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La Saga the General's Son De Im Kwon-Taek

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La Saga the General's Son De Im Kwon-Taek Las nuevas narrativas, en el entorno social Universidad de La Laguna, diciembre de 2019 La mafia en el cine coreano pre hallyu: la saga The General’s Son de Im Kwon-taek (1990-1993) The mafia in the pre-Hallyu Korean cinema: The Im Kwon-taek’s ‘The General’s Son’ film series Luis Miguel Machín Martín – Universidad de La Laguna– luismachinm[arroba]Gmail.com Resumen: La explosión del cine coreano a finales de los años 90 del siglo XX se produjo bajo el amparo del fenómeno conocido como ola coreana o Hallyu, fenómeno en el que la cultura y el arte coreanos han alcanzado gran difusión e importancia a nivel nacional y global. Dentro del cine coreano contemporáneo desarrollado a partir del Hallyu uno de los géneros más importantes ha sido el criminal, con películas como Memories of Murder (Bong Joon-ho, 2003) o A Bittersweet Life (Kim Jee-woon, 2005), entre muchas otras, alcanzando un gran éxito de público y crítica tratando temas relacionados con asesinatos y con la mafia. No obstante, antes de que estos temas se popularizaran en el cine de la ola coreana, ya existían precedentes en el cine nacional que anticipaban la diseminación del género en el cine coreano contemporáneo. Uno de esos precedentes más próximos temporalmente es la saga The General’s Son (Janggunui adeul), también conocida como Son of a General, del director Im Kwon-taek, compuesta por tres películas realizadas en 1990, 1991 y 1992, y que narran la incorporación y ascenso de un joven vagabundo en una organización criminal en el contexto de la Corea ocupada por Japón antes de la Segunda Guerra Mundial. Este estudio establece una comparativa entre los rasgos del cine criminal presentes en esta saga y otros existentes en el género criminal coreano contemporáneo, de forma que puedan apreciarse diferencias y semejanzas entre uno y otro. Palabras clave: cine coreano; cine negro; cine criminal; Im Kwon-taek; hallyu. ISBN-13: 978-84-17314-11-8/ D.L.: TF 996-2019 / DOI del libro: 10.4185/CAC159 Página | 211 Libro colectivo enlínea: http://www.revistalatinacs.org/19SLCS/libro-colectivo-2019.html Las nuevas narrativas, en el entorno social Universidad de La Laguna, diciembre de 2019 Abstract: The boom of Korean cinema in the late 90s of the 20th Century was a phenomenon included in other bigger movement known as Korean wave or Hallyu, a movement in which Korean culture and art have been disseminated nationally and globally. Within the contemporary Korean cinema one of the most important genres has been the crime films, that have produced important films such as Memories of Murder (Bong Joon-ho, 2003) or A Bittersweet Life (Kim Jee-woon, 2005), among many others, reaching a great success of public and critics dealing with issues related to murders and the mafia. However, before these themes become popular in Korean wave cinema, there were already precedents in the national cinema that anticipated the dissemination of the genre in contemporary Korean cinema. The General’s Son (Janggunui adeul), also known as Son of a general, by director Im Kwon-taek, is a film series composed of three films made in 1990, 1991 and 1992, which narrate the promotion of a young homeless in a criminal organization in the context of the Japanese occupation in Korea before World War II. This study establishes a comparison between this saga and the contemporary Korean crime genre, looking for differences and similarities between The General’s Son and the contemporary crime films. Keywords: Korean cinema; film noir; crime films; Im Kwon-taek; hallyu. 1. Introducción y justificación 20 años después de que el boom del cine coreano contemporáneo estallara, en un fenómeno conocido como Hallyu1 (Kim, 2007, p. 47), y se convirtiera en una de las industrias cinematográficas más potentes artística y comercialmente del mundo (Lee, 2001, pp. 47-48; Brown, 2007, p. 6), se puede observar con perspectiva qué géneros alcanzaron mayor relevancia y qué tipo de películas se potenciaron más en todo este proceso. Si bien, aunque es obvio que una cinematografía que produce más de 200 películas al año desde hace más de una década –alcanzando los últimos años más de 400 anuales–, como es el caso de la coreana, tendrá una mínima 1 Hallyu puede traducirse literalmente como “corriente de Corea”, aunque suele traducirse como “ola coreana”. ISBN-13: 978-84-17314-11-8/ D.L.: TF 996-2019 / DOI del libro: 10.4185/CAC159 Página | 212 Libro colectivo enlínea: http://www.revistalatinacs.org/19SLCS/libro-colectivo-2019.html Las nuevas narrativas, en el entorno social Universidad de La Laguna, diciembre de 2019 variedad de obras, sí que puede observarse un predominio de ciertos géneros a nivel comercial. Así, es habitual que películas de género criminal, a menudo con temáticas relacionadas con la mafia, tengan éxito