The Necessity of a Father

 

In her article Jinhee Choi makes reference to patriarchy in gangster films as she briefly questions whether Korean “[...] gangster cinema advocates and sustains patriarchy” (76)? In the case of the movie Friends the symbolic figure of the “father,” or surrogate patriarchal male character, is an important element of the movie. The necessity for a reigning patriarchal father figure can be seen in the power dynamics of the four friends. Jun Sook is given the title of “boss” of the high school because of his father's position as a powerful gangster. In a patrilineal fashion his father's title is passed down to him. Dong Su is given the title of “Second Boss” by Jun Sook due to his strengths. Throughout their high school days Jun Sook acts in a paternal fashion towards his friends as he defends them and scarifies for them, ie. Jun Sook sacrifices his interest in Jin Sook for Sang Taek.

In her article Choi points out the symbolism of the high school setting, a unique element of Korean gangster flicks. She considers the high school to be be a symbolic “[...] society that replicates as well as substitutes for some social norms of power and hierarchy” (69). Jun Sook, our patriarch, constantly rebels against the high school system when the teachers, enforcers of the social norms of power Choi alludes too, try to make him conform and abandon his patriarchal authority. The group of friends, lead by Jun Sook, disobey school rules and Dong Su even vandalizes the school with a bat. This loathing of modern social norms symbolized by the trashing of the high school illustrates the main characters' desires to uphold traditional patriarchal hierarchies over modern social norms in the gangster realm of the movie. 

 

Although Jun Sook is seen as the patriarchal “father” figure Dong Su rebels against him and attempts to replace him because of his own patrilineal shame. Is Dong Su's rebellion against the patriarchal family structure in his circle of friends what leads him down the wrong path and assassinated? Is Dong Su meant to be seen as the “bad guy” because of his rebellion? Does Jun Sook's position as patriarch of his circle of friends emasculate and feminize the others? 

 

Source Cited:

Jinhee Choi, The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs. Middletown, CT: Wesleyan University Press, 2010. “No Blood? No Tears! Gangster Cinema,” 60-84.