Jonathan Brumitt
Critical Review
10/04/05
Alien Invasions For Peace
A critical review of “Save the Green Planet”
What do you get when you combine an anti-violence message, a sociopath for a
lead character, and possible alien invasion? An incredibly original morality tale cloaked
in gore and humor would be a solid guess. With a little digging and some luck, you’d find
the answer buried in Korea’s new big breakout hit, “Save the Green Planet.” While
Korea’s booming film industry sends quite a few decent movies overseas to the States,
only a few of these films have the universal message that American audiences can grasp
on to. While the inventive editing and the snappy dialogue can, at times, mask the nature
of the narrative, the ending more than underpins what really makes this film work. “Save
the Green Planet,” while spoken entirely in its natural Korean, has a story brimming with
cautionary imagery that sits heavily upon the audience’s mind by the head spinning
conclusion of this fast paced film. There is no mistake. Director Jun-hwan Jeong targets
violence with a sharp eye and a clever tongue. The effectiveness of this attack carries the
movie head and shoulders above its competition.
Originally titled “Jigureul jikyeora!” in it’s native Korea, “Save the Green Planet”
deals with the life of a meth addicted former chemical plant worker, Lee Byeong-gu
(played by Ha-kyun Shin in a fit of paranoia any American actor would die for), who
kidnaps his former jerk of a boss not out of the obvious plot of revenge or ransom money,
but because Byeong-gu firmly believes him to be an alien planning on invading earth.
The kidnapped suit, Kang Man-shik, fights off one advance by Byeong-gu before being
caught by his girlfriend and assistant, Su-ni, instead. While this sounds ridiculous enough
as is, a balding joke of a detective, Inspector Choo, and a young cadet, Inspector Kim,
work together to try to solve the kidnapping before the worst happens.
While kidnapped, Man-shik not only gets tortured by crucifixion, a “Misery” like
hammer beating, and a jolt of electricity, but manages to escape a few times to make life
a living hell for Byeong-gu as well. In his escapes, he manages to find information about
his captor’s background and beliefs. The quick overviews of what shapes Byeong-gu’s
present sociopath nature really provide the framework for the moral lesson in the film.
Flashbacks show the death of his father at a young age and the resulting violence shown
towards him throughout his life. Any doubt about Byeong-gu’s sanity are answered by
the flashbacks; except there’s still a spark of love and sympathy there. Soon enough,
Inspector Choo and Inspector Kim take individual shots at finding out the truth behind
Byeong-gu and his mannequin warehouse below his house that hides his holding cell
where Man-shik is kept hidden away from the world. By the end, the audience’s
perspectives are so skewed that the twists and turns that follow are just enough to point
home the clear message. Violence is human nature. How can we change this?
“Save the Green Planet” lives and dies by its message. As well edited and written
as the film is, it would just be another science fiction film that never made American
shores without the important questions posed by the film. After all, good science fiction
demands questions be answered. Unlike most genres, science fiction has the ability to
both allow creative movement and put the entertainment in a form that allows its creator
to examine a fundamental difficulty of the human experience. “Star Trek” managed this
with episodes geared towards examining race, gender, and religion. Yet, “Save the Green
Planet” finds a strength of character and will that so few films find these days. Jun-hwan
Jeong crafts a narrative that bleeds sadness and sympathy for the plight the human race
has gotten itself into. And, it does bleed. Buckets full. “Save the Green Planet” shows the
ugliness of violence by actually portraying it on the screen. When Byeong-gu crucifies
Man-shik and the captive realizes his hands are anesthetized, the camera shows every
painful moment of the man’s bloodied hands slowly rising through the nails that bind him
and up and off of the makeshift cross.
The cross of the absurd and surreal captures the attention of the average audience
member no matter what country the film screens in. So it’s no wonder that director Junhwan Jeong chose such an odd framework for his cinematic protest. As many people as
there are that saw “Super Size-Me” or “Fahrenheit 9/11,” even more audience members
saw “Aliens” or “Spider-Man.” So when Byeong-gu first appears on screen wearing his
raincoat and thought-protecting helmet, just remember what brought him to the screen.
As enjoyable as the film’s is, it’s the raison d’être that truly makes “Saves the Green
Planet” memorable to audiences all over the world.