de taquilla. Existen ejemplos en los últimos años como Por encima de la ley (Beterang) (Ryoo Seung-wan, 2015), película más taquillera en Corea del Sur en 2015, Confidential Assigment (Gongjo) (Kim Seong-hoon, 2017), tercera película más taquillera del 2017 en el país o Ciudad sin ley (Beom-joe-do-si) (Kang Yoon- sung, 2017), quinta obra más taquillera de ese mismo 2017, entre muchas otras. No obstante, antes de que el boom estallara hubo un periodo de retroceso en la industria cinematográfica coreana, a principios de los años 90 (Jin, 2006, p. 5; Shim, 2002, p. 339), periodo en que no sólo se producían menos películas, sino que también ofrecía un panorama difuso, donde se imponían visiones individuales de los cineastas sobre tendencias artísticas y corrientes comerciales, debido en buena parte al relajamiento de la censura (Brown, 2007, p. 6; Park, 2002, pp. 120-121). En ese periodo las películas de género criminal no eran abundantes en el cine coreano, por eso la saga The General’s Son (Janggunui adeul), compuesta por tres partes estrenadas en 1990, 1991 y 1992, y dirigida por Im Kwon-taek, supone un nexo importante entre el cine criminal pre y post Hallyu. En este trabajo se exploran las conexiones entre la saga The General’s Son como obra de género criminal y el cine criminal coreano contemporáneo, con el objetivo de hallar características similares y diferencias a nivel temático, de modo que se pueda establecer una evolución del género en Corea del Sur en los últimos 30 años. 1.1. Im Kwon-taek, padre del cine coreano Im Kwon-taek es a menudo considerado el padre del cine coreano, no porque suyas fueran las primeras obras cinematográficas nacionales, sino porque en su filmografía se construye la idea de cine nacional (James, 2001), desde sus inicios, en los años 60, hasta la actualidad. Su carrera, que abarca más de 100 largometrajes, se centra especialmente en dramas y melodramas de corte clasicista que tratan temas como la identidad ISBN-13: 978-84-17314-11-8/ D.L.: TF 996-2019 / DOI del libro: 10.4185/CAC159 Página | 213 Libro colectivo enlínea: http://www.revistalatinacs.org/19SLCS/libro-colectivo-2019.html Las nuevas narrativas, en el entorno social Universidad de La Laguna, diciembre de 2019 nacional, la memoria histórica (James, 2001, pp. 14-15) o el papel del individuo en los procesos sociales, y su cine funcionó como puente entre el localismo romántico de alguien poco interesado en el exterior y poco expuesto a audiencias globales (Wilson, 2001, p. 308) y el cine coreano actual, considerado transancional (Klein, 2008, p. 873). Si bien las cuestiones criminales no están presentes de forma directa en la mayor parte de su cine, sí que subyacen en algunas de sus obras. Así, por ejemplo, en My Home (Wangshibri) (1976), el director narra el regreso del personaje protagonista a su ciudad natal, después de vivir años fuera, teniendo una ocupación desconocida, sugiriéndose un trasfondo criminal en esa vida oculta, aunque sin entrar de lleno en la cuestión. Im Kwon-taek, sin embargo, acostumbra a narrar la vida en los bajos fondos, representando, por ejemplo, la prostitución y la vida en burdeles en películas como Mandala (1981) o Ticket (1986). Y, sin lanzarse de lleno al género policiaco, también ha hecho aproximaciones de corte dramático al tema en películas como Pursuit of Death (Jagko) (1980). Por eso, la saga The General’s Son, también conocida como Son of a General, supone una novedad en la ya por entonces larguísima trayectoria del cineasta. The General’s Son trata sobre un joven vagabundo que, en la época de la ocupación japonesa de Corea (1910-1945), trata de ganarse la vida hasta que se le presenta la oportunidad de entrar en una banda criminal gracias a su habilidad para pelear. Así, a lo largo de tres películas se observará el desarrollo del personaje y de su ascensión y caída dentro de la organización criminal, mientras la coyuntura de la ocupación sirve de telón de fondo para la saga. No obstante, el predominio del drama en la obra de Im Kwon-taek hará que en esta saga prevalezcan las cuestiones dramáticas y los habituales temas de sus películas, sólo que adaptados a un contexto criminal. 2. Trasfondo histórico de The General’s Son: crimen organizado en la ocupación japonesa de Corea Una de las cuestiones centrales de The General’s Son es el trasfondo histórico que el director Im Kwon-taek escogió para desarrollar cada una de las tres películas de la saga. Tal y como ya se ha expuesto anteriormente en este ISBN-13: 978-84-17314-11-8/ D.L.: TF 996-2019 / DOI del libro: 10.4185/CAC159 Página | 214 Libro colectivo enlínea: http://www.revistalatinacs.org/19SLCS/libro-colectivo-2019.html Las nuevas narrativas, en el entorno social Universidad de La Laguna, diciembre de 2019 texto, Im Kwon-taek es un cineasta que se ha preocupado, haciendo un cine que podría considerarse como nacionalista, por reconstruir la identidad de Corea.
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