The Good, The Bad, and The Weird

Have you ever seen a Korean western? From its title, Kim Ji-Woon’s The Good, The Bad, and The Weird (2008) definitely evokes Sergio Leone’s classic spaghetti western, The Good, The Bad, and The Ugly (1966). Its narrative structure (civilization versus wilderness and law versus lawless binaries), settings (a mythical space filled with rampant outlaws), iconography (guns, horses, cowboy hats, cigarettes, endless horizons), and soundtrack à la Ennio Morricone all confirm that this film heavily relies on the generic conventions of the western. Yet, the film is also a hybrid blending elements of action, adventure, and comedy. The director, Kim Ji-Woon is known for his experimentation with different genres and is particularly good at alternating between moments of tension and comedic situations.

The story is set in 1930s Manchuria during the Japanese occupation and revolves around three Korean “bastards” – the film’s original Korean title is translated as “the good bastard, the bad bastard, and the weird bastard” – who are each looking for a mysterious map.

What, then, are the motives of these three “bastards”? Money. Apparently, this motive links the three. Yet, the Good (Park Do-Won) is hired by the Korean Independence Army and therefore pursues “good” money. He is a tall and good-looking bounty hunter and wears a cowboy hat. Although he kills people, he does so with elegance and precision. His mission is to obtain the map before the Japanese Imperial Army thereby securing money to support Korea’s independence movement.

The Bad (Park Chang-Yi) is hired by a rich pro-Japanese Korean who “sold out his own country” and therefore pursues “bad” money. He is a ruthless killer who is motivated by greed and the desire to become a legend. His facial scars, asymmetrical hairstyle, and black wardrobe signify his evil nature.

The Weird (Yoon Tae-Goo) is a train robber who happens to obtain the map and becomes the target chased not only by the Good and the Bad but also by the Japanese Imperial Army and the Chinese Ghost Market Gang who are after the treasure’s untold riches. He is a petty thief who abides by his own rules and dreams of owning land in Korea. But might his rustic appearance and comedic demeanor mask a far darker side?

The pursuit of the map also becomes personal as the Good seeks the bounty on the Bad’s neck and the Bad pursues the Weird because of a personal grudge. There are three action sequences in the film that particularly stand out for their spectacle of violence. The first is in the train where the Weird stumbles onto the map and flees with it in his possession. The second is at the Ghost Market where the Good and the Weird team up and fight against the Bad and the Ghost Market Gang. Finally, the third chase scene takes place in an open field nearby the Russian border where the Japanese Imperial Army joins the race with its unmatchable firearms and forces.

What, then, does the map lead to? The map’s treasure is the film’s biggest twists and simultaneously represents the promise of modern civilization and the corrupting force that rips civilizations apart. I won’t reveal the treasure here in order to not spoil your future viewing experience, but it is definitely something that could have changed the modern history of Korea if only the Korean nation had had the power and skills to have access to it.

While the treasure in the film is something of a mystery, the film’s true treasure is Song Kang-Ho’s performance as the Weird. He appeared in Kim Ji-Woon’s films twice before starring in such black comedies as The Foul King (2000) and The Quiet Family (1998). Song’s acting prowess, which is evident in both his verbal delivery and physical performance, makes me say without doubt that he is one of the best actors and comics currently in Korean cinema.

JaeYoon Park © 2009