I’m a Cyborg But That’s OK seems to be Park Chan-wook's attempt to remind us that he can still make other films. But unlike his commercial breakthrough Joint Security Area, this offbeat romantic comedy proudly wears its director’s name on its sleeve, whether it be through his pure cinematic exuberance, quirky humor, or exceedingly likeable characters.
Opening with the protag’s absent-minded suicide attempt in a colorful radio factory, Cyborg, tells the story of Young-goon, a young woman who believes she’s a cyborg and Il-Sun, a young man who believes he can steal other people's souls. The plot details her stay at the mental hospital from her attempts to acquaint herself with her other fellow electronics (soda machines, florescent lights), her detrimental refusal to eat, and her encounters with the hospital staff and patients, including Il-sun.
It’s difficult to imagine how this wildly creative and endearing film could hardly generate one-third of Old Boy’s earnings, but the combination of poor sales and high critical acclaim is perhaps an indication. The film has a slower pace than the director’s previous works and it strikes a strange hybrid tone where it is far too cute to be like his dark revenge flicks, but it’s a bit too dark and odd to be a cute romantic date film. Some viewers may simply find that too jarring a blend.
But for those can acclimate themselves to Park’s new direction—part One Flew Over the Cuckoo’s Nest, part Amelie—will be pleased. The script packs the mental hospital full of vibrant characters with particular eccentricities from a large woman with an obsession over proper skincare to a middle-aged man who holds himself responsible for every unfortunate event and refuses to stop apologizing.
For some of the more internal mental illnesses, Park crafts vibrant alternate realities so the viewers can explore the worlds of the patients. Cinematographer Jung Jung-hoon captures all these rich pastel spaces with a glossy sheen to make them all the more inviting. As a result, ‘crazy’ becomes a wholly subjective condition and Park finds a medium between accentuating a character’s quirkiness for laughs and giving them the proper humanity for later drama. By endowing each character with a history, a family, quirks, fears and their own world, Park treats them with respect, rather than alienating the audience from the insane.
Sometimes, these worlds can be shared, and so blossoms a charming, protective romance between the two protagonists. The wide-eyed Im Su-jeong and world famous pop star Rain both put in strong performances. Im works brilliantly for her off-kilter remarks, neurotic behavior and staunch refusal to lapse into explicit cuteness—much like Kyoko Fukada in Kamikaze Girls. Rain doesn’t have quite as much range, but he fits the role for his endearing, devilish and yodeling qualities. The supporting cast is exceptional with a large mix that feels like a true community.
Fans of Park may be conflicted, but those who appreciate his scripts for their characterizations will be pleased that Cyborg showcases that talent without gimmicks, brutal violence or twists getting in the way. And really, anyone who has a taste for the strange and cute, and is decidedly sick of Tim Burton will be pleased to find something special in this film.
Reviewed by Tarun
