BLIND – Fantastic Fest Review

The visually impaired protagonist in BLIND is a common thread in the suspense/thriller genres, so it only makes sense that South Korea jump on board. From SEE NO EVIL, HEAR NO EVIL to JENNIFER 8, blindness has made for an interesting character trait over the years, and director Sang-hoon Ahn (ARANG) starts out with an intriguing concept that suggests more promise than is actually produced, developing lead character Min Soo-ah (Ha-Neul Kim) through a tragic accident that kills her brother, for which she blames herself. Her blindness is an unfortunate additional result of the automobile accident.

We jump three years into the future and while Min Soo-ah is struggling to deal with both her handicap and her guilt, we’re introduced to the antagonism, a serial killer is going through female victims like there’s a two-for-one sale on helpless young women. The serial killer, whom is extremely calm and arrogantly confident, really never truly captured my full attention, convincing me of his full evil nature. The killer only slightly dips his blade, the preferred instrument of his diabolical craft, into the pool of possibilities. I had hoped for a much more dynamic villain.

By chance, Min Soo-ah becomes entangled with the killer when she’s involved indirectly in a hit-and-run accident. As a witness, the authorities first write off her testimony, but later come to realize her visual impairment allows for an altogether unique perspective on the details of the case. All the while, the killer is keeping tabs on Min Soo-ah as he continues his killing spree. Ha-Neul Kim can be equated to a younger Clarice, not yet graduated to being a detective, her career halted by the accident. She is clever and intuitive, but without the same level of inner fire that drove Clarice in SILENCE OF THE LAMBS.

The killer (Yang Yeong-jo) plays with Min Soo-ah like a cat plays with a mouse it does not yet desire to consume, cold and curious. To him, his victims are mere entertainment for a twisted but intelligent mind. BLIND plays like a weak, watered down Hitchcock tale. The mystery is so shallow that little is left to surprise the viewer, other than what ultimate fate shall be in the cards for Min Soo-ah. The dialogue, as with the acting, is often so overly melodramatic that it diminishes the darker tones of the story, and most regretfully, reduces the killer to a disappointing stereotype.

BLIND is a visually attractive film, but once again suffers setback from an often overly melodramatic score. As is frequently the case with lesser Asian films, the lackluster scores are a downfall in the final product. This type of musical accompaniment draws too heavily on the sappy, Hallmark-esque ringing of the proverbial tear-soaked handkerchief, a effort typically lost on my nearly moisture-proof force field. One of the more enjoyable performances came from Detective Cho (Hie-bong jo), reluctantly assigned to Min Soo-ah’s case. She eventually breaks Cho down, proving her blindness is actually a channel for an entirely new insight that the majority of seeing people overlook. The chemistry and relationship built between these two characters is strong, producing a number of charmingly chuckle-worthy moments.

Ultimately, BLIND is a film some will inevitably enjoy, but the more discerning genre fans will find mediocre at best. My experience with BLIND was primarily defined as a drab, boring stroll through what could have been a brisk, intriguing scurry through the darker edges of David versus Goliath, pitting a weaker, handicapped female heroine against a stronger villain. In the end, the backstory of Min Soo-ah’s guilt and comes full circle, satisfyingly tying up the emotional loose ends into a rather predictable bow. Min Soo-ah does also have her moment in the sun as an empowered women vanquishing her male aggressor, but unfortunately comes a bit too late to have its full and desired impact.