Murder, Take One opens with an exhilaratingly audacious sequence. We see young woman’s body, lying face down and bleeding on a bed. The camera ascends, taking in the activities of cops and journalists surrounding the body. As the camera punches through the ceiling, we see that her death scene is in fact a hotel room, and customers in other rooms continue to squabble and snore, heedless of the tragedy next door. Finally, we see the entire hotel bisected in the middle, as if each of us is a Gulliver peeking into a Lilliputian hive. Most of the traits that render a Jang Jin film unique and fascinating are displayed in this single shot.
Murder, Take One is a sprawling grab bag of a movie, difficult to describe in a Hollywood-style “high concept” formula. A crackling murder mystery plot is combined with hilarious comedy, social satire and a dash of romantic fantasy.
The biggest reason to see this film - and it certainly stands up to repeated viewings, despite a disappointing conclusion - is the array of amazing performances culled from its huge cast. Jang’s approach is democratic: he provides a space for an aria-like showcase to nearly every single supporting player, right down (literally) to a gas station attendant.
And did I mention that it is drop-dead funny? It has probably the wittiest dialogue among all Korean films made in 2005. Regrettably, about 30% of the film’s verbal comedy is probably untranslatable. This issue remains a challenge for fans of Jang Jin, who are hoping that more non-Koreans will come to appreciate his quirky output. However in the final analysis, Murder, Take One is a worthy addition to Jang’s filmography, warts and all. Though not as sneakily insightful as Someone Special or as spectacularly well-constructed as Dongmakgol, it is no less fascinating.