Private eye, 2009 Private eye, 2009 - (English) TYPE2

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Viewed :   393
Film Date :   April 2, 2009
Genre :   Crime Detective   
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Private eye, 2009
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On paper at least, Private Eye (literally, Shadow Murder) looks mildly promising, as the film boasts a collection of talented actors, including Ryoo Deok-hwan (Like a Virgin), Hwang Jeong-min (Black House) and Oh Dal-soo, and the period atmosphere (1910 colonial Korea) was created by the same person responsible for the wonderful sets used in The Good, the Bad and the Weird. And, just as Kim Ji-woon’s kimchi western provided a badly needed respite from Chungmuro’s endless stream of costume dramas, gangster films and adolescent comedies, a Chosun gumshoe yarn would be a welcome breath of fresh air for Korea’s ailing film industry. However, if Park Dae-min’s debut was supposed to signal the birth of the detective genre in Korean cinema, it was unquestionably a misfire, saddled as it is with stale humor, weak suspense, and a paper-thin plot that takes an out-of-left-field twist at the end that seems utterly inappropriate.

Hwang plays a detective (Jin-ho) who earns a living snooping on adulterers and selling his pictures to tabloids. His sole ambition is to go to the States, where he hopes to find even more opportunities (though this idea is never developed any further). Ryoo here wastes his talent, portraying a timid medical intern (Kwang-su) to a prominent Japanese physician (played by Kim Eung-soo) who cares less for his patients than about money. Oh Dal-soo is cast as the Japanese chief-of-police.


One night, Kwang-su comes across the body of a murder victim in the woods and brings it back to his home to hone his surgical skills, not realizing that the victim is the son of a powerful government official. When the hapless intern discovers his mistake, he turns to Jin-ho to find the murderer—though just how this will exonerate him is unclear, as are many similarly puzzling holes in the threadbare plot. On their way back from the scene of the crime, Jin-ho and Kwang-su are followed back to town by the killer, and a chase scene ensues, with disagreeably choppy-looking camerawork that cannot disguise the nonsensical roof-jumping sequence that follows.

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