*I do apologise for the poor sound quality of the video, an experiment with recording equipment that didn’t work.*
I have just read that Spike Lee is re-making Oldboy. To say I’m angy and dismayed is the understatement of the century. I am not too surprised as there is apparently some sort of loophole in the Korean film system where the owners/creators of a Korean film have no rights. Anyone can take their film lock, stock and barrel and remake it. This is the second time (that I’m aware of) where Hollywood has decided to take advantage of this copyright loophole.
The first time was with the brilliant Tale Of Two Sisters, Jee-woon Kim’s masterpiece. This film was a skilful blend of supernatural horror and psychological thriller. It was butchered beyond all recognition by Hollywood in the re-make titled The Uninvited. It beggars belief that Hollywood can see the merit of the original film and then re-make it so badly that it is nigh-on unrecognisable upon completion.
Now Hollywood has it’s sights firmly set on Oldboy. Oldboy was part of Chan-wook Park’s ”vengeance” trilogy. The first of which was Sympathy for Mr Vengeance. The last of the trilogy was Lady Vengeance. Oldboy was sandwiched firmly in the middle. That Park is a master craftsman is undeniable. When you watch these films you feel overwhelmed by the imagery and the intricacy of the plots. Of course Min-sik Choi features in two of the films. He is the star of Oldboy, the villain in Lady Vengeance and is suitably different in each role.
I dearly love all three films, although Sympathy for Mr Vengeance always depresses me no end when I watch it. The point is all three films have so much in common. I’m not talking about plot here. I’m talking about the amount of care that Park takes in the crafting of each film. In Oldboy for example, look at the clothes the three main protagonists wear. Each of the characters wear certain colours and patterns that tell you, who they are and how they fit into the film. The set designs have been developed the same way. I could go on for hours about the amount of effort that Asian film makers put into their films, but I think it would start to sound a bit like ranting.
I think that Asian cinema has some of the most talented directors in the world at the moment. Asian directors usually write the screen plays of the films they direct and in some cases produce them as well. If ever the phrase of ”director as auteur” applied to anyone, it applies to Asian directors. For Hollywood to re-make the work of these masters without asking permission, or (most disturbingly) without conferring with them on the process of the re-make itself is criminal. At the very least it is a little nuts. The very fact that the original films were so successful almost mandates an invitation for original creators to be involved.
There is no denying that Hollywood is on the “Remake Train.” They aren’t just remaking World Cinema’s great films, they’re remaking much loved Hollywood films as well. True Grit was released earlier this year. And a list of further re-makes that are upcoming is long and upsetting. One of the latest is The Wild Bunch which is under going talks to be directed by Tony Scott. It is disturbing to think that the well of talent is so dry in Hollywood that they’ve had to resort to remaking other peoples classic/iconic films to turn a profit.
I think it’s safe to say that Hollywood is no longer the “Dream Factory,” they are now the“Remake Factory.”
- ‘Oldboy’ director backing remake, says Josh Brolin (digitalspy.co.uk)
- Spike Lee Get’s His OLDBOY Villain And It’s Sharlto Copley! (thepeoplesmovies.com)
- Josh Brolin Talks OLDBOY Remake; Says Film Has Chan-wook Park’s Blessing and Includes Hammerfight and Octopus Scenes (collider.com)