Confession of Murder (Film)

Film Details

Originally released in 2012 as 내가 살인범이다
Released as Confession of Murder in English translation in 2013

Written by Jeong Byeong-gil and Hong Won-Chan
Directed by Jeong Byeong-gil
Starring Jeong Jae-yeong, Park Shi-hoo, Jung Hae-Kyun, Kim Yeong-ae, Choi Won-young, Kim Jong-goo

The Blurb

He’s a killer. He didn’t get caught. And he’s about to be famous.

When the statute of limitations expires on a series of high-profile murders, a handsome and mysterious young man emerges with a tell-all book, taking credit for the crimes. As he seduces the media into following him to book signings and televised debates, the officer who hunted him falls deeper into obsession, and the victims’ families plot their own revenge.

The Verdict

A decent action thriller with an entertaining concept and a very good performance from Park Si-hoo.


My Thoughts

Those who have followed this blog know that I am always on the lookout for inverted crime stories so when I stumbled onto a copy of Confession of Murder, a Korean crime film made in 2012, I hoped I was onto a winner. I soon realized that this would actually be more of a cat and mouse style thriller with heavy action elements but I was interested enough with the scenario to stick with it and see how the situation would be resolved.

The film begins in 1990 and introduces us to Choi Hyeong-goo (Jung Jae-yeong), a detective who is trying to catch a serial killer who has already killed ten women and suspected of kidnapping and killing another. After tracking them down a chase ensues across rooftops and through back alleys, leading to an intense fight that leaves the killer with a bullet in their shoulder and Hyeong-goo with a deep scar across one side of his mouth.

We then jump forwards in time to the point at which the statute of limitations on these murders has expired. Hyeong-goo is still working for the police but he cannot move past his failure to solve this case, drinking heavily. He learns that a handsome young man, Lee Doo-seok (Park Si-hoo) has released a memoir I Am The Murderer in which he claims responsibility for the crimes, revealing details that were unknown to the public. He even reveals a scar and a bullet matching those fired from Hyeong-goo’s gun in his shoulder during his televised book launch. This creates a media sensation and he receives plenty of press coverage as he makes public visits to the homes of each of the victims’ families to kneel and beg for forgiveness.

Hyeong-goo refuses to believe Doo-seok’s account, questioning what happened to the abducted and presumably murdered final victim’s body. Doo-seok meanwhile claims that this was carried out by a copycat, only accepting responsibility for the first ten crimes. Did Doo-seok really commit the crimes? If he did not really do the murders, how did he learn those undisclosed details and why is he coming forward?

It was these questions about Doo-seok’s motivations in coming forward and the way he seems to get under the skin of Hyeong-goo in their early interactions that really drew me into the film. While I have seen versions of the serial killer manipulating the detective investigating them before in other films and television series, I was intrigued by the ambiguity as to whether he really believes Doo-seok is telling the truth about the murders – something that is sustained very effectively until the film’s conclusion.

It helps that Park Si-hoo (shown above, right) gives a superb performance that successfully plays on that ambiguity. An example of this comes in an early sequence where he visits the father of one of the victims to beg forgiveness. Both the direction and performance of that scene do a great job of conveying what the media covering the event can capture and what the only man facing him can see in his body language. Moments like this are done very well and help establish him as a compelling antagonist for the detective.

One interesting idea that is hinted at but perhaps underdeveloped is that the media’s discussion of a case and the public’s reaction to it may differ based on the personalities or the physical attributes of the people involved. We do get several glimpses at the media executives who are choosing how to develop and portray their coverage of the incident. There are several points where we see that Doo-seok is treated with surprising sympathy in the interviews he gives with the implication being that he is presented that way in response to his appearance while it is disturbing to see some crowds gathering where people are holding signs and banners expressing their admiration for him, clearly based on the way he looks.

One interesting difference from the usual structure of these sorts of cat and mouse thrillers is that where typically we tend to view these sorts of stories being about two people or groups in opposition to each other, this film introduces a third actor who influence and interfere with the case. Early in the film we are introduced to a group of family members of the victims who have banded together to plan and execute their own plan to kidnap Doo-seok and exact their vengeance on him.

The introduction of this third group adds interest to the setup, often creating complications for both Hyeong-goo and Doo-seok. One of the most memorable set pieces in the film involves all three groups as we see the families try to put their plan into effect only to find that Hyeong-goo accidentally becomes caught up in them when he crosses their path. Though I felt sure I knew how this piece would ultimately end, it did provide some additional excitement and unpredictability along the way.

The abduction sequence is, for me, the most successful of the film’s action set pieces. Firstly, because it presents the action and movements from the perspectives of each of the three groups clearly, making it clear not only what is happening but what each group thinks is happening. While I think some of the elements of their plan are a little wild (specifically involving the use of a group of animals), this does lead to some really striking shot composition while the high speed vehicle chase that follows features some really impressive camera and exciting stunt work, even though the movements shown often strain belief.

The film’s other action sequences offer varying levels of interest and technique. Typically these are well-shot in the sense that you can always follow what is happening in spite of the quick pacing and use of multiple elements but the attempts to add artistic flourishes to some sequences can fall a little flat. There is a repeated use of a camera that follows a crossbow bolt in slow motion towards its target that feels videogamey while some camera movements struck me as unnecessarily convoluted and sometimes unintentionally comical.

While I think that the tone of the piece is dark and moody, there are a few moments that I think represent deliberate attempts at comedy. Most of these are along the lines of seemingly bizarre and unexpected developments as part of a chase or action sequence along the lines of those found in Bond action sequences. There is one overtly comedic sequence though which I feel really doesn’t work where a character is attacked while urinating in a field, in part because of the gross out element but also because the action sequence that follows is one of those that feels particularly overdirected.

Though I think Confession of Murder does a good job of exploring its characters’ feelings around a theme, those characterizations are often quite shallow, particularly beyond the two central characters. This is most clear in the case of the victims’ families who are portrayed with humanity and feeling but are given little development beyond a signature quality or skill they have (animal handling, archery, driving an expensive car, knife skills and having lots of money). This is not unexpected for an action thriller but it is a little disappointing given that these characters should surely have deeper feelings about their experiences and loss. What little we do get is presented retrospectively, suggesting that the storytelling focus here is on the plot rather than character development.

In spite of those complaints, I did find quite a bit I enjoyed about the film. The performances are generally good and I did get caught up in trying to figure out exactly how the story could be resolved. The solution is obvious in retrospect but because of the film’s pace, it is easy to get swept up in the action and miss hints that point to some of the twists and reveals.

While Confession of Murder was perhaps not the film I was expecting, I did find it entertaining and I am curious enough that I may well go and seek out the Japanese (Memoirs of a Murderer) or South Indian (Angels) versions to see how they compare.

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