A South Korean neo-noir thriller that follows Oh Dae-su, a man who is inexplicably imprisoned in a cell for 15 years, only to be released suddenly. He embarks on a quest for revenge and discovers shocking truths about his past and the reasons for his captivity.

“Laugh and the world laughs with you. Weep and you weep alone.”

This quote encapsulates the loneliness of suffering and the idea that joy is shared collectively, while pain is a solitary experience, reflecting on how society often isolates those who are in distress.

“Even though I’m no better than a beast, don’t I have the right to live?”

Here, the protagonist questions the basic right to life, regardless of one’s actions or character, highlighting existential themes about humanity and morality.

“Revenge is good for your health, but what happens after you get your revenge?”

This line examines the temporary satisfaction of vengeance, questioning the aftermath and emptiness that often follows fulfilled revenge.

“Your gravest mistake was to leave me alive.”

This dialogue signifies the unintended consequences of mercy, suggesting that sparing someone could lead to unforeseen repercussions.

“Be it a rock or a grain of sand, in water they sink the same.”

Illustrates the inevitability of fate and the idea that no matter the size or weight of one’s burdens, the outcome is often the same in the grand scheme of life.

“I thought I was asking the questions, but I found out I was the answer.”

This reflects a journey of self-discovery, where the protagonist realizes that the search was not for external answers but rather for self-understanding.

“In front of me is the man who killed my wife and daughter.”

Confronts the source of his pain and quest for revenge, highlighting the personal nature of vengeance and the struggle for closure.

“But remember this: ‘Be it a grain of sand or a rock, in water they sink as the same.'”

Reiterates the theme of inevitable fate, emphasizing the equalizing nature of certain outcomes, regardless of one’s actions or intentions.

“What I am going to do is not vengeance, but I have to face him.”

Distinguishes between vengeance and confrontation, suggesting that facing one’s adversary is necessary for personal closure rather than retribution.

“A grain of sand or a rock, in water they sink the same.”

This repetition underscores the philosophical acceptance of fate and the universal inevitability faced by all, regardless of one’s burdens.

“I want to know who I am.”

Represents the protagonist’s quest for identity and understanding, a central theme driving the narrative and his actions throughout the film.

“I am a monster. But even monsters have a heart.”

Explores the duality of human nature, recognizing the potential for compassion even within those deemed evil or monstrous.

“There’s no way to be sure that all this is not a dream.”

Questions reality and perception, reflecting the film’s exploration of truth, memory, and the blurred lines between reality and illusion.

“If you die, you might be reunited with your family. But if you live, there is no knowing what kind of life awaits you.”

Presents a philosophical dilemma between the certainty of death and the uncertainty of life, probing the value and potential of living despite suffering.

“The TV is both a clock and a calendar. It’s your school, your home, your church, your friend… and your lover.”

Describes the protagonist’s solitary confinement and the role of television in providing a semblance of life, education, and companionship, highlighting themes of isolation and reliance on technology.

“With each passing day, I am filled with more hatred and bitterness.”

Conveys the consuming nature of vengeance and resentment, illustrating how these emotions can dominate one’s existence over time.

“No one’s ever been forgiven in this world, only forgotten.”

Pessimistically suggests that forgiveness is an illusion, and that time merely erases memories rather than offering true absolution or resolution.

“The more you scream, the more you suffer.”

Reflects the futility of expressing pain and the idea that resistance can often lead to more suffering, hinting at themes of acceptance and endurance.

“I don’t know why I’ve been imprisoned. It’s worse than being dead.”

Highlights the agony of uncertainty and the psychological torment of not knowing the reason behind one’s suffering, equating it to a fate worse than death.

“If they had told me it was going to be 15 years, would it have been easier to endure?”

Considers the human capacity for endurance and whether knowledge of a finite end to suffering makes the experience more bearable.

Interesting Facts about Oldboy (2003) – Choi Min-sik

The Iconic Hallway Fight Scene

The famous hallway fight scene was filmed in a single continuous take over three days, with Choi Min-sik doing all the stunts himself.

Choi Min-sik’s Method Acting

To prepare for his role, Choi Min-sik reportedly ate live octopuses, following a Buddhist prayer for each one, as part of his commitment to the character’s raw and intense nature.

Director’s Unique Approach

Director Park Chan-wook allowed Choi Min-sik to improvise many of his lines, adding a layer of authenticity and unpredictability to his character’s portrayal.

Transformation for the Role

Choi Min-sik lost 20 pounds and trained extensively in boxing for six weeks to convincingly portray the transformation of his character from an average man to a vengeful force.

Symbolism in the Antagonist’s Name

The antagonist’s name, Lee Woo-jin, can be translated to mean “eternal truth,” reflecting his obsession with revealing hidden truths and orchestrating elaborate revenge.

Inspiration from Manga

The film is loosely based on a Japanese manga of the same name by Garon Tsuchiya and Nobuaki Minegishi, though it takes significant creative liberties to craft its story.

Cannes Film Festival Acclaim

“Oldboy” won the Grand Prix at the 2004 Cannes Film Festival, with Quentin Tarantino, the head of the jury that year, being a vocal supporter of the film.

Soundtrack’s Unique Creation

The film’s composer, Jo Yeong-wook, created the soundtrack using classical music influences to heighten the film’s emotional and dramatic impact.

Hidden Clues Throughout the Film

Director Park Chan-wook intentionally placed subtle clues and foreshadowing elements throughout the film that hint at the plot’s shocking twists.

Global Influence and Remakes

“Oldboy” has inspired numerous filmmakers worldwide and was remade in 2013 by Spike Lee, though the remake received mixed reviews compared to the original.