Kim Ji-hoon, “Ta-weo / The Tower” (2012)
Maybe its similarities to the World Trade Center twin tower building collapses are too much in the way of bad taste for some people to handle, and that famous American disaster movie “The Towering Inferno” is an overly obvious inspiration, but Kim Ji-hoon’s “The Tower” at the very least has plenty of melodrama and tension to please fans of disaster thriller films, and has enough explosions and special effects to be easy on the eye. Initially the film moves slowly with too much tiresome slapstick comedy and two trite romance scenarios as it introduces various character stereotypes – the building maintenance / safety operations manager who is a single father who takes his daughter to the Tower Sky twin-towers complex so she can see snow on Christmas Eve, the restaurant manager he secretly loves who promises to look after the girl, two young lovebirds working at a tower cafe and a firefighters’ station, a selfless firefighter captain, an arrogant senior management who cuts corners – in its first half-hour and establishes the various sub-plots. Once the helicopters spreading the artificial snowfall around Tower Sky get caught in an updraft and crash into one of the buildings, setting off the fires that engulf it, the comedy drops right away and from then on suspense takes over as the various characters try to find one another and save people while trying to evade danger and the inevitable decision on the part of Tower Sky’s management to demolish the stricken building before it causes more damage and mayhem.
Much melodrama and theatrics are squeezed out of the screenplay which can slow down the action at times, especially in the scenes where the captain farewells two of his subordinate firefighters as he decides to manually detonate the bomb that will bring down the building. The building maintenance manager goes through a series of personal hells as he almost loses his daughter and the restaurant manager in various scenarios where the chances of survival would be below zero in real life. Tension is generated from the constant flitting from one sub-plot to another and back again, and some comic relief is provided by a group of zealous Christians who laud a firefighter as an angel sent from heaven and whose prayers are always answered in the nick of time – and often in ways far in excess of what they pray for.
Audiences probably won’t care too much for the characters who are only meant to represent what Kim finds admirable or not so praiseworthy in the Korean character: the selflessness and heroism of the firefighters and of those who find themselves tested in extreme circumstances; the selfishness of snooty social climbers; the humbleness of worker bees; the corruption and arrogance of the executives responsible for the Tower Sky twin-towers complex management; and the concern that many characters show for maintaining social hierarchy when they should be trying to evacuate as many people as possible. Perhaps the film’s themes and motifs that explore and question aspects of modern Korean society, and which criticise human arrogance in trying to control and subvert nature with technology are the most memorable parts of what otherwise would be a formulaic B-grade disaster flick.