What We Can Expect from Spike Lee’s Oldboy Remake

Oldboy 2013

Only 10 years ago, South Korean director Park Chan-Wook’s Oldboy was released to critical acclaim. It was instantly embraced by audiences around the world and hailed as a twisted masterpiece. Hollywood didn’t take long to decide to give the popular film (based on a Japanese manga of the same name) an English-language remake, which was initially going to be directed by Steven Spielberg and star Will Smith. That remake is finally set to be released in October this year, only it now comes to us from director Spike Lee, with Josh Brolin in the lead role. Though it would be hard to argue that this remake is by any means necessary, fans of the original shouldn’t write the film off just yet. Here are three reasons to remain optimistic about Spike Lee’s take on the material, and three reasons to keep that optimism in check.

(Spoilers for Oldboy to follow)

3. The Disturbing Source Material

At its core, Oldboy is a movie about the lengths we’ll go to recover from the pain of our past and what we’ll endure to keep that pain from infecting the loved ones around us. In the film, Woo-Jin engages with an incestuous relationship with his sister. When classmate Oh Dae-Su inadvertently spreads rumors about the relationship, Woo-Jin’s sister kills herself. To get revenge, Woo-Jin captures and imprisons Oh Dae-Su for 15 years, then manipulates him into initiating a sexual relationship with his own daughter. This is dark stuff, and it’s difficult to imagine any Hollywood studio wanting to go near it – a plot which revolves around incestuous relationships would likely put off mainstream crowds. However, this makes the hiring of Spike Lee rather encouraging as he has never been one to shy away from morally ambiguous material. He shouldn’t have any problems keeping true to the more cringe-worthy elements.

Do the Right Thing, possibly Lee’s best film, is impressive for the way it explores issues of race, culture, and class with such a well-rounded, unbiased approach. There are no heroes or villains, no clear rights or wrongs – just people trapped in a cycle of tension and violence, trying their best to get by. Even Inside Man, Lee’s most mainstream movie to date (and thus his most successful at the box office) refuses to sink into binaries of good vs. evil. The cop has a shady past involving missing money and drugs from a previous case, and the bank robber is stealing from a man who earned his riches by working with the Nazis during the Holocaust.

If done right, Oldboy should have this kind of character ambiguity. Dae-Su is the hero, but his carelessness in his youth did ruin Woo-Jin’s life. He also begins the movie as a drunken fool, spending his nights in a police station instead of at home with his wife and daughter. Most upsettingly, he chooses to continue his relationship with his daughter in the film’s closing, never revealing to her who he really is. Lee likes to leave audiences with a final question to mull over – Did Mookie do the right thing by smashing the window? Should Monty have followed his father’s advice at the end of 25th Hour? With a story as powerful as Oldboy’s, Spike Lee should deliver a knockout ending that is sure to stick with you long after you leave the theater.


Why You Should be Worried:

It’s no secret that Spike Lee’s movies often tackle political and racial issues in American society. And with the exception of some misfires like Miracle at St. Anna, Lee displays these issues with the complexity and insight they deserve. Sometimes these issues take front seat, such as in Do the Right Thing and Malcolm X. In other films they simmer in the background. The September 11th attacks do not directly influence the narrative of 25th Hour, but the event still looms over the entire film. Inside Man features one key scene involving a hostage negotiation, while a giant but faded “Never Forget 9/11” poster hangs in the background. Such background elements work for these films, because New York City itself becomes a character – wounded in 25th Hour and healing in Inside Man. Yet such a politically-charged style wouldn’t be appropriate for Oldboy.

This isn’t to say that Lee is going to turn Oldboy into a conversation about racism in modern America, or a 9/11 retrospective. But this is Lee’s style, and he has been consistent about it. It’s entirely possible that Lee could place these kind of distractions into Oldboy and the results could be a confused and disjointed movie. This is a story that’s already full of controversial subject matter worthy of discussion: the dark path of vengeance, the consequences of a single act of recklessness, to name a few. To divert from these core themes in order to serve a personal agenda could cheapen the entire movie and reveal Lee’s inability to keep his style in check when adapting popular material.

