Jung Sei-woo's 1999 South Korean film Happy to Death is a heart-wrenching work that reveals the dark side of society. The film depicts a forbidden romance that takes place during an economic depression, revealing the pain and despair hidden beneath the surface of calm. With its unique perspective and profound social criticism, the film shows us the true face of Korean society in 1999 and the difficulties that individuals may face under social pressure.
The story takes place in South Korea in 1999, an era of economic depression, and the protagonist Mong Ki (Choi Min-sik) is a laid-off bank clerk who has nothing to do at home and can only read novels every day. His wife, Bo Luo (Jeon Do-yeon), is the principal of an English-speaking kindergarten and is disgusted by her decadent husband. At this time, Paulo meets her old lover, and the old relationship between the two is rekindled. However, Paulo does not want to give up the family, and the torment between the family and her lover makes her feel very painful. In the end, Minji discovers his wife's affair, becomes unbearable, kills his wife, and plans to blame his death on his wife's lover.
With its unique narrative and profound themes, this film deserves our in-depth study and reflection. Here, we will analyze the film from the following aspects:
1. The social background and real problems in the film
The story in the film takes place in South Korea in 1999, a period of economic crisis and social unrest. As a result of the Asian financial crisis, South Korea's economy fell into a deep recession, with unemployment as high as 8.6% and many businesses closing down or laying off workers. The protagonist of the film, Citizen Gene, lost his job and dignity because he was laid off, and also lost confidence and hope in life. He stayed at home idly every day, watching everything he once had fade away. He had no expectations for himself and no plans for the future. He can only immerse himself in fiction and find some solace.
The heroine of the film, Pauro, is a professional woman with high education and high income, she is the principal of an English kindergarten, and she has a lot of ability and status in her work. However, in the family, she was snubbed and despised by her husband Minji. Although Boro looks strong and independent on the surface, he is actually fragile and lonely inside. She longs for love and care, but can't get it from her husband. This led her back into the arms of her old lover, seeking some comfort and satisfaction.
2. Forbidden romances and family dilemmas
The film depicts a forbidden love affair between Pauro and her old lover. Although they once had deep feelings, they eventually separated for various reasons. However, when Pauro's marriage is in trouble, they meet again and rekindle the fire of love. This forbidden relationship puts Pauo in a family and emotional dilemma. She longs to be with her old lover, but is unwilling to give up her family and responsibilities. She wanders between two worlds, and her heart is very painful and tangled.
The film also profoundly reveals that the marriage of Boro and Minji has lost its original love and tacit understanding, and they are full of indifference, quarrels and violence. Minji's snub and contempt for Boro makes her feel helpless and lonely, leading her to seek ways of comfort and satisfaction. However, this pursuit of happiness eventually led to tragedy. The film shows in a tragic way the irreconcilable conflict between forbidden romances and family dilemmas.
3. Social criticism and individual destiny
The film "Happy to Death" criticizes the real problems of Korean society at that time through the narration of individual fate. The experience of the protagonist citizen base represents the helplessness and despair of ordinary people in the face of unemployment and economic hardship. He lost his job and social status, fell into self-doubt and confusion. His marriage broke down and family relationships were strained, leaving him feeling unbearably stressed. He was marginalized at the bottom of society and could not escape his destiny. This dilemma of individual fate reflected widespread problems in Korean society at the time, including social class entrenchment, economic inequality, and the fragility of human relationships.
The film also reveals social issues such as gender inequality through the role of Pauro. Although Pauro is a working woman, she does not receive the respect and care she deserves in her family. Her husband, Minji, was violent and insulted against her, but she felt helpless. This reflected the domestic violence and oppression of women that was prevalent in Korean society at the time.
At the end of the film, tragedy ends this forbidden romance and individual fate. Minji discovers his wife's affair and chooses to kill her because he can't bear the fact. He also plans to blame his death on his wife's lover, trying to evade responsibility and face reality. However, this choice only brought more pain and despair. The tragic ending sheds light on the extreme behaviors and psychological states that individuals may face under social pressures and predicament.
Zheng Juyu's directing skills are fully demonstrated in this film. He successfully integrated family conflicts, marital rifts, and the tragic events caused by the economic depression into the story, allowing the audience to have a deep understanding of the real problems of Korean society in 1999. At the same time, the wonderful performances of Jeon Do-yeon and Choi Min-shik also add a lot to the film, and they successfully shape the complexity of the characters, making the audience feel their pain and despair.
Overall, the film shows the cruelty and sadness of the dark side of Korean society by depicting forbidden romances and tragic endings. It profoundly reflects the plight of individual fortunes, gender inequality and family problems during the economic depression, as well as moral decline and confusion of social values. Through this story, the viewer is forced to think about the problems that exist in society and to reflect and pay attention to these issues.