For many of us, Park Chung Hee is just an encyclopedia entry or a long-forgotten college lecture, but for our parents’ generation, the name has indelible significance. The so-called “father of modern South Korea” led a military coup in 1961 and served as president for 18 years, until he was assassinated by the head of the Korean CIA in 1979. Like most historical figures, Park’s legacy is shaded in political grays — though his economic plan catapulted South Korea into an industrial power, his dictatorial regime suppressed democracy and ordered the imprisonment and torture of dissidents. Today, South Korea’s democracy is as strong as ever, but there remains considerable nostalgia for Park’s strong leadership and long-term vision.
Two new movies look back on the Park era through very different lenses — one a lighthearted family drama, the other a dark comedy. Both films begin with disclaimers to remind audiences that they are about to see a work of fiction, yet one of the two has come under intense scrutiny for alleged historical inaccuracies.
THE PRESIDENT’S BARBER (2004)
By virtue of running the lone barbershop near the presidential Blue House in the ’60s, hardworking family man Han Mo (played by Song Kang Ho of “JSA” and “Memories of Murder”) is enlisted to be the barber for the newly established leader — clearly based on Park, though he is never mentioned by name. As the president’s barber, Han Mo is an accidental witness to history during Park’s tumultuous 18-year rule. With inside access to the Blue House, Han Mo is privy to backroom politics, like the broiling rivalry between the heads of the Secret Service and the CIA (Park’s eventual assassin). The story turns after a failed North Korean invasion creates a sense of paranoia in the Blue House. When Han Mo’s young son Na Kan is absurdly suspected of being a spy and forced to confess, Han Mo’s unwavering loyalty is finally tested.
There are some similarities between “The President’s Barber” and “Forrest Gump,” in that Han Mo and Forrest are both oblivious bystanders to historical events. In “Gump,” issues like segregation and the AIDS epidemic are incidental to the main narrative; likewise, in “Barber,” deadly student protests and the torture of dissenters are glossed over. But the light treatment of weighty issues is consistent with the general tone of the film. The movie is narrated by Han Mo’s son, reinforcing that it is a family history, not a political one. As the title character, Song provides yet another flawless performance, skillfully exuding the decency and naivete of a common man.
During the final haircut before his assassination, the president remarks to Han Mo: “You’ve always been what you are now and then — modest and sincere.” It is indeed Han Mo’s goodness and devotion to his family that are at the heart of this film.
THE PRESIDENT’S LAST BANG (2005)