Of course, a lot of those decisions come down to screenwriter Mark Protosevich, whose past credits include I Am Legend and Poseidon, both remakes like Oldboy. I Am Legend engaged due to a cool setting and the performance of Will Smith, but it fell apart in its final act. Poseidon boasted some impressive CGI but little else, so neither of these works get me too optimistic for his take on Oldboy.

2. The Cast

Spike Lee’s work with actors has brought about some career-best performances: Edward Norton in 25th Hour, Denzel Washington in Malcolm X and Inside Man, and Samuel L. Jackson’s breakout role in Jungle Fever. His ability to get the best out of his actors should be trusted at this point. What is worth looking at here is how the cast of this Oldboy remake fit their characters.

Josh Brolin is a great pick for Oh Dae-Su (named Joe Doucett in this version). Brolin has proven excellent at playing men who appear calm and put together on the surface, yet are bubbling with emotion and energy underneath, ready to explode at any moment. He showed this in Milk, his Oscar-nominated performance and likely his best work to date. Brolin’s work in No Country for Old Men displays similar skill; just look at the scene where he reacts to Chigurh’s phone call threatening his wife. He remains in control, but just barely. After twenty years of imprisonment, Oh Dae-Su has an almost zen-like aura around him in his quest for vengeance, yet he can lose it all in shocking releases of violence and desperation. I can’t wait to see what Brolin brings to this tragic character.

Oldboy Josh Brolin

Next, Elizabeth Olsen has been cast as Mi Do, named Marie in this movie. Marie is Doucett’s investigative partner, love interest…and daughter. Olsen’s performance in Martha Marcy May Marlene is undoubtedly what got her this part and it isn’t difficult to see why. Though she doesn’t have many movies under her belt, what Olsen showed in Martha is a range beyond that of most young actresses working today. Her character was damaged and lost, fighting a bad case of PTSD in the aftermath of her involvement with a mind-bending cult leader (played with creepy intensity by John Hawkes). To make her character in Oldboy work, she has to have the allure and chemistry to be a romantic lead, with the vulnerability necessary to show that she is really just a girl desperately seeking some companionship in her lonely life. Olsen is the perfect choice for this kind of role.


Finally, we have Sharlto Copley as Woo-Jin (Adrian Price), the man so devastated by his sister’s death that he quietly sets about ruining Oh Dae-Su’s life in a quest for revenge spanning 20 years. Woo-Jin is brilliant in his planning and ruthless in his execution, yet in his final scenes he reveals himself to be just a confused kid unable to recover from the death of his love – even if that love was his sister. He’s sympathetic and even pitiful, yet repulsive in the sick way he orchestrates Oh Dae-Su’s relationship with his own daughter. The only performances Copley has given so far have been in District 9 and The A-Team. Though his wacky take on Murdock in the latter was fun, it’s really District 9 that we are left to look at when deciding how Copley will fare with this difficult character. I have no doubt he will perform well in the final scenes, as his character in District 9 was able to remain sympathetic even as the character’s actions verged into morally grey territory. Copley won the audience over with his sweet smile and manic desperation in equal measure.


Why You Should Be Worried:

As for the character in the first two acts of the narrative, I am not convinced that Copley will be able to pull it off. Woo-Jin is mysterious, his motivations unclear. He toys with Oh Dae-Su playfully, yet you know he is always in complete control. Copley doesn’t seem capable of pulling off that intimidating of a presence. But I would be more than happy to be proven wrong.

Going back to Brolin, he has never had to carry a movie like this before. The closest he’s come to being a leading man is in No Country for Old Men, which was really equal parts Javier Bardem and Tommy Lee Jones. It has been reported that Lee has extended the screen time of Oh Dae-Su’s prison sequence, elongating it to a 20 year period. That implies that there could be a good half hour of the movie consisting entirely of Brolin alone in a small room. I’m hoping for a surprise like Ryan Reynolds in Buried or James Franco in 127 Hours here. Brolin could very well deliver, but putting that much pressure on his shoulders is reason to be concerned.

