'Oldboy' and 'Marco': Exploring two approaches to violent cinema

Violence has undeniably become a prominent theme in contemporary Indian cinema, with the trend gaining significant traction in recent years. Several films from various industries across India, such as 'Kill', 'Maharaja', 'Animal', and most recently, the Malayalam film 'Marco', have prominently featured intense violence. Directed by Haneef Adeni and starring Unni Mukundan, 'Marco' has quickly earned a reputation as one of the most violent films in Indian cinema.

While 'Marco' is drawing comparisons to Bollywood films like 'Kill' and 'Animal' for its intense violence, it’s essential to recognise the influence of South Korean cinema, which sets the benchmark for violent storytelling in the early 2000s. A prime example of this is 'Oldboy', directed by Park Chan-wook. Widely regarded as one of the greatest films ever made, 'Oldboy' is often celebrated as a classic in the realm of violent cinema.

The influence of South Korean cinema on films like 'Marco' cannot be ignored. Released in 2003, 'Oldboy' set a high standard for cinematic violence, showcasing brutality in a way that challenged mainstream conventions. One of its most iconic moments, the corridor fight scene filmed in a single take, remains a masterclass in choreography—gritty, chaotic, and realistic, far from the polished action sequences typical of its time.

In comparison, 'Marco' introduces a level of violence that feels relatively new to the Malayali audience. While recent Malayalam films like 'Mura' and 'Pani' have explored violent themes, 'Marco' pushes boundaries further. From mutilation to explosions and extreme gore, the film delivers an unflinching showcase of brutality, leaving little to the imagination. One particularly shocking scene involves a child’s head being crushed with a gas cylinder - an act so extreme it borders on gratuitousness.

Both films revolve around revenge but take distinctly different approaches. In 'Oldboy', the tale of vengeance is intricately tied to personal trauma and mystery. The protagonist, Oh Dae-su, embarks on a journey of discovery, uncovering shocking truths about his past. The film’s climax, featuring a morally complex twist, forces audiences to question their own sense of right and wrong. 'Oldboy' uses violence as a tool to explore deep psychological scars and the cyclical nature of pain, ensuring that every act of aggression feels purposeful.

In contrast, 'Marco' focuses more on stylised violence and straightforward storytelling. The protagonist’s mission is clear-cut: to annihilate everyone who has wronged his family. Unlike 'Oldboy', where Oh Dae-su undergoes significant emotional transformation, 'Marco' doesn’t delve deeply into the protagonist’s psyche or backstory. The film prioritises shock value over character depth, using graphic brutality to drive the narrative forward.

'Oldboy' refrains from glorifying violence, instead presents it as a manifestation of psychological trauma. Acts of aggression stem from profound emotional wounds, whether it’s Oh Dae-su’s uncontrollable rage or Lee Woo-jin’s cold, calculated vengeance. This restrained approach allows the film to explore the consequences of violence rather than glorify it. For example, when Oh Dae-su cuts off his own tongue, the act isn’t shown in explicit detail, yet its emotional weight is profoundly felt.

On the other hand, 'Marco' embraces excessive violence, often feeling more sensational than necessary. The intensity of its brutality dominates the narrative, leaving little room for subtlety or reflection. While it may captivate audiences with its sheer audacity, the lack of emotional nuance prevents it from achieving the psychological depth of a film like 'Oldboy'.

Ultimately, both films stand out for their portrayal of revenge, albeit through vastly different lenses. 'Oldboy' uses violence as a means to explore human frailty and moral ambiguity, while 'Marco' opts for a more visceral, shock-inducing approach. Together, they reflect the evolving language of violence in cinema, offering audiences contrasting experiences that provoke both thought and visceral reaction.