The 1867 novel Thérèse Raquin is not only recognised as one of the first significant works of the esteemed French author Émile Zola but also stands as a foundational text for the literary movement known as Naturalism. This movement is predicated on the belief that literature should strive for an unflinching and precise representation of reality. Zola's Thérèse Raquin has had a profound influence, inspiring countless writers and filmmakers alike, ultimately contributing to the emergence of an entirely new genre: film noir. Over the subsequent century and a half, Zola's work has been adapted numerous times; however, one of the most notable adaptations in recent memory diverges significantly from Naturalist principles. Thirst, a 2009 South Korean horror drama directed by Park Chan-wook, presents a unique interpretation that challenges traditional narratives.
Set in contemporary South Korea, Thirst follows the story of Fr. Sang-hyun (played by Song Kang-ho). A Catholic priest who dedicates his life to caring for hospital patients, Sang-hyun is highly regarded for his humanitarian efforts and deep faith. His life takes a dramatic turn when he volunteers for an experimental vaccine aimed at combating the deadly "Emmanuel virus." Unlike other test subjects who succumb to the disease, Sang-hyun survives but not without unforeseen side effects. Following his recovery, he reconnects with a childhood friend, Kang-woo (played by Shin Ha-kyun), who invites him to Mahjong games at his home. It is here that Sang-hyun becomes infatuated with Kang-woo’s beautiful but discontented wife, Tae-ju (played by Kim Ok-vin). As he grapples with newfound superhuman abilities and an insatiable thirst for blood—compounded by sensitivity to sunlight—Sang-hyun slowly realises he is transforming into a vampire. Initially attempting to manage his condition responsibly, his moral compass falters when he embarks on a passionate affair with Tae-ju, who views him as her escape from an oppressive marriage and overbearing mother-in-law Mrs. Ra (played by Kim Hae-sook). Their relationship spirals into manipulation and violence, culminating in tragic consequences.
Park Chan-wook released Thirst following his international acclaim from the Vengeance Trilogy, which included the critically lauded Oldboy, often heralded as one of the finest films of the 21st century. While Thirst achieved significant commercial success in South Korea and garnered the Jury Prize at the Cannes Film Festival, it does not quite reach the same artistic heights as its predecessors.
Nonetheless, this should not detract from its merits; Thirst is a compelling film that showcases Park Chan-wook's remarkable directorial prowess and stylistic flair. The film oscillates between absurdist black humour and shocking violence, with characters navigating surreal situations with deadpan seriousness.
However, Thirst can feel conceptually overstuffed. It presents an array of intriguing ideas and plot threads that can overwhelm its narrative cohesion. The premise of a Catholic priest becoming a vampire—likely inspired by Park’s upbringing in a devoutly Catholic family before adopting atheism—offers a fresh perspective on familiar vampire tropes. Furthermore, the attempt to intertwine vampirism with modern medical science introduces interesting possibilities, albeit underexplored within the film's framework.
As the narrative progresses into its second act, these innovative concepts become compromised as Park Chan-wook's script attempts to reconcile its horror/science fiction elements with Zola’s 19th-century narrative template. This results in a somewhat disjointed film that struggles to blend two disparate genres effectively.
Pacing issues also arise later in the film; certain violent scenes appear repetitive and predictable, detracting from their intended impact. While Park Chan-wook often excels in crafting tension-filled sequences, some moments in Thirst fall flat due to their over-familiarity. Despite these shortcomings, Park Chan-wook redeems the overall impression of Thirst with an extraordinarily inventive finale that deftly merges melodrama with dark humour.
While Park Chan-wook’s artistic style suggests an inclination towards art-house cinema, Thirst firmly occupies commercial territory through its graphic violence and explicit sexual content reminiscent of 1970s exploitation films. Some critics have likened it more to Italian giallo thrillers than traditional horror classics. Notably, Thirst made history as the first South Korean mainstream film to feature full frontal male nudity.
Both enthusiasts of vampire lore and purists of Zola’s literary canon may find grounds for criticism within Thirst. However, it is undeniable that Park Chan-wook's exceptional direction and strong performances elevate this film within his oeuvre. The compelling portrayals by Song Kang-ho and Kim Ok-vin bring depth to their characters, making their morally ambiguous journey both captivating and unsettling.
Thirst stands out as one of Park Chan-wook's more intriguing works—a strange amalgamation that could appeal even to those who may not yet have developed an appreciation for unconventional cinema.
RATING: 7/10 (+++)
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