1. The Visuals

Park Chan-Wook’s Oldboy is filled with stunning imagery and iconic shots. When doing a remake, a director has to decide whether to simply duplicate famous shots from the original, or change them entirely. Spike Lee doesn’t seem like the type to copy what’s already there – he would rather make the material his own. If anything, he’ll try and top what came before. Look at the most famous sequence of the original Oldboy: a brilliant side-scrolling tracking shot following Oh Dae-Su as he fights his way out of a tight hallway with only a hammer in hand. People who have seen a rough cut of Lee’s version say that he has expanded this fight scene to take place on multiple floors, adding an intriguing new vertical element to the brawl. That alone should be enough to get you excited for Lee’s approach to the material, as he clearly plans on expanding the scope of the story and giving something new to fans of the original.

Lee is also working with cinematographer Sean Bobbitt, who has an impressive resume including Hunger, Shame, and The Place Beyond the Pines. Looking at the complicated opening tracking shot in The Place Beyond the Pines and the conversation with the priest in Hunger, it’s clear that Bobbitt is an expert at staging lengthy takes. I can’t wait to see his work on Oldboy, especially if a few of those long shots work their way into the multilevel fight scene.


Why You Should Be Worried:

The issue with working with iconic shots like this and trying to top them, as it appears Lee is trying to do, is that you can go too far with it. The fight in Oldboy is so beloved because of the simple elegance of the camera movement (inspired by side-scrolling fighting video games), the haunting score, and the brutal realism. To take that and turn it into a sprawling battle could prove to be a mistake, relying on more action and violence when the simpler alternative is in fact far more powerful.

A good comparison is the pool scene in Tomas Alfredson’s Let the Right One In and Matt Reeve’s American remake Let Me In. Reeves took the shocking violence and intense stasis of Alfredson’s single shot and spiced it up with quick cuts and a higher body count. It works, but it’s not nearly as shocking as the original. The problem is that both of these shots – the pool and the hallway – are essentially perfect. Any attempt to crank them up to 11 will just come across as forced and unnecessary. This is the corner directors find themselves backed into when remaking movies that are already so accomplished and effective.

It is also difficult to imagine how this remake will handle the elements that won’t translate well into American society. Though I would enjoy watching Josh Brolin eat a live octopus, such a meal is only common in Korea and not in the United States. Seeing Oh Dae-Su chow down on a living thing, tentacles oozing out of his mouth, is not only uncomfortable to watch, but an important character moment. How can such a thing be duplicated in the remake? Oh Dae-Su also finds his captors by going on a dumpling-sampling spree across the entire city. How will this plot element be handled? I can’t help but dread a remake where we are forced to watch Josh Brolin trek across New York City eating slice after slice of pizza. We’ll just have to see what Protosevich and Lee have come up with.


Hopefully a trailer will be released soon. Until then all we have is pure speculation, but at this point I can’t help but get my hopes up. The choice of director is compelling, and the cast seems up to the task. Few people forget the first time they saw Park Chan-Wook’s original masterpiece, and the wonderfully perverse twists along the way. It was a fun, stylized thriller that also managed to surprise and even disturb. Spike Lee certainly has his work cut out for him, because he has to deliver this same experience to new viewers who haven’t seen the original while still pleasing those who already know every turn of the story. He has a lot of hurtles in front of him, but if he finds a way to navigate them, this could be one of those rare remakes that actually works. Find out if Oldboy successfully connects with a new audience or misses the mark and alienates fans of the original when it comes to theaters on October 11th.

What do you think? Leave a comment.

Posted on by
I study Cinema and Journalism, I love Stanley Kubrick and movies with zombies and explosions and blood and sex and car chases and kung fu.

Want to write about Film or other art forms?

Create writer account


  1. Sara Roncero-Menendez

    I am really worried about this film. I am almost always against remakes of foreign films because its hard to recreate some of these amazing films, and Oldboy is no exception. You’ve given me some hope on the subject, and this is incredibly thorough analysis of what’s to come. Great article!

