Park Chan-wook's Oldboy (2003) is an unusual representation of how opaque a film can get while maintaining a loyal following. It's not for the faint of heart. While there's much to enjoy from the story, character development is something to appreciate the most, especially regarding antagonists and how to write one.
For those who don't know, Oldboy, a title that refers to the protagonist's time in captivity and his transformation during those years, follows Oh Dae-su (Choi Min-Sik), a man who is abducted and imprisoned for 15 years by a stranger. Released one day without any explanation, Dae-su is consumed by a desperate need to uncover the identity and motives of the person who ruined his life. His quest for vengeance plunges him into a nightmarish web of conspiracy, leading him through a labyrinth of unsettling and dangerous revelations. A lot happens, ranging from an unforgettable corridor fight scene to a memorable ending.
There's plenty in the movie world regarding iconic antagonists, and Oldboy has one of the best. While the character might not be as recognizable as the Joker or Hannibal Lecter, there's much to appreciate from a writing perspective. So, let's dive into the antagonists of Oldboy and what we can learn as writers. The importance of well-developed antagonists in storytelling cannot be overstated. They are not just there to oppose the protagonist but to challenge and enrich the narrative.

Still from 'Oldboy (2003)'. Photo credit: Asian Movie Pulse
Lee Woo-jin
Oldboy is a dark and complex film, with Lee Woo-jin as its central antagonist. His character is not just a villain but a deeply layered individual with a compelling backstory. Every great antagonist has a background story that gives you an understanding of their decision-making. In this case, the day before our protagonist, Dae-su, was set to transfer to a new high school in Seoul, he witnessed Woo-jin in a sexual encounter with his sister, Soo-ah.
Both Woo-jin and Soo-ah saw Dae-su watching, and Soo-ah recognized him. A rumor grew from the incident with each retelling, eventually including false claims that she was pregnant. The relentless gossip deeply traumatized Soo-ah, who began to believe the stories. Fearing that everyone would discover her relationship with Woo-jin, Soo-ah decided to end her life.
On July 5, she and Woo-jin went to a local dam, where she attempted to jump off. Woo-jin tried to save her, but she persuaded him to let her fall. After her death, an autopsy revealed she was not pregnant, leaving Woo-jin consumed by guilt and driven to seek revenge against Dae-su, hence the background and cause for the story.
Years later, Woo-jin orchestrated the abduction of a drunken Dae-su on the day of his daughter’s birthday, imprisoning him in a hotel room for 15 years. During this time, Woo-jin had
Dae-su's wife murdered and took his infant daughter, Yeon-hee, raising her as Mi-do. Just before releasing Dae-su, Woo-jin hired a hypnotist to make Dae-su fall in love with Mi-do, who had also been hypnotized. Upon releasing Dae-su, who was determined to seek revenge, Woo-jin watched his elaborate plan unfold, creating a similar scene.
The Character
Lee Woo-jin is a profoundly complex character driven by vengeance and bitterness. His quest for justice stems from his sister's tragic death, and in response, Woo-jin subjects Dae-su to 15 years of imprisonment. However, it's important to note that Dae-su's actions significantly shape Woo-jin's character development. The two characters are intricately intertwined, each influencing the other's journey.
He is brilliant, orchestrating elaborate schemes such as hypnotizing Dae-su and his daughter to orchestrate an incestuous relationship without their knowledge and framing Dae-su for his wife's murder.
When writing your antagonist, there's a lot to learn from Oldboy (which you can watch on Netflix) . Remember that a villain who is evil for no reason is pretty dull. Instead, view antagonists as a chance to reflect and challenge your protagonist.
Craft villains with opposing morals that are well-founded and provide them with their compelling motivations for clashing with the heroes. Villains should be more than just antagonists; they deserve their own story and character arc, just like any other well-developed character.
Analyzing Antagonists - A Deeper Character
Lee Woo-jin stands out as an exceptional villain for several reasons. His calm yet subtly arrogant demeanor is captivating and skillfully portrayed, revealing a character more profound than what meets the surface. It’s a reminder that the more you have writing-wise for your character, the better.
For example, his elaborate revenge scheme against the protagonist is outrageous and intricately orchestrated, blending exaggeration with meticulous planning. Analyzing his psychology reveals a man who devoted his entire life to avenging his sister's death to avoid self-blame.
At its core, character development is essential for forging a deep emotional connection between readers and the characters in a novel. When readers can empathize with a character's motivations, fears, and inner conflicts, the stakes become more intense, and the tension becomes palpable.
A one-dimensional villain can diminish the story's impact, reducing the conflict to a simplistic clash of good versus evil. In contrast, a well-crafted antagonist with intricate motivations and a believable backstory can elevate the stakes, creating moral ambiguity and keeping audiences engaged as they navigate shifting allegiances.
Themes with the Antagonist
Similarly, every great antagonist has a relation to the central theme of a film. In 'Oldboy, 'the character of Lee Woo-jin is intricately woven into the theme of revenge. While the film centers on revenge, Park Chan-wook's direction reveals a deeper exploration of regret. Revenge, while pivotal, is portrayed not just as an action but as a trigger that causes a chain of escalating hatred and its subsequent consequences. This connection between the antagonist and the central theme is crucial to the film's success.
The film explores the intricacies of revenge, posing moral questions about the consequences of pursuing justice outside traditional legal frameworks. As Oh Dae-su hunts down those responsible for his imprisonment, the film prompts viewers to examine the ambiguous boundaries between right and wrong. As stated, redemption plays a significant role, with characters wrestling with the repercussions of their past actions.
Connecting the central theme with your antagonist is crucial to a successful story. You can craft engaging protagonists, sharp dialogue, compelling conflict, and profound themes, but your story may need to improve if the antagonist is reduced to a one-dimensional, stereotypical villain.
Stories succeed or fail based on the coherence of their thematic premises. Suppose the theme needs to develop consistently throughout the narrative, resonate during the final confrontation, or unify the protagonist's inner and outer journeys. In that case, the story may become more of a collection of exciting parts rather than a cohesive whole.