3-Iron as Korean Melodrama

3-Iron is a Korean film directed by Kim Kiduk. The film follows the story of a silent vagrant, Taesuk, who breaks into the empty homes of various couples, families, and individuals who are on vacation. However, he is unlike other squatters; he enters these homes and fixes broken objects, does the dirty laundry, and cleans up after himself. One day, he breaks into the home of Sunhwa, a battered housewife who shares in Taesuk’s silence. Together, they move from one home to the next, trying to find a larger purpose through an intricate look at the lives of other people.  

The lack of dialogue between Taesuk and Sunhwa is one of the most memorable elements of this film. I would argue that, because of the main protagonists ability to communicate using meaningful glances, body language, and gestures, 3-Iron is an example of reinvented Korean melodrama.

It is worth mentioning that neither of the characters are actually mute; they have the ability to speak but instead choose to remain silent in a world saturated by noise, a world that talks and talks but fails to listen. By choosing silence, Taesuk and Sunhwa are able to connect emotionally and are able to foster a mutually beneficial relationship. This silence intensifies the overall emotions that both of the characters feel because there is not need for words. Inherently, this heightened state of emotions is common within the melodramatic genre.

Moreover, the ways in which the other characters in 3-Iron treat Taesuk contributes to the melodrama of the film. Even though he is technically breaking the law by entering into people’s homes without permission, he is never violent. 

When he eventually gets caught, he does not allow others to break him, nor does he ever retaliate. For example, Taesuk and Sunhwa break into the home of a famous boxer. When the boxer and his girlfriend return from their vacation, Taesuk does not appear to be overwhelmingly concerned. Moreover, he chooses not to fight back even when he gets beaten. 

We see this same sentiment when they get caught by the police for breaking into the home of a deceased older man. The man died of natural causes, but Taesuk and Sunhwa still decide to give him a noble burial. Out of respect, they carefully wrap his body and build a makeshift casket for the man. After remaining silent at their police interrogation, Sunhwa is eventually bailed out of jail by her abusive husband while Taesuk (unfortunately) is sent to solitary confinement.

What is interesting about Taesuk through all of these events is the absence of his desire to stand up for himself. Speaking the truth would relieve both he and Sunhwa from police interrogation, but he still chooses to remain silent. I would argue that, because Taesuk does not fight back despite being fully capable of doing so, audiences are able to sympathize even more with his character. This sharing of empathy is yet another characteristic of the melodramatic genre: the ability for a film to instill powerful emotions to its viewers.

(Left: Sunhwa's husband verbally berating her, demonstrating violence in sound)

3-Iron powerfully showcases the destructive nature of language and sound. The dialogue and sound within the film is often associated with violence, whether it’s Sunhwa’s husband’s hurtful words and actions, or the frustrated dialogue from the individuals whose homes were broken into. Conversely, audiences come to understand that Taesuk and Sunhwa are gentle creatures through their commitment to silence.  Ultimately, the juxtaposition of silence with violent noise and sound contributes to the overall melodrama of the film.