3 - Iron (2004)

 The more I dig deep into Tubi, the "free" streaming site, the more I am tickled by what gems I can find. I hadn't seen Kim Ki-duk's 2004 romantic drama, 3 - Iron since probably 2005 or 2006. I had this incredible period in my 20s where I was watching so many extraordinary films from all over the world thanks to Netflix DVD. Well, I also used to have all the established premium channels, too, before the kiddos came into my life. So, eventually, I came across 3 - Iron and, sadly, my memory had faded this wonderful little find into the ether of my mind due to thousands and thousands of films that sort of compiled in front of it. Still, I found it on Tubi and what a rich experience this quiet, imaginatively directed, unpredictably plotted film was. Now I know "proponents of not cheating while in a marriage" advocates might consider the conclusion quite ethically and morally questionable -- why doesn't past abuse victim Seung-Yun Lee just leave her wealthy businessman husband, Hyuk-ho Kwon, behind for the vagabond (and quite young) Hee Jae? -- and I can't really come up with the answer besides revenge. Kwon does give Seung-Yun a privileged life with plenty of shelter and food, all the amenities, but she can't give him what he truly wants...total control over her, mind, body, and soul. After leaving her face a bruised mess with a bloody lip, Kwon is gone to some meeting, noticing Hee Jae eating their food, washing their clothes, listening to their music, bathing in their tub, altering their weight scale, and masturbating to a picture of her. Hee Jae, with his motorcycle (a rather sweet ride for a transient), doesn't have a home that we ever see (and he never talks a word, and we never learn of a family or friends associated with him), going from place to place (unoccupied at the time, with those who live there away for brief periods), adopting a particular pattern of behavior, as I had mentioned when visiting Seung-Yun's home. Before leaving each of the places, Hee takes a picture of himself next to a picture or two inside each home, sort of as a keepsake and reminder of the experience. This kind of lifestyle is very dangerous as we soon learn, especially when Hee and Kwon (who joins him in this lifestyle, leaving behind her husband, and his persistent scowl and voice of consistent disapproval) are in bed together resting when a boxer and his wife arrive home "early". This boxer is the kind of narcissist that has a big photo of himself in head protector and boxing gloves on the wall, giving Hee's face a good slugging. Another situation Hee and Seung-Yun find themselves in is occupying the house of a dead man, whose corpse was on the floor (due to lung cancer, as blood was pooled by his mouth) and little pooch cuddled worriedly next to him. That discovery is just gut-wrenching. Hee and Seung-Yun dress him affectionately in a proper burial, complete with careful and respectful "burial garb"...how they tend to the old man is just admirable. But when the son and daughter-in-law arrive wondering why he has been silent, Hee and Seung-Yun are no longer able to get away.

The second half of the film has Hee interrogated and Seung-Yun "returned" to her husband, with Kwon looking to get his pound of flesh for being embarrassed. Hee had stopped Kwon from further injuring Seung-Yun, using a 3-iron club and golf balls as a weapon, leaving Kwon in a crumpled mess on the ground of his backyard. Before Hee is put in prison for choking a bad police officer (he later gets even with the same use of a club and golf balls) for allowing Kwon to use golfballs on him (a cash for punishment swap), he spends time in an interrogation room, silent and unyielding in his ability to remain mum on how the man found buried in his backyard was killed and why he was in the deceased's abode. While in jail, Hee is eventually put in isolation for attempting to retrieve his "phantom golf ball" (in a game of "phantom golf"), utilizing the time to "become a shadow". With a security guard often testing Hee's resolve (through the use of a billy club), especially when he pulls hiding stunts (like climbing walls and hiding out of the vision scope of the door to his cell), Hee develops the uncanny ability to hide in a space he shouldn't by shadowing those nearby him. And that skill is well mastered as Hee is eventually released (not before getting the better of the abusive guard), returning to his "former haunts". His final stop is Kwon's, shadowing him so he can always be near Seung-Yun, who remains quiet, agreeably staying with her husband even as she loves their home's shadow occupant.

There is that kiss which is the iconic image of the film. Kwon doesn't know that Hee is behind him as he hugs Seung-Yun. Seung-Yun says "I love you" to Hee, although Kwon is in front of her. So the hug is a big misunderstanding as Hee and Seung-Yun quietly kiss passionately. And Kwon is never none the wiser. All the shadowing Hee does is so astoundingly shot by Ki-duk, it is believable. Even POV, through Hee's eyes is orchestrated in a way where we are the shadow. And how Hee can be seen behind those he shadows is also a work of art...the synchronicity is amazing!

That the two main leads almost never talk -- Hee never talks, while Seung-Yun only says "I love you" at the very end and screams into a phone once when we first meet her -- as Ki-duk uses action and behavior (and some expert editing) to offer communication. Such as the golfball tied to a cord (that eventually breaks from the cord, crashing into a car, injuring a passenger as her boyfriend tries to awaken her in horror), the use of a song, how food is cooked and prepared, and shared exchanges between them. Following them on their "journey of self-discovery" is quite a trip.

I do feel that this kind of film, which cares more about the experience rather than Rohmer like chatty conversation, will alienate some viewers who just need the main leads to talk to each other. And the restraint by those who acted, wrote, and directed this film I personally applaud. But I just feel there is a particular audience for this film that will love or like it. I sure do. And on Tubi I found this fine piece of work. 5/5