This review may contain spoilers
When (low) life gives you porcelain
South Korea, '70s: Eyeing the opportunity for a highly lucrative business deal, small-time criminal O Gwan Seok and his nephew O Hui Dong join a ship expedition intent on recovering a large quantity of Chinese ceramics. The submerged treasure is located inside a wreck sunk off the coast of Mokpo, in South Jeolla Province; however, they need to find a financier and some divers, all without arousing the suspicion of the police and any rival treasure hunters...
One could start from the assumption that ‘Low Life’ is not exactly a production for all tastes, given that the accumulation of stylistic elements within it goes somewhat against the grain of the classic (even aesthetic) canons of the multitude of more openly celebrated contemporary dramas.
While it is true that at times it seems almost like a coming-of-age story, and the voiceover in several places reinforces this idea, adding a melodramatic element that is perhaps a little rhetorical but undoubtedly charming, it is nevertheless in the generalised human scenario that the main strengths lie.
At the heart of it all, as always when it comes to money, fortune, wealth and “treasures”, there is obviously greed and avidity, which here go hand in hand with the inevitable feeling of vain hope and social redemption linked to the ephemeral illusion of achieving economic targets.
Certainly valuable and courageous is the choice to represent a microcosm of marginal characters, outcasts and petty criminals, ready to fight each other in order to obtain the coveted ‘treasure’ in the illusion that this lucrative opportunity could change their lives.
Modern buccaneers, one might say.
And mind you, greed here is not limited to certain characters in the drama, but is a generalised fault that overwhelms every single element of the story and, in many places, spares no one, not even in the fleeting emotional bonds that occasionally reveal themselves, perhaps with the illusion of some search for “normality”.
Undoubtedly, it is a picture full of shadows and contradictions, where, at least for a large part of the drama, there is no room for purity and moral integrity, and where every character in the story, either by their own decision or by a cruel twist of fate, ends up choosing the most immediate path, as well as, inevitably, the most dangerous one.
For some, a certain ‘harshness’ in the approach to ‘Low Life’ may be determined by an almost wait-and-see first section, which is extremely articulate and dialogue-heavy, where, cinematographically speaking, the plot development is rather limited (one could say that ‘little is happening’ from an action point of view), but which is essential for introducing the vast and varied cast, with all their peculiarities and contradictions; It is clearly with the start of the treasure hunt that, inevitably, the human dynamics and behavioural tensions that had been suppressed until then will explode...
So double-crossing, suspicion, betrayal and fragile alliances prevail, thanks to the excellent ensemble cast and skilful direction that alternates moments of comedy and black humour with sudden, chilling bursts of violence and sadism, as if to emphasise the ambiguous nature of the characters portrayed in the story.
The characterisation of O Gwan Seok by the excellent Ryu Seung-ryong is truly remarkable. He is an utterly impassive and cynical figure – a mask that seems to come straight out of 1970s genre movies – ready to do anything to achieve his targets; However, in my opinion, the talented Im Soo Jung is unbeatable in the role of the ruthless Yang Jeong Sook, a sort of cold and manipulative “dark lady” who remains unperturbed and determined for most of the story, even if her mask occasionally gives way to moments of unexpected romance.
More classic is Yang Se Jong's portrayal of the young O Hui Dong, who, while accepting the (dirty) rules of the business, bends, especially in the last few episodes, for obvious narrative reasons, to a more stereotyped and “chivalrous” representation of what is necessary.
But it is the ensemble of many well-known and distinctive faces, playing the parts of con artists, ceramist experts, suburban wrestlers and boxers, improvised divers, corrupt police officers and all the motley crew that follows them, that allows ‘Low Life’ to be appreciated as a whole.
Clearly, it is not a perfect drama; the ending is a bit rushed and perhaps too ‘open,’ and, as already mentioned, patience and attention are required at the beginning. There may also be some somewhat forced twists at the end, but you are rewarded with a beautiful adventure that offers an interesting—and nostalgic—portrait of a particular historical period (the '70s), where the first signs of the economic and urban boom (and, of course, speculation) that will come to Seoul are already visible, in contrast to the representation of urban marginality and the aesthetics of the slums, well rendered by a careful reproduction of the locations, costumes and incredible looks of the time.
