Political prophecy buoys film ‘Pandora’ despite poor lead acting

SEOUL, Dec. 5 (Yonhap) — The domestic nuclear disaster film “Pandora” got something right with its “close prediction” of the ongoing discord between the nation and its embattled administration — a coincidence that its filmmaker probably did not foresee when he began the project four years ago.

The movie begins with children of a small seaside town engrossed in all sorts of wild guesses about the cylindrical buildings along the coast. The giant buildings, which resemble huge rice-cookers, are decades-old nuclear powerhouses. The National Assembly had decided to prolong their operation period beyond their lifespan. Lawmakers consent to the bill, believing that the old energy facilities are the most cost-efficient option and require only minor maintenance fees.

When the country’s worst nuclear disaster becomes a reality with the explosion at the dilapidated power plant, the political powers care only about the means to control the media and minimizing the loss of influence over the voters. The nuclear disaster, despite the desperate government efforts to contain it, spreads faster than expected, plunging the whole nation into a man-made plague.

The film’s lead character Jae-hyuk, played by star actor Kim Nam-gil, has more than enough reasons to abhor working at the plant. He lost his father and elder brother in a leak accident that took place inside the nuclear plant. Due to his poor financial background, however, he continues working there as a specialist in explosives.

As the accident nears, Jae-hyuk and his colleagues voluntarily jump into a cascade of radioactive water to mend the cracks and keep the nuclear pollutants from being exposed to the public.

This still photo, released by film production company NEW on Nov. 29, 2016, shows South Korean actor Kim Nam-gil in a scene from disaster film “Pandora.”

Overall, the movie explores the purpose of a state in balancing conflicting interests of the highest and the lowest social classes. The conflict comes to a head when the dilapidated nuclear power plant explodes due to a breakdown of decayed parts.

The first half of the film is allocated to the development of characters, living in two completely different worlds. The latter half shows the destruction and restoration of the trust between these two worlds under a common interest: a nuclear-safe nation.

The film is expected to gross robust ticket sales, thanks to the bursting public interest in the real-life influence-peddling scandal involving President Park Geun-hye’s close confidante Choi Soon-sil. Ranging from corruption in government to its lack of ability to handle the disaster, the movie is eerily reminiscent of the current political situation in Korea in many ways.

A scene from disaster film “Pandora,” released by Korean Film Council.

The format of the film is somewhat murky, falling somewhere between documentary and commercial. This induces boredom from the pedagogical delivery of information. The director’s choice seems understandable, however, since the film’s motif of nuclear safety can reach the audience only through explanations of the key operations and vulnerabilities of the nuclear power generators. The geeky part eventually helps fill in the gap between public awareness of nuclear plant operations and the film’s key plots.

On top of the explanatory scenes are the ordinary, heart-warming life stories of the power plant workers. For a vivid representation of an average South Korean laborer, the film seems to have minimized the amount of romantic scenes between Jae-hyuk and his girlfriend. Such a reduction is unusual for films starring Kim. The South Korean heartthrob has played in many genres, ranging from romance to action, historical and queer, but his roles have always entailed live-or-die love scenes. Generating good market reviews without the eye-candy romance has been a difficult experiment in the South Korean film scene, yet director Park Jung-woo seems likely to win that rare honor.

However, Kim lost face from the start due to his terrible southern accent. Born and raised in the South Korean capital, the 36-year-old actor messed up his lines, which turned out inaudible and unclear particularly in the first half.

A scene from disaster film “Pandora,” released by Korean Film Council.

The film is, in fact, closer to the growth story of the South Korean democracy.

Power plant experts keep sending candid reports about the high risks of the old plant to the president, but the warnings are blocked by the conservative prime minister each time. The young president resents the prime minister’s utilitarian tyranny, but eventually follows his experienced political mentor in making key administrative decisions.

In the middle of the crisis, the frustrated president seeks to give up, overwhelmed with the thought that he cannot do anything to save his country. But a call from a former senior worker at the power plant, however, brings his lost mentality back on his post.

Finally, the president begins to receive direct reports from the nuclear plant workers over headphones. The disconnected communication between two worlds has finally been restored.

The director’s message becomes ever so lucid in the film’s closing monologue, “Which do you prefer, a well-fed country, or a safe one? Now that Pandora’s Box is opened, we have to dig in hard to find hope, for the sake of our children.”

Such excessive exposure of the director’s “teachings” makes his watchers uncomfortable, as if the film is too stuffy for the people’s own discovery and insight gained from the film.

“Pandora” is set to launch on Wednesday in local cinemas. This is the fourth feature film from the helmer Park, best known for “Deranged” (2012).

South Korean director Park Jung-woo (far L), lead actor Kim Nam-gil (second from L), Kim Myung-min (far R) and the main cast of disaster film “Pandora” pose at the press conference held in eastern Seoul on Nov. 29, 2016.