    • Vic Millar

      Thanks! I was always against them too but Let Me In really surprised me, so now I’m more open to the concept. Soderbergh’s Solaris is also pretty interesting and worth checking out.

  2. Dale Barham

    Great article! I’m interested in seeing the side-scrolling shot adapted by Lee, its one of my favorite action scenes, I hope the changes add another level to it (figuratively as well as literally) and still keep the essence.
    You raise some good and intriguing points here.

    Keep up the good work man!

    • Vic Millar

      Probably my favorite action scene as well, so I’m curious to see what Lee does with it, because he hasn’t directed much action yet. If he keeps the side-scrolling style but now has the camera moving up and down as well, it could be a really incredible scene.

    • It’s one of my favorite film scenes ever, and I totally agree with the article, its almost too perfect to change. Very nervous to see the outcome.

  3. Tom Beasley

    Very strong article. Oldboy is, as you say, a twisted masterpiece and I’m just not sure how well it will translate as an American studio film with an all-star cast.

    That said, Spike Lee is a decent filmmaker and Josh Brolin and Elizabeth Olsen are certainly good enough to deal with the material.

    I’m on the fence.

  4. I don’t know what to think about this one. Remakes of great foreign films are rarely better, or even close. At least the film has Sharlto Copley.

  5. Runnels

    Sorry but… this must be THE ONLY movie where the remake have no chance of matching the original because the original was and still is a masterpiece. What were they thinking?! The decision to remake this… stupid one.

    At least it will put the original into the spotlight for the unlucky few that haven’t seen it.

    • Vic Millar

      That’s a good point, I’m sure the number of people watching Oldboy on Netflix instant will spike as the release date to the remake gets closer.

      • Amanda Gostomski

        I only enjoy remakes if they are substantially different, but with the same “soul”.
        I really hope they have that beautiful opening sequence with the angel wings on that mans back.

  6. This film, like all good films didn’t need to be remade. They should explore remaking bad films which actually had potentially good stories to tell. I love Spike Lee’s work and I’m sure he will make a good film but I don’t see what he has to offer for those who have seen the original.

    The films power was in its shocking plot twist.

    • What he said. There are many bad adaptations that could have a new production.

  7. Shirley Kiszen

    Very good article that does offer some light in a tunnel of negative expectations for this remake.

  8. I don’t hate remakes in general, I just want these remakes to do something different from the original film. Be bold and daring, don’t just take what already exists and try to replicate it… cause when they do that, it turns into an expensive dub job.

    Most remakes are terrible. Some do manage to be good. I actually like The Departed, don’t think it’s a better film then Infernal Affairs but I do enjoy it none the less.

  9. profiler

    Everything about this looked awesome, everything but Spike Lee. In my opinion, a very overrated director. There are better choices for direction.

  10. Michael Clancy

    Films like Let the Right One In and Rec prove that it is very tricky pulling off a remake of an international hit. Even if Spike Lee pulls it off most people are going to be left asking “why bother?” Which I suppose is better than “how could you???” Still the cast is strong and I have faith that Copley can pull of the intimidation. All in all a really nicely researched piece.

    • Vic Millar

      Definitely hard to shake the “Why bother?” thought. But I think if you get your head around the idea that Hollywood is determined to get this remake made, then this version is probably among the best we could get. Thanks for your comment!

  11. Spencer Lucas

    Remakes, even if unnecessary, can complement an original. I totally agree with you on how Let Me In botched some of the really effective horror scenes from Let the Right One In, but I was more drawn in to the character stuff in Let Me In. Therefore, each film makes up for what the other lacks. Not that there’s much lacking in Oldboy (or LTRIO), but hopefully this will be a similar deal.

    • Vic Millar

      Richard Jenkin’s character was far more interesting in Let Me In, so I agree sometimes remakes can improve aspects of the original. I don’t see how Oldboy could really be improved, but I hope this will surprise me!

  12. Christopher Dibsdall

    I would have to describe myself as cautiously optimistic, mostly because Josh Brolin’s really rather good.

  13. This sounds like it would be hard to pull of in a live action, American context, especially considering this would be a heavy lift in its original context.

Leave a Reply