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 Bad Guy: Standard (Region-3)
Starring: Jo Jae-Hyeon, Seo Won
Director: Kim Gi-Deok
Studio: Enter One (Korea)
Rating: 18 Up
Genre: Drama


Sku # : 18455
Manufacturer : Korea
List Price :
$29.95
Our Price :
$15.95
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 Product Detail
Audio Format: DD 5.1 Surround
Video Format: Widescreen 1.85:1 (Anamorphic)
Languages: Korean
Subtitles: English, Korean
Region Code: 3
Year Made: 2001
Running Time: 100


As with its catchy title, Bad Guy (``Na-Bbun-Nam-ja"), the poster for director Kim Gi-Deok(b)'s latest film easily captures a person's curiosity. It shows a completely naked, curvaceous body of a woman, who sits with her back to the viewer. She's holding up a mirror, but its reflection does not show her face; instead, it shows that of a man standing behind her. The poster gives viewers the sneaky yet satisfying sense of being voyeurs, peeping secretly into what they are not supposed to see.

The blood-red drapes and olive-green plush couch in the poster create an exotic ambience, lulling viewers into anticipation of an exotic and erotic love story. Yet those expecting such fare will get a rude shock. The first scene, in which a man forcibly kisses a woman, is enough for the audience to realize that this might not be quite what they had bargained for.

Of course, it is probably safe to say that most people would not expect a conventional love story; Kim Gi-deok, whose filmography includes The Isle and Address Unknown, has a rather well-known signature style that mixes bizarreness and vulgarity with violence and brutality.

Han-ki (Jo Jae-hyeon), the leader of a third-rate gang in a red-light district, sees Son-hwa (Seo Won), a pretty, vivacious college student, on the street waiting for her boyfriend, and draws near as if fascinated. When she throws him a glance filled with contempt and disgust, he violently forces a kiss on her.

After being beaten up and spit on, Han-ki, filled with seething rage and a bloodthirsty craving for vengeance, spins a diabolical plan to turn the girl into a prostitute. His scheme succeeds, and Han-ki then watches Son-hwa rapidly descending into physical and mental degradation through a mirror/window in a secret room next to hers.

The storyline alone, decidedly not politically correct, is shocking, and enough to send feminists on the warpath. But there's more. Not only does Son-hwa become resigned to he