Restoring Masculine Identity in Friend

Following the IMF crisis of 1997 in Korea, the nation suffered economically and the national identity changed for many Koreans. As Hyangjin Lee mentions in “South Korea: Film on the Global Stage”, the South Korean blockbuster emerged after the crisis and it blended commercialism and artistic experimentalism, as well as the familiar and the novel, in order to create new identity politics in Korea. Friend’s focus on themes of loyalty and friendship and of wealth and power reflects the South Korean blockbuster’s tendency to blend familiarity and novelty in order to create a new national image. The 2001 film may have been a domestic hit because it represents a new masculine identity for the Korean male who has suffered through the financial crisis by portraying emotionally and physically strong men who have wealth and power. Women play minor roles in the film since the main focus is on the male characters, and so the formulation of a new identity in Korea appears to be male-centric. The theme of commercialism is also portrayed by Dong-su and Joong-suk—the two most powerful male figures in Friend. The power and financial freedom of Dong-su and Joong-suk is highlighted by their lavish suits and by the fear they instill in others. These characteristics appeal to an international public as well, and thus add to the film’s success outside of Korea, which represents Korea’s restored image after the 1997 IMF crisis.