Colors in Chilsu and Mansu

In “Male Crisis in the Early Films of Park Kwang-su,” Kyung Hyun Kim describes Chilsu and Mansu’s “visualization of the urban space of Seoul” with bright color-blocked themes visible in city long shots, on billboards, in art galleries and night clubs as “anxious spaces where the masked identities of Ch’il-su as a college student and Man-su—cajoled by Ch’il-su to dress as a French artist—must be tightly concealed” (147). Kim’s take on the depiction of the city’s post-modern influences with regard to color in the urban space is interesting since for me, the film’s recurring color patters of bright green, white and pink, yellow, red and blue, and white, yellow and blue, as well as a combination of all these colors, creates a light atmosphere which, rather than creating an anxious space, acts in stark contrast to Chilsu and Mansu’s serious theme. The often frequented bar, for example, is brightly colored to give a sense of relief for both the characters and the viewer from the depression that surrounds this urban space in the form of Man-su’s internal suffering and the dark, empty lot in which the bar is located.

In addition, when Chil-su and Man-su are at the night club with Ji-na and her college friend, the colors white, yellow and blue are most prominently used. This color scheme, in combination with the camera’s use of different angles and quick, erratic movements, highlights the elevated mood of the club’s atmosphere and of Chil-su and his female dancing partners. Only after the dancing scene is over does the viewer witness the harsh reality of Man-su’s alcoholism and depression which juxtaposes the overall impression of the club’s mood on the characters and the audience.