[Lee Jong-gil's Film Reading] Lee Joon-ik Finds Assets in Heuksan

Movie 'Jasan Eobo' Jeong Yak-jeon and Changdae, two people of different status in a complementary relationship
Though pessimistic about society as a whole, it conveys an optimistic view of the individual
"The moment the movie ends, our story begins... Find hope in Jasan Eobo"

※ This article contains many potential spoilers for the movie.

In the Annals of the Joseon Dynasty, Heuksando appears almost exclusively as a place of exile. Exiles there mainly composed poetry, taking solace in the island's nature. They did not mingle with the locals, perceiving themselves as temporary visitors who would soon leave. Jeong Yak-jeon (1758?1816), exiled for his interest in Western learning, was different. His book, Jasan Eobo (玆山魚譜), frequently mentions a boy named Changdae. It would not be an exaggeration to consider him a co-author. From the preface onward, Jeong expresses deep trust in him.

"There was a boy named Jang Deok-sun, that is, Changdae, on the island. He was reclusive and refused to accept help, diligently studying old books. (...) His personality was quiet and meticulous; he carefully observed and deeply contemplated everything he heard and saw among plants, fish, and water birds, understanding their nature. Therefore, his words were trustworthy. I finally welcomed this boy and stayed with him to continue studying fish."

Director Lee Joon-ik of the film Jasan Eobo viewed the relationship between the two men of different social statuses as complementary. He crafted the story as one where scientific curiosity and humanistic desire fulfill each other, clarifying the thematic consciousness he has emphasized: pessimism toward the collective and optimism toward the individual. The highlight is the cross-editing between Changdae (played by Byun Yo-han), disillusioned by the corrupt politics inland, and Jeong Yak-jeon (played by Sol Kyung-gu), who supports his disciple from afar. Using the cuttlefish and sea urchin records from Jasan Eobo, the film soothes Changdae’s aching heart.

"(Regarding squid) When writing with squid ink, the color is very glossy. However, over time it peels off and leaves no trace. It is said that if placed in seawater, the ink’s trace revives. Its bones are good at healing wounds and generating new flesh."

"Changdae said, ‘I once saw a baby bird coming out of a sea urchin’s mouth... Although I did not see inside the shell, this transforms into a bluebird. People commonly say that the ‘night chestnut bird’ is a bird that transforms anew,’ he said."

The director confessed, "I cried while writing the script. He is a boy who left his master to walk the path of Mokminsimseo (The Mind of Governing the People). How painful it must be not to have fulfilled his grand promises. I think Jeong Yak-jeon would have understood such a disciple’s feelings and supported him until the end. That is why it is Jasan, not Heuksan."

- The faintly disappearing squid ink writing could be Jeong Yak-jeon himself. Though destined to fade into the shadows of history, it meets seawater and revives as a cheer for Changdae.

"Awakened intellect never fades. This also connects to optimism toward the individual. I have always thought so. Even in the most successful film, The King and the Clown (2005), Jangsaeng (Kam Woo-sung) and Gong-gil (Lee Joon-gi) say they will be reborn as clowns. Whether it is them or Jeong Yak-jeon and Changdae, it is like hitting a rock with an egg. But our story begins the moment the film ends. I hope people find hope in Jasan Eobo."

- I think it is a message valid for today’s times.

"Differences among individuals exist in every era. In Jasan Eobo, it is between Jeong Yak-jeon and Jeong Yak-yong (played by Ryu Seung-ryong). Jasan Eobo follows a horizontal worldview, while Mokminsimseo follows a vertical one. Both deserve respect. Today’s democracy is no different. Just as the collective has value, so too does the individual possess sufficient worth and virtue. I hope that is neither ignored nor disrespected."

- I wonder if Jeong Yak-jeon and Changdae shared the same interpretation of the bluebird. In Jasan Eobo, biological knowledge is explained, then suddenly mythical imagination unfolds. Not only with sea urchins but also with ark shells, blood cockles, and nut shells, there are passages about transformation into birds.

"That is accurate. For Jeong Yak-jeon, the bluebird may represent a desire to transcend the pain of exile. For Changdae and the residents of Heuksando, it may symbolize a wish to escape the harsh sea labor. I was convinced that at this point it could function as a medium of sharing. Of course, in the film, the supportive nature toward Changdae is stronger. No matter how rotten the world is, there will always be young people opening their eyes anew. To show that, we broke the black-and-white frame and revealed blue."

- So it is Jasan, not Heuksan?

"As Jeong Yak-jeon said. He feared the name Heuksan, but meeting Changdae rekindled his curiosity. Thus, from the sinister and dead blackness of Heuksan, he discovered the deeply living blackness of Jasan. If personal misfortune can be used for the world, there is nothing more beautiful than that misfortune. The ordeal of exile paradoxically gave birth to a true free person. That is why I wanted to convey it through Sol Kyung-gu’s voice: ‘Living like a crane is good, but wouldn’t it be meaningful to live like Jasan’s black cotton cloth that does not mind being stained with muddy water?’”

This content was produced with the assistance of AI translation services.