“Boys of Tomorrow” is poorly served by its misleading DVD box art, which seems to suggest some kind of wacky action comedy, despite the fact that the film is a very different proposition indeed, being a gloomy portrait of disaffected youth. Although this is perhaps understandable given that the film is not a particularly obvious commercial sell, it’s a shame, as it may well see it being unfairly lumped in with an already overcrowded field of far more generic efforts. Directed by Noh Dong Seok, who won praise for his 2004 debut “My Generation”, the film follows along the same nihilistic lines, trying to fulfil his artistic leanings without sacrificing good storytelling or entertainment value.

The film follows Ki Su (Kim Byeong Seok) and Jong Dae (Yu Ah In, who recently won the Best New Actor award at the 2007 Pusan International Film Festival for his excellent performance) two teenage boys on the cusp of adulthood who have grown up together almost like brothers. Both from poor, broken families, they pursue their modest dreams, which for Ki Su amounts to little more than making an honest living and taking care of his useless brother’s young child, and which for Jong Dae means getting his hands on a gun. For some reason he seems to think that this will provide the answer to all of his problems and insecurities, though of course it only serves to bring the two even more trouble. Eventually, Jong Dae manages to get a job with a local gangster, and slowly starts to drift into the criminal world, spurring Ki Su to try and extricate him from what rapidly becomes a very dangerous situation.

Although this all may well sound far too familiar, with “Boys of Tomorrow” director Noh mercifully takes a different approach to the subject matter, styling the film as a bleakly realistic coming of age drama instead of a crime caper. Similarly, whilst films such as this usually tend to revolve around the dynamic of a righteous guy who seems to be going places, and a painfully useless, though often wacky friend who drags him down though for whom he feels a brotherly responsibility, he heads things down a very different route, with the two central characters both being imperfect deadbeats in their own different ways. Jong Dae quickly becomes the focus of the film, and although his behaviour is frustratingly destructive, it’s easier to sympathise with him than with the largely silent and obtuse Ki Su. Interestingly, the plot plays out in a strangely obtuse fashion, with Noh refusing to give the viewers all the answers, interweaving the present with childhood flashbacks which for the most part only hint at problems and telling incidents from the past. This pushes the film almost into arthouse territory, and whilst it is not as accomplished or as emotionally complex as for example the works of Lee Chang Dong, it at least ventures into the same territory and generally avoids cheap sentiment or cliché.

With the two protagonists on the verge of manhood, but very clearly still boys, the film explores a variety of themes, chief amongst which is much pondering over what makes a man good or bad. The leap to becoming a man is clearly linked with the development of a sense of responsibility, in this case played out mainly through the relationships between father figures and their surrogate sons, whether between Ki Su and his nephew, or indeed between him and Jong Dae. The film also touches on sexual maturation, particularly through Jong Dae, who only has one testicle as a result of being kicked where it hurts by Ki Su as a child whilst attempting to spy on his mother during a sordid encounter. This leads to a deep insecurity, and a brief though ultimately emasculating flirtation with an older woman before he finally forms a bond with a young girl from the massage parlour where he ends up working. Although it is of course somewhat of a cliché for male protagonists in this kind of film to fall in love with prostitutes, particularly abused ones who have a tendency to remind them of lost innocence, thus awakening protective urges, here it is actually quite fitting and believable, especially since Jong Dae is a confused lad who would probably be unlikely to be able to communicate with girls under normal circumstances. Religion is also explored, seemingly as a way of escape, as is the case with Jong Dae’s crazed mother. Certainly, the film is one with a considerable amount of depth, and although to be fair many of these ideas are not fully developed, it does make for thoughtful and engaging viewing.

Noh shoots with a naturalistic, unobtrusive style, and the film is kept grounded by its obviously low budget. Although not much happens during the running time, there is a burst of sudden cathartic violence at the end, which though not particularly bloody, almost has the feel of a teenage Korean version of the final act of Scorcese’s “Taxi Driver” in that it relates to a troubled young man’s stab at redemption, kicking back at the corruption and filth which surrounds him. Wisely, Noh refrains from passing judgement on the outcome, and on his characters in general, something which also gives it a more realistic air.

Thankfully, although “Boys of Tomorrow” is pretty grim and depressing for the most part, it’s not without a glimmer of hope, and as a result all artistic or intellectual achievements aside, on a basic level it makes for absorbing and entertaining viewing. Noh is a thoughtful and talented director, and the film is a solid piece of the kind of believable human drama for which Korean cinema used to be known.

Dong-seok No (director) / Dong-seok No (screenplay)
CAST: Jae-Sung Choi … Mr. Kim
Byeong-seok Kim … Ki-su
Dong-ho Lee … Yo-han / Jong-dae
Ah-in Yu … Jong-dae

Filed under Asian Movie Reviews, South Korean Movie Reviews, All Movie Reviews





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