Review: I’m a Cyborg, But That’s OK (2006)
Director Park Chan-wook makes films that are stylish, brutal, funny and surprisingly touching. He is best known for his 2003 cult classic Oldboy, which is part of a thematically (but not narratively) connected “Vengeance Trilogy,” alongside Sympathy for Mr. Vengeance and Lady Vengeance. More recently, he used his bloody aesthetic to put a new twist on the vampire genre with Thirst in 2009.
I’m a Cyborg, But That’s OK, which was released after the trilogy but before Thirst, is a kinder, gentler affair, but still has Park’s characteristic bite underneath the candy-coated exterior. The story follows Young-goon, a girl in a mental institution who refuses to eat because she believes she is a cyborg. She talks to vending machines, meditates on the simple pragmatism of a boiler, and “recharges” with a battery between her index fingers. I’m a Cyborg would rest comfortably beside the work of Michel Gondry, with its romance between two damaged souls, quirky peripheral characters, and brightly-colored fantasy sequences with flying and singing.
If this all sounds a little too cute, you should know that the film opens with Young-goon slitting open her wrist so that she can insert wires into the wound; in the moments that follow, she gets electrocuted when she tries to plug herself in. Park lets us know right away that, even though this movie is whimsical, he’s not fucking around.
The movie focuses on another inhabitant of the hospital, Il-sun, a young man who wears masks, hops around like a bunny, believes he is vanishing, and proclaims himself anti-social. Although he claims to have no sympathy or care for anyone – and he does seem adept at manipulating the other patients’ delusions – he develops an interest in Young-goon and works desperately to convince her to eat before she dies of starvation.
(Tangent: I just learned that the actor who plays Il-sun is a very popular Korean pop star. That’s so exciting! He’s called Rain! And apparently he was also in Ninja Assassin, which I have not seen. But he is kind of fucking adorable in I’m a Cyborg, so I can see why all the girls would swoon for him.)
The way the film deals with mental illness is interesting, but potentially exploitative. The patients all seem to be relatively harmless (Young-goon’s violent revenge fantasies notwithstanding) and mostly happy, making hospitals seems like quirk-fests full of zany and colorful characters. We have the woman who believes her “magic socks” can make her fly, the girl who yodels in her von Trapp fantasy, and a guy who walks backwards and apologizes for everything. For each person in this film, insanity is not so much a defect, but simply a world of his or her own making that happens to be at odds with the “normal” world. I’m kind of okay with the “quirkiness” of mental illness as presented here because, even though a lot of scenes are played for comedy, the the film presents the characters as they want to see themselves; Park treats them with sympathy and takes their desires seriously.
Il-sun may be the least crazy of them all because he seems to understand that the craziness, including his own, all comes down to world-building – which is why he’s so good at infiltrating everyone else’s world. He can make other people believe what he wants them to believe through the power of suggestion, and in the case of saving Young-goon from starvation, he convinces her to believe what she needs to believe in order to survive.
Verdict: CHARMING AS FUCK