“Mother” Bong Joon-ho unleashes the madness of universal love *Spoiler alert

Kim Hye-ja, mother of the Korean people

The main character's credit is only ``Mother'', there is no role name (personal name), and her name is not called even in the play. This is an expression of director Bong Joon-ho's aim for this film to be a story about the universal existence of a mother. There may also be a sense in which becoming a mother takes away one's ``individuality.''

The credit notation ``마더'' in the title ``Mother'' is the Hangul notation for the English word ``Mother.'' The fact that it is not the common Korean term for mother, ``omoni'' or ``omma,'' suggests that the universality of the term extends far beyond Korea.

Kim Hye-ja, who plays the ``mother,'' can be called a ``mother actor,'' who often plays the role of a good wife and mother in Korean TV dramas. His image was so strong that even the depiction in the drama of him declaring a ``vacation'' from housework and going out to play was praised as ``an exceptional image.'' In addition, Kim Hye-ja was affectionately nicknamed ``Mother of the Korean Nation'' because she worked as a commercial character for ``Dashida'' (a seasoning similar to Japan's ``Hondashi'') for over 20 years. , it seems that he is loved.

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In the first place, the project began with the idea that Bong Joon-ho would make a movie starring Kim Hye-ja, and it was said that the direction of ``The Mother with Broken Brakes'' was quickly decided. Bong Joon-ho takes Kim Hye-ja's image of ``the mother of the Korean people'' as his premise, and thoroughly dismantles and reconstructs the image of ``mother.'' In other words, this work would not have been possible without Kim Hye-ja, whose very existence carries the symbol of ``mother.''

When Bong Joon-ho brought the completed script to Kim Hye-ja, he said that if she didn't like it and couldn't get her to play the role, he wouldn't hire a substitute and even considered giving up filming. . True to her determination, the ``mother'' of this work is full of things that contradict Kim Hye-ja's image. Of course, this is a ``crime'' committed by ``the mother,'' but it is also a conflict with the persistently repeated image of ``sex.''

Her son Do-joon comes home drunk and gets into his mother's bed and grabs her breasts. Rather than rejecting him, ``Mother'' speaks kind words to Do-joon, as lovers do, and falls asleep facing him. Also, when Do-joon's friend Jin-tae becomes suspicious, ``mother'' sneaks into the house where Jin-tae is not present, and when Jin-tae returns with his girlfriend, she ends up witnessing them having sex.

The image of sex is also superimposed on the ``crime'' committed by the ``mother.'' ``Mother'' visits an abandoned factory where she has been sleeping in order to meet an old man who seems to be a witness. The old man is working with his upper body stuck to the machine, and only his lower body is visible, emphasizing the crotch of his spread legs. When I get out of there, I slam the heavy iron door, saying, ``Oh, it's cold, it's cold.'' Then, the "mother" straddles the old man who is about to make a report (as in a sex position), slams a wrench into his head over and over again (as in a repetitive motion during sex), and splashes his face with blood (bodily fluids). .

The sexual imagery is emphasized even at the end. When the mother learns of her murder from her son, she becomes stunned in the midst of the joyful dancing crowd, lifts up her skirt, exposes her thighs, and applies acupuncture to the pressure point where she loses her memory.

mother's absolute protection