Fest Track On Sirk TV Film Review: KILLING ROMANCE [Fantastic Fest 2023 - Austin, Texas]
The aspect of Korean fantasy comedy depends on the level of tongue-in-cheek perception that allows it to function. With "Killing Romance", there is a context of "War Of The Roses" and "Moulin Rouge" with less universal pop culture references. However it does function on the aspect of art and the subjugation of power which is keyed in by the lead character of Jonathan who is not unlike the Duke of "Moulin". He is simply a reflection of the ego who wants to keep everything under his control, specifically his actress-turned-trophy wife Yeo-Rae. The only thing that brings her possibility is the devotion of Beom-Woo, a university student in Seoul who just wants to make her happy, much like Christian in "Moulin". The context of the production, especially on the island of Qualla and the two houses set up in Seoul, is wonderfully jarring and director Wonsuk Lee makes the most of the scale with large scale portraits of Jonathan that play with the notion of his perception of himself. All the characters especially Jonathan are played very broadly but are also specifically aware of who they are the world. Jonathan has his big black sidekick in Bob who has just the right timing while the Susans are a throwback to the twins in "The Shining" so there are beautiful cues to back them up.
The aspect of agenda and really what is driving the characters of Beom-Woo or Yeo Rae are completely different so one never feels that sense of dread or love really inherent in the story. If that was more in play, it would have felt more dire but less light which is what the film is aiming for, though the character of Jonathan does some dastardly deeds. Beom-Woo is also an interesting anti-hero because he wants to help but is not willing to go the distance so despite his want to help Yeo-Rae, he does only what he can which is more human but less dynamic for the film. But that gives way to the comeuppance in the third act from a separate third party. The musical sequences play well (some better than others) though one of Yeo-Rae trapped in her house does hark back in a way to a similar situation in "Frozen II". The movie never quite hits ethereal levels simply because it is very aware of itself and doesn't want to complicate the characters too much. But, as Jonathan continually states in his own way, "it's good!" which gives freedom to enjoy the pastel romp for what it is: "fun". B
By Tim Wassberg
