Park Chan-wook's 'It Can't Be Helped' Delivers Laugh-Out-Loud Tragedy

Park Chan-wook's new film, 'It Can't Be Helped,' has been selected as the opening film for the 30th Busan International Film Festival, generating significant buzz. The movie masterfully portrays the struggles of Mansu (played by Lee Byung-hun), a man who is abruptly laid off after 25 years at a paper manufacturing company. His desperate fight for re-employment is depicted with the essence of black comedy, offering a narrative that is both funny and tragically bitter.

The film, based on Donald E. Westlake's novel 'The Ax,' begins with the shocking news of Mansu's dismissal. Burdened with a large family including his wife Mira (played by Son Ye-jin), two children, and two dogs, Mansu vows to find a new job within three months. However, the job market is fiercely competitive with limited openings.

In his struggle, Mansu resorts to creating a shell company to recruit potential rivals. The film highlights the competition among candidates like Gu Beom-mo (played by Lee Sung-min), Ko Si-jo (played by Cha Seung-won), and Choi Seon-chul (played by Park Hee-soon). The central question revolves around whether Mansu can 'eliminate' these contenders and secure his future.

Director Park Chan-wook's signature black comedy shines through. Mansu's predicament as a sudden unemployed individual is far from comical, yet his process of overcoming it elicits bitter laughter. A particularly poignant scene shows Mansu watching his wife Mira and Jin-ho (played by Yoo Yeon-seok) from a distance during a dance party. His forlorn expression under the spotlight contrasts sharply with his subsequent clumsy attempts to join them, creating a moment of pathos mixed with amusement.

Another striking scene involves Mansu confronting Gu Beom-mo with a gun. Set to the backdrop of Jo Yong-pil's song 'Gochujab-gari,' their attempts at dialogue, filled with shouting, ultimately fail, adding a layer of dark humor. The absurdity escalates when Beom-mo's wife, Ara (played by Yum Hye-ran), joins the conversation, resulting in a nonsensical exchange akin to the Korean comic character Sa-oh-jeong. Despite the life-or-death stakes, their interaction unfolds with comedic timing.

The film's unique charm lies in its many memorable scenes, infused with Park Chan-wook's distinct aesthetic in music and mise-en-scène. However, a point of criticism is the occasional lack of cohesive integration, leading to an overwhelming sensory experience. The sheer volume of visual and auditory information, coupled with overflowing messages, can sometimes dilute the impact of Mansu's personal story.

Ultimately, the film aims for Mansu's choices to feel 'unavoidable,' given that his identity is deeply tied to his career in papermaking, as suggested by the title. Yet, the narrative choices made in depicting his decision-making process sometimes stray from credibility and audience empathy, making Beom-mo's attachment and desperation more resonant.

Nevertheless, Lee Byung-hun's performance is a significant strength. He imbues Mansu's descent into madness with palpable energy, navigating the character's extreme emotional spectrum from despair to elation with remarkable fluidity, making the audience both laugh and cry. Lee Sung-min delivers a powerful supporting performance, particularly in a scene where Gu Beom-mo writhes on the floor in anguish, creating a moment of held breath. The chemistry between Yum Hye-ran and Lee Sung-min as a couple offers a blend of the sordid and the beautiful. Son Ye-jin's portrayal of Mira, though brief, is captivating, adding a layer of intriguing ambiguity.

Lee Byung-hun, known for his versatile acting, takes on the role of Mansu, a man pushed to the brink. His portrayal captures the character's desperation and moments of dark humor, drawing viewers into his complex emotional journey. This film marks a significant exploration of black comedy for the acclaimed actor, showcasing his broad acting range.