There are defining moments when happiness reaches its absolute peak, becoming so perfect and complete that it feels impossible to sustain. This realization triggers an overwhelming anxiety that such perfection cannot endure, leaving only the inevitable prospect of a devastating fall. This fragile nature of happiness permeates the opening scenes of Park Chan-wook's darkly satirical film "No Other Choice."
The film introduces Man-soo, portrayed by Lee Byung-hun, as he grills eels in his meticulously maintained garden, believing them to be a gift of appreciation from the paper production factory where he has devoted over two decades of his career. In a scene of pure domestic joy, he dances with his wife Mi-ri, played by Son Ye-jin, while their two children and golden retrievers surround them. "I've got it all," he declares with genuine contentment. The moment is enhanced by gently falling pink petals and the warm golden glow of afternoon sunlight.
However, this idyllic scene carries an unmistakable sense of foreboding that proves prophetic. The eels, it is revealed, are not tokens of gratitude but rather farewell gifts from his company. This devastating revelation marks the beginning of Man-soo's precipitous decline as he faces sudden unemployment and finds himself thrust into a desperate struggle for survival in an increasingly ruthless economic landscape.
As industries continue their relentless march toward automation, there are simply too many "Man-soos" in the world – middle-aged managers considered too expensive and too "old" to retain, regardless of their accumulated skills and years of experience. Faced with what he perceives as having "no other choice," Man-soo resorts to extreme measures to provide for his beloved family, ultimately deciding to eliminate his competition for available positions.
Director Park masterfully infuses Man-soo's desperate fight for survival with biting satirical edge, skillfully balancing harsh economic realities with the protagonist's inherent tenderness, natural clumsiness, and genuine compassion for his fellow "paper men." His three primary rivals appear disarmingly ordinary and far from intimidating, which adds layers of irony to Man-soo's violent actions while simultaneously highlighting their fundamental lack of justification.
The film's most poignant laugh-through-tears moment occurs during Man-soo's poorly conceived scheme to eliminate Beom-mo, played by Lee Sung-min, who sits peacefully in his audio room listening to music. The ensuing absurd slapstick chaos engulfs Man-soo, Beom-mo, and A-ra (Beom-mo's wife, portrayed by Yeom Hye-ran) in a frantic battle between killing and surviving, while their desperate cries are overwhelmed by "The Dragonfly," a melancholic 1981 hit by South Korea's legendary singer Cho Yong-pil.
A-ra's relentless pursuit of Man-soo, driven by her desire for revenge following her husband's fate, unfolds against visually stunning backdrops rich with meticulous detail – a hallmark characteristic of auteur Park Chan-wook's directorial style. The brutal intensity of the chase sequences creates a stark contrast with the nonchalant beauty of color-changing autumn trees, making the entire situation even more tragically compelling.
Certain scenes, however, risk undermining the audience's faith in Man-soo's desperation, presenting moments that challenge viewers to question whether his extreme measures truly stem from necessity and whether he genuinely has "no other choice." Particularly, his interaction with another rival, Seon-chul (played by Park Hee-soon), noticeably slows the film's momentum and abruptly jolts the audience out of the narrative flow, breaking the director's carefully constructed cinematic spell.
Despite being marketed as Park's most humorous film to date, "No Other Choice" fundamentally remains a deadly serious exploration of one man's fight for survival and his family's welfare. The narrative resonates powerfully as their struggle mirrors that of countless others in a society where intelligent machines increasingly threaten to replace human labor across various industries.
Two lingering thoughts remain after the credits roll: Man-soo's family bears some complicity in these events, and perhaps just a touch more comedy might have made the film's dark humor strike even more effectively. The movie ultimately serves as a sharp critique of modern capitalism's human cost, wrapped in Park Chan-wook's signature visual style and narrative complexity.
