[Photo &] From Choi Min-sik in “Oldboy” to “The Last Line Boy,” a luxury performance and a master’s gaze

The weight of a tongue that brings disaster, from “Oldboy” to “The Last Line Boy”

The Netflix original series “The Last Line Boy”, starring actor Choi Min-sik, brings back the lingering impact of “Oldboy,” a landmark work in the history of Korean cinema. A man who lost his tongue after blurting out a single thoughtlessly said line is portrayed in this new project as a middle-aged scholar whose life spirals into total ruin due to language that once again runs completely out of control.

Choi Min-sik cites “gwayeop”—the crimes he has built with his own mouth—as the core theme connecting the two works. In response to audience comments that he played the part of someone whose life is destroyed even after his tongue is cut off yet he still mouths the wrong things, he let out a burst of laughter. This time, he delved deeply into the tragic fate that “The Last Line Boy” carries. In particular, while the original stage play and director François Ozon’s film of the same name explored the boundary between voyeurism and art, this series was reborn as a distinct suspense thriller with the addition of a distinctly Korean sensibility, “the fire brought by words.”

An anatomy of the ugly inside, a master’s gaze that pierces human nature

In this work, a variation on Juan Mayorga’s play, Choi Min-sik plays failed writer and professor of Korean literature “Heo Moon-oh.” The story begins with a fixation on the genius of student Lee Kang (played by Choi Hyun-wook), who sits at the very last seat in the classroom. It then turns into a personal revenge against college classmate Kim Soo-hoon (played by Heo Jun-ho), who had been an object of admiration and hatred, unleashing the opening notes of ruin.

Through the character of “Heo Moon-oh,” Choi Min-sik lays bare the deepest blemishes of the human soul. He experiences acting catharsis as he projects without restraint a raw, fully exposed face of “inferiority complex” and a sense of defeat, along with the uncontrollable “jealousy” that strips him bare. Added to that, the nail-biting acting chemistry with the up-and-coming “Choi Hyun-wook,” who is 40 years younger, maximizes the tension of the drama. Choi Min-sik praised a younger co-star who showed overwhelming control despite his young age, and he confessed that he was hit by a strong jolt that made him reflect on his own past.

An ensemble that transcends generations, the master’s moves that shatter prejudice

Unlike the cold, narrow-minded professor in the play who is all wrapped up in dogma and stubbornness, Choi Min-sik in real life is flexible and daring. At a stage greeting for “The Exhuma(tion),” the blockbuster that wrote a myth of 10 million viewers, the unreserved fan service shown by the top-tier actor who has passed his 60th birthday drew cheers that crossed generations. It is a moment where his philosophy—prioritizing “authenticity” that connects with the audience over anyone else’s gaze or face—comes through clearly.

As he cheers on young actors’ confidence and enjoys the synergy with them, he insists he receives fresh stimulation from their attitudes of expressing themselves flexibly without being intimidated.

Authenticity beyond box-office results, the dignity of a master who completes a symphony

Choi Min-sik likened the filming of “The Last Line Boy” to performing a perfect symphony in which lines with literary depth land like a single musical note rather than just “acting.” His conviction that a fine work would be completed simply by playing according to the instructions in the score is also a form of praise for the script’s overwhelming completeness.

His determination is clear: while he cannot ignore public attention, he will not be bound only by box-office performance. The destination the veteran who has experienced the bitter taste of countless 10-million-viewer films and box-office failures ultimately reaches is, in the end, the happiness in the production process and the work’s “authenticity.” His weighty steps, seeking the essence beyond box-office numbers, prove again that his steady roots support the Korean film industry.

“As I get older, I think, ‘How many more good works can I do?’ I can’t completely ignore what the public thinks, but if I keep only looking at public opinion, I end up like Heo Moon-oh. I need to be able to become happy through this work, and I’m truly happy that I chose “The Last Line Boy.” I’ve tried making blockbuster movies, and I’ve also made movies that hit rock bottom. But the most important thing is my satisfaction and authenticity.”