I watched the Virtual International Film Series: Nameless Gangster on April 17th.
The South Korean film is about Ik-hyun, a lowly public servant who fails upward after stumbling across a shipment of drugs. Through a friend, he makes a connection with a distant relative Hyung-bae, an up-and-coming mob boss, to become a local powerbroker. Criminal life is not as fun for him as it is in the Godfather, and he is eventually forced to betray his partner to survive. The epilogue shows us that he’s still haunted by this betrayal many years later.
Honestly, I didn’t really understand or appreciate the film when I first watched it. But afterwards, as I usually do, I read some reviews and a summary. I realized that what I had dismissed as familial nonsense was in fact a parody of long-standing Confucian traditions in Korean society. Ik-hyun discovers he’s higher on the family tree than his partner in crime and demands the more experienced criminal treat him with the utmost respect. It’s funny in hindsight.
I appreciated the film. It was interesting, well-paced, and the character development was solid. Nameless Gangster takes context to appreciate fully but it’s a well-made piece of film.
I definitely gained an appreciation for foreign-language film from this movie. I never got around to seeing the award-winning Parasite (a 2019 regret) and this was my entry into Korean filmmaking.
The film didn’t intersect with my coursework, but I personally enjoy crime and gangster movies. I will say The Irishman was terrible, however.
If I could ask director Yoon Jong-bin a question, it would be something along the lines of “Did you know this movie would be a smash hit?” It was nominated for awards at a bunch of different film festivals in Korea and across the Pacific Rim. I’ve always wondered if directors know when small operation films are going to blow up, or if it surprises them as well.