[Limelight] A Vulnerable and Dependent Face... That's Why It's Relatable

Actor Choi Woo-shik of the films 'Time to Hunt' and 'Parasite'

Gihoon from 'Time to Hunt,' who dreams of escaping reality, and Giwoo from 'Parasite,' who was thirsty for social mobility, resemble modern-day youth and common people

"Today, I made a fundamental plan. I will earn a lot of money and buy this house. Father, you just need to come up the stairs. Stay healthy until that day comes."

This is the last line from the movie 'Parasite.' Giwoo (Choi Woo-shik) says it. It is an impossible plan. He knows it too. He already disguised himself as Kevin and got into trouble because of greed. Giwoo thought that if he maintained a romantic relationship with Dahye (Jung Ji-so), his family could secure a higher status through marriage ties. However, he was not Minhyuk (Park Seo-joon). He was less greedy for social mobility. He was satisfied just dreaming.

"If this house becomes ours, and we live here, which room would you want to use as your own? In this masterpiece house by Mr. Namgung Hyunja, which part do you like the most? (Giwoo)"

"I don't know. Just let me live here first. If I live here, I'll think about it. (Gijeong)"

"No, you're living here right now. Drinking a lot of alcohol right in the middle of the living room like this. (Gitaek)"

"That's right. This is living. What else is living? (Giwoo)"

Giwoo's modest and calm personality becomes even more convincing when meeting Choi Woo-shik. He has a small and skinny build. His face is delicate and fragile to the point of being slender. He even describes himself as frail.

The roles he has portrayed in films so far are no different. Youngjae from 'The Giant (2014),' who lives in a group home to escape an irresponsible father, is a representative example. On the surface, he is a model student aspiring to become a priest, but he lives each day under constant scrutiny. Secretly, he steals donated goods and ends up betraying friends with lies. His continued wandering is read as frustration on Choi Woo-shik's fragile face.

"Maybe I look pitiful even when I'm just still. Even my parents say that. I grew up in a relatively harmonious family... (laughs). It's comfortable to play pitiful roles. I can enjoy acting that way. When I portray struggling lives, sometimes I even feel a sense of freedom. (Film industry people) often request me for similar roles. I don't avoid them. I hope more come."

Yeong-guk from 'Train to Busan (2016)' or the nobleman from 'The Witch (2018)' also have a strong side, but their essence is the same. They fight zombies with baseball bats and threaten Ja-yoon (Kim Da-mi) with supernatural powers, but ultimately they end in fear and inferiority.

Gihoon, whom he acted as in 'Time to Hunt,' is on the same line. At first glance, he looks like a local thug. Yellow-dyed hair and flashy necklaces. He smokes cigarettes with a sharp puff and speaks roughly and crudely.

"It's a face I've never portrayed before. So I was eager. At the same time, I was scared. If done wrong, the image of smoking and cursing could come out awkwardly. If that atmosphere doesn't come out properly, it would seem like overacting. I was more nervous than usual during filming. I'm curious what aspect of me Director Yoon Sung-hyun thought matched Gihoon."

He has a uniquely fragile and dependent face. Gihoon, at the suggestion of Junseok (Lee Je-hoon), who was released from prison, raids a gambling den with Jangho (Ahn Jae-hong) and Sangsoo (Park Jung-min). He never fires a rifle bullet. Even when chased by the mysterious pursuer Han (Park Hae-soo), it's the same. Instead, he trembles like a trembling aspen in the nightmare-like time that tightens his heart.

Unlike other roles, Gihoon's family story is depicted. It is to convey the situation where he wants to be filial to his parents but cannot do so as he wishes. It is a setting that materializes the harsh world that cannot be overcome by kindness alone.

When Giwoo's parents are in crisis, he gives up illegal immigration to Taiwan. Without saying goodbye to his friends, he hastens his steps. When he accidentally meets Junseok, he smiles faintly as if nothing happened.

"Where are you going?"

"Ah, XXX. Where have you been? I've been looking for you all along."

"Ah, I couldn't sleep, so I checked out the place where we'll board the ship later. Is something wrong?"

"No, I was going to see you off when you boarded the ship, but it's hard to go home at night. I want to leave before sunset."

"Hey, nothing serious, right?"

"(Taking Junseok's cigarette and smoking) Hey, XX. Nothing's wrong. Just worry about your seasickness. Take good care of Jangho. I'm leaving. See you soon."

The core of this scene is not the affectionate feelings toward Junseok. It is the worry and aching longing for his parents. Choi Woo-shik said, "The act of pretending to be calm is just for his friends."

"The script didn't have the stage direction to take the cigarette and take a puff. I came up with it on set. I wanted to express the excessive movement to show the desire not to worry his old friends. When I first acted, I thought about the longing for friends who were parting. But after repeating the same acting several times, I realized Gihoon wouldn't have that leisure. They are friends who will leave on a ship tomorrow morning. What special feelings could there be? So I acted again, holding only the worry for his parents."

Giwoo from 'Parasite' also realized late where he should be. After kissing Dahye and looking down at the garden where the birthday party is held, he asked, "Do I fit in here well?" After this realization, he took the top score and went down to where he should be.

Gihoon is ultimately close to Giwoo's dystopian variation. If the dream of social mobility contained in the landscape painting in 'Parasite' turns into a nightmare, in 'Time to Hunt,' the dream of escaping reality through money and guns is thoroughly blocked. No matter how boldly they shout, "The momentum is everything in real combat," Giwoo and Gihoon cannot become Minhyuk.

Choi Woo-shik gazes intently at the end of the solid class barrier. Fragile and dependent, but with eyes that are not indifferent. He still seems to have a lot to say.