7 ½
One could start from the assumption that ‘Low Life’ is not exactly a production for all tastes, given that the accumulation of stylistic elements within it goes somewhat against the grain of the classic (even aesthetic) canons of the multitude of more openly celebrated contemporary dramas.
While it is true that at times it seems almost like a coming-of-age story, and the voiceover in several places reinforces this idea, adding a melodramatic element that is perhaps a little rhetorical but undoubtedly charming, it is nevertheless in the generalised human scenario that the main strengths lie.
At the heart of it all, as always when it comes to money, fortune, wealth and “treasures”, there is obviously greed and avidity, which here go hand in hand with the inevitable feeling of vain hope and social redemption linked to the ephemeral illusion of achieving economic targets.
Certainly valuable and courageous is the choice to represent a microcosm of marginal characters, outcasts and petty criminals, ready to fight each other in order to obtain the coveted ‘treasure’ in the illusion that this lucrative opportunity could change their lives.
Modern buccaneers, one might say.
And mind you, greed here is not limited to certain characters in the drama, but is a generalised fault that overwhelms every single element of the story and, in many places, spares no one, not even in the fleeting emotional bonds that occasionally reveal themselves, perhaps with the illusion of some search for “normality”.
Undoubtedly, it is a picture full of shadows and contradictions, where, at least for a large part of the drama, there is no room for purity and moral integrity, and where every character in the story, either by their own decision or by a cruel twist of fate, ends up choosing the most immediate path, as well as, inevitably, the most dangerous one.
For some, a certain ‘harshness’ in the approach to ‘Low Life’ may be determined by an almost wait-and-see first section, which is extremely articulate and dialogue-heavy, where, cinematographically speaking, the plot development is rather limited (one could say that ‘little is happening’ from an action point of view), but which is essential for introducing the vast and varied cast, with all their peculiarities and contradictions; It is clearly with the start of the treasure hunt that, inevitably, the human dynamics and behavioural tensions that had been suppressed until then will explode...
So double-crossing, suspicion, betrayal and fragile alliances prevail, thanks to the excellent ensemble cast and skilful direction that alternates moments of comedy and black humour with sudden, chilling bursts of violence and sadism, as if to emphasise the ambiguous nature of the characters portrayed in the story.
The characterisation of O Gwan Seok by the excellent Ryu Seung-ryong is truly remarkable. He is an utterly impassive and cynical figure – a mask that seems to come straight out of 1970s genre movies – ready to do anything to achieve his targets; However, in my opinion, the talented Im Soo Jung is unbeatable in the role of the ruthless Yang Jeong Sook, a sort of cold and manipulative “dark lady” who remains unperturbed and determined for most of the story, even if her mask occasionally gives way to moments of unexpected romance.
More classic is Yang Se Jong's portrayal of the young O Hui Dong, who, while accepting the (dirty) rules of the business, bends, especially in the last few episodes, for obvious narrative reasons, to a more stereotyped and “chivalrous” representation of what is necessary.
But it is the ensemble of many well-known and distinctive faces, playing the parts of con artists, ceramist experts, suburban wrestlers and boxers, improvised divers, corrupt police officers and all the motley crew that follows them, that allows ‘Low Life’ to be appreciated as a whole.
Clearly, it is not a perfect drama; the ending is a bit rushed and perhaps too ‘open,’ and, as already mentioned, patience and attention are required at the beginning. There may also be some somewhat forced twists at the end, but you are rewarded with a beautiful adventure that offers an interesting—and nostalgic—portrait of a particular historical period (the '70s), where the first signs of the economic and urban boom (and, of course, speculation) that will come to Seoul are already visible, in contrast to the representation of urban marginality and the aesthetics of the slums, well rendered by a careful reproduction of the locations, costumes and incredible looks of the time.
7 ½
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