sex in other people's beds, borrow their pajamas and help themselves to
their food. They say nothing to each other, fix broken appliances, scrub
bathroom floors, and do the laundry as repayment for the temporary appropriation
of the home. In one of the houses, they find an old man lying dead on the
floor. Without making any inquiries, alerting the police, trying to contact
friends or relatives, the existential detectives simply bury the man in
the front lawn of his house. When the man's son arrives, however, Tae-suk
is arrested for murder, trespassing, and kidnapping and Sun-hwa is sent
back to her husband to endure more abuse. The boy does not proclaim his
innocence or try to defend himself but rather arrogantly provokes the anger
of the police investigator and guards through his prolonged silence
and disappearing acts.
While 3-Iron has
a haunting quality and contains some fine acting and gorgeous shot composition,
the film shouts "spiritual message" from the opening scene. The equivalent
of spiritual fast food, the film panders to growing Western interest in
Eastern religion but misses the essence of what it is about. Spirituality
lies in making oneself visible to the world, not invisible. It is about
compassion, integrity, and open communication, spreading enlightenment
through example not driving golf balls into a person's stomach or violating
people's right to privacy. Like Kim Ki-duk's previous effort, Spring,
Summer, Winter, Fall…and Spring, 3-Iron is quite appealing on
the surface. It is only when you look underneath do you find that it is
hollow at its core.
GRADE: B-
Howard
Schumann