Park Chan-wook’s 2003 neo-noir thriller Oldboy is considered one of the greatest Korean films ever made. Adapted from a manga, it follows the harrowing journey of Oh Dae-su, a man who is inexplicably imprisoned for 15 years in a small hotel room. Once released, Dae-su embarks on a quest to uncover who imprisoned him and why, seeking revenge against his captor. The film’s intricate plot, superb action sequences, and unexpected twists have left audiences reeling, making it a standout in contemporary cinema.
The villain of the film, Lee Woo-jin, is the mastermind behind Dae-su’s suffering. Woo-jin’s motivation stems from an event that happened during their youth. Dae-su once witnessed Woo-jin and his sister in a compromising situation, which led to a damaging rumor about incest. This rumor triggered a series of tragic events, including the sister’s suicide. Woo-jin’s revenge on Dae-su is not just about punishment but about forcing him to experience the same emotional torment that Woo-jin had endured.
Choi Min-sik as Dae-su Oh (Photo: Oldboy/Show East)The Fortune Behind Lee Woo-jin’s Plot
Woo-jin’s elaborate revenge plan required significant resources. The logistics of imprisoning Dae-su for 15 years, hiring a hypnotist, and employing a group of thugs for surveillance involved substantial financial backing. The film does not explain in detail how Woo-jin amassed such wealth, but subtle hints suggest he is a successful businessman, perhaps like Dae-su would have been had he not been imprisoned. The juxtaposition of their professional lives before and after the incarceration adds a layer of irony to Woo-jin’s quest for vengeance.
Before his imprisonment, Dae-su had a family—his wife and daughter—whom he was separated from for 15 years. Upon his release, he discovers that his wife is dead, and his daughter has been adopted by a Swedish family. Although the film doesn’t explain the cause of his wife’s death, it’s implied that she died naturally, not as a result of Woo-jin’s machinations. The emotional impact of losing his wife adds to Dae-su’s grief, setting the stage for his pursuit of revenge.
Park Cheol-woong, the operator of the prison that holds Dae-su captive, is another key player in Woo-jin’s plan. Initially, he is just a businessman willing to do anything for money, including imprisoning Dae-su for years. He also performs other tasks for Woo-jin, such as attacking Mi-do and delivering a box with a crucial family secret. Despite his involvement, Cheol-woong is not a true conspirator. He is more of a hired hand, opportunistically taking advantage of the situation without any emotional investment in Woo-jin’s personal vendetta.
Woo-jin’s Sister and Her Tragic Pregnancy Story
A central element of Woo-jin’s vendetta against Dae-su is his sister. The rumor that Dae-su spread about Woo-jin and his sister led to a tragic chain of events, including the sister’s belief that she was pregnant with her brother’s child. This belief may have been fueled by the shame and confusion that arose from the rumor. Whether the pregnancy was real or the result of pseudocyesis, Woo-jin’s obsessive anger and belief in Dae-su’s role in his sister’s misery drives his quest for revenge, culminating in the manipulative and horrific plan.
Despite having countless opportunities to kill Dae-su, Woo-jin never does. Instead, he reveals the truth to Dae-su and allows him to survive. Woo-jin’s rationale is that he wants Dae-su to experience the same torment he has lived with for years. By manipulating Dae-su into sleeping with his own daughter, Woo-jin believes he has leveled the playing field. Woo-jin’s actions demonstrate that his obsession was never truly about ending Dae-su’s life, but about ensuring he shared in Woo-jin’s deep emotional suffering.
Once Woo-jin’s revenge plan is fully realized, he makes a shocking decision—he takes his own life. After revealing the truth to Dae-su and sparing him, Woo-jin retreats to his private elevator, where he ends his life. The reason for this is not just about avoiding consequences but stems from his inability to move on after achieving his long-sought revenge. Having lived for years with the sole purpose of punishing Dae-su, Woo-jin finds that his quest has left him empty, with no reason to continue living.
Choi Min-sik as Dae-su Oh (Photo: Oldboy/Show East)Dae-su’s Memory Erasure and Hypnotist’s Role
After Woo-jin’s death, Dae-su is free, but he cannot live with the knowledge that Mi-do is his daughter. To escape the unbearable truth, Dae-su seeks the help of a hypnotist to erase his memories. It’s unclear whether Dae-su wishes to forget the incestuous act he committed or the fact that Mi-do is his daughter. The hypnotist plays a crucial role in the film’s finale, and her manipulation of Dae-su’s mind serves as a dark resolution to the film’s emotional and psychological turmoil.
The final ambiguity in Oldboy revolves around Mi-do’s knowledge of her true relationship with Dae-su. Woo-jin ensures that Mi-do does not learn the truth about her parentage by instructing his associate not to let her open the box containing the secret. However, Mi-do’s reaction in the film’s closing moments is uncertain. While she comforts Dae-su, there is no clear indication that she knows the truth. Director Park Chan-wook leaves this mystery unresolved, adding to the film’s haunting atmosphere.
The hypnotist is one of the most enigmatic characters in Oldboy. She is central to the plot, as her manipulation of memories alters the course of events for both Dae-su and Mi-do. Yet, her motivations are unclear. She helps Woo-jin when needed but later assists Dae-su without any apparent personal gain. At the end of the film, she disappears after fulfilling her task, leaving only an empty chair behind. Her ambiguous role suggests that she is more a force of nature than a fully realized character, manipulating minds for reasons that remain unknown.
The film’s conclusion leaves viewers with no clear resolution for Dae-su and Mi-do. While they share a moment of intimacy in the snow, neither is aware of their true familial connection. Dae-su’s mind has been altered, and Mi-do likely remains unaware of their relationship. Their future is left to the audience’s imagination—will they continue their romantic relationship or live as caretakers? The ambiguity surrounding their fate reinforces the unsettling nature of the film, as Oldboy challenges notions of redemption, memory, and moral responsibility.
