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Zoe Wong
2019843087
Professor Min Hyunjin
October 24, 2019

Innocence and Corruption: Religion as a Failed Social Institution in Lee Chang Dong’s
Peppermint Candy (1999)

Much of Lee Chang Dong’s work thus far is distinguishable by his thematic explorations
of disenchantment, loss of innocence, and emotional distress, which he frequently links to the
modernization of Korea. In his 1999 film ​Peppermint Candy, ​he asserts the weakness of
Christianity as a protective social institution, highlighting the inadequacy of organized religion
when employed to prevent corruption. Ultimately, through stylistic choices made in the mise en
scene, shot durations, and camerawork of the film, Lee suggests that, despite the presence of
religion in Youngho’s environment, its existence was not powerful enough to foster his virtues,
nor preserve his life.

Although he avoids explicitly addressing the topic of religion throughout the large part of
the film, Lee chose to include two prayer scenes through which he uses the compositions, camera
angles, shot durations, and camera movements to convey the notion of religion as a flawed
protective device. In the first scene, the audience is shown the protagonist, Kim Youngho, in a
circle of friends and family, preparing to eat a meal together. Before they can begin to eat, his
wife requests for them all to say a prayer. Beginning at a far distance, the camera captures the
entire group with Youngho as the focal point in the centre; as his wife begins to recite her verse
the camera moves in slightly, encouraging the audience to pay attention to the event and
strengthening the focus on Youngho. From here the contrast between Youngho and the others
makes it clear that he is disengaged, seemingly consumed within his own interiority. This effect
continues as the camera angle is switched to a mid-shot, depicting Youngho from the torso up.
Other members of the gathering can still be seen on the periphery of the frame, which
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emphasizes Youngho’s disconnection; religion has nothing valuable to offer him so there is no
reason for him to participate with the others. His gaze begins downcast and his eyes shift as he
glances at those around him. As the camera moves again, orbiting around him, it is obvious from
his facial expression that he can barely contain his agitation. When the camera is finally
stationary once again, an interesting composition is formed in which Youngho appears in a line,
flanked by his daughter, mistress, and wife. This contrast works to emphasize Youngho’s
frustration with, and separation from, religion; it is clear to him that prayer can do nothing to
improve his well-being after the events that have transpired throughout the course of his life.
Further, this scene gives insight into Youngho’s lost purity by placing his daughter directly next
to him. She, throughout the scene, is the only other person who clearly disengages from the
prayer, symbolizing the part of Youngho that had once retained innocence. Despite the goodness
that at one time existed inside of him, religion could not do anything to turn back the time or
reverse the corruption of his personhood.

A similar understanding can be gathered from the second prayer scene in the film. Apart
from the change in time and place, the composition of the shot and familiar intensity of focus on
Youngho’s face allows the viewer to relate the scenes. Again, his wife, at this point before they
are married, asks him to pray as they lay beside each other on their bed. From a high angle,
almost directly overhead, it is obvious that Youngho is uncomfortable with the idea of prayer. He
fidgets with his hands and his body language suggests that he’s not quite sure how to behave.
Not only do his hands crumple, but his eyes relay a close expression to the initial scene, that of
despair and uneasiness, reinforcing that the doctrine of Christianity lacks the ability to engage
him. Additionally, his gaze looks almost directly into the lens of the camera, forming an
uncomfortable connection with the audience, and, hence, clearly communicating his emotional
state.

In addition to the unmistakable religious content embedded in ​Peppermint Candy, ​Lee

also implemented the use of lighting to accentuate Youngho’s once virtuous quality, and,
ultimately, to draw attention to the way in which Christianity lacked the ability to undo his
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dissent into moral degeneracy. This is particularly noticeable in the both the parallels and
divergences found in the opening, climax, and closing scenes of the film. In the first of these
scenes, in chronological order following the progression of Youngho’s life, the audience
observes him lying on the riverbank underneath the train tracks. Here, Youngho is captured in a
moment of pure bliss and idealism, as communicated by the vibrant colours of the terrain, his
clothing, and those around him. It begins as a mid-shot; he is seen from the torso up, and the
camera slowly approaches closer to his face, showcasing the almost-complete illumination of his
face by the sunlight. This is significant because the light on his face symbolizes how, at this
moment, Youngho is a completely virtuous man; he cries at the beauty of the flowers beside him
and apprehensively looks up at the sky. Lee continues to create a similar composition during the
climax of the plot during which Youngho’s character and psychological well-being is
complicated by his first act of sin.

The second scene of the trilogy follows Youngho to the moment during which he
accidentally kills a young member of the Gwangju uprising, committing his first transgression
from innocence that permeates as a shadow over the rest of his life. Here, Lee uses the flashlights
of Youngho’s comrades as spotlights on his face, creating a stark contrast between him and the
darkness around him. The movements of the flashlights are erratic, often leaving Youngho’s face
either in the darkness or only partial visible. In this way, Lee articulately portrays the faltering of
Youngho’s morality and the corruption of his being; as the light diminishes, as does his rectitude.

Despite the tainting of his innocence, it is made clear that Youngho’s character was not
completely absorbed by darkness during the third scene, his death. The scene is shot at a similar
distance and composition as the first; the camera settles at a mid-shot over his body and his face
can be seen looking up towards the sky. At this point, light only appears covering a small portion
of his skin, which tells the viewers that, although impurity has consumed much of him as an
individual, the potential for goodness still exists inside of him. Thus, even though he had the
potential for a virtuous and fulfilling life, organized religion could not prove to be a support
system that could help him heal from the emotional duress and trauma that led to his depravity.
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In review of all three of these scenes side-by-side, in turn with a close viewing of the
films prayer scenes, the notion of Christianity as weak social institution is solidified. Through the
use of specific choices in the mise en scene, including the composition, lighting, and colour, as
well as the camerawork of the film, Lee Chang Dong illustrates the way in which organized
religion lacks the capacity to shielding individuals from corruption, and ultimately, fails to
preserve human life.