The Classified File review [LKFF 2015]: “All the trademarks of a dark noir.”

The Classified File review: Three quarters a solid piece of genre filmmaking and one quarter an inspirational character study.

Set in 1978 and based on a true story, The Classified File follows an investigation into the kidnapping of a young girl. The girl, Eun Joo, is taken away after school, but the kidnapper makes no contact with the police, media, or parents. At a loss, and after the local police beat up Eun-Joo’s father’s driver, prying more into the affairs of her father than into who may have taken his daughter, it is decided to bring in a cop who has got results in the past. Detective Kong (Kim Yun Seok) joins the case and decides to keep everything away from the media, believing a low profile will make the kidnapper feel more relaxed. However, the family have also approached the apprentice of a respected psychic. Kim Joong San (Yu Hae Jin) predicts the kidnapper will make contact within 15 days, and once he’s proven correct the real chase begins.

Originally starting off as a thriller The Classified File has all the trademarks of a dark noir. The night scenes are chilling, but still well lit, while there is always a calming but unsettling golden glow. It’s a string aesthetic that matches the likes of Memories Of Murder. We’re thrust into a world of cleverly plotted police escapades, and intense chases. There’s always a sense of danger, especially not being familiar with the case, and everything feels a little off, raising our suspicions and participation in solving the crime for ourselves.

Although there’s a strong focus on the genre aspects of the film, director Kwak Kyung Taek also explores aspects of Korean society. Other films have done it before, but due to the period setting, we once again see a condemnation of police procedure. Outside of the violent beatings, we also see a battle between jurisdictions that often ruins certain sting operations. Kong is the sole officer working between two separate teams as the kidnapping begins to span over different cities. The inclusion of fortune tellers and hypnotists may also seem absurd at times, but highlights how much belief there is in the practice in South Korea. Kwak keeps an open mind in this respect though, with some predictions proving true while others fall flat.

At the core of the film are the two protagonists, Kong and Kim Joong San. They are at opposite ends of the spectrum, with Kong responding to logic, reason and hard work, while Joong San has more invested in prayer and visions. Despite this, their drive to get the girl home alive is a huge connection that allows an interesting buddy cop relationship to develop. Both Kim Yun Seok and Yu Hae Jin are fantastic in their roles. Kidnapping films focusing on the parents are obviously emotional, but here the emotion has to grow, but we question how much is genuine heart and how much is frustrating from being bested by the crook.

If the film seems rather familiar, then just wait for the conclusion. For many it will be anti-climactic, but once the case is solved, there is a fascinating prologue that serves the character development incredibly well. It shows how the plot can only go so far, but these characters still exist. There’s an interesting insert at the end that suggests room for a sequel too.

The Classified File is three quarters a solid piece of genre filmmaking, with an engaging mystery and nerve wracking sequences, and one quarter an inspirational character study. This mix will certainly not be to everyone’s taste, but those that do appreciate the switch will leave much more than satisfied.

The Classified File review by Luke Ryan Baldock, November, 2015.

The Classified File screened at the London Korean Film Festival 2015 as part of their Hits of 2014/15 strand.