When Kim Jong Il abducted South Korean Actors

A Kim Jong Il Production Book Review

Name: A Kim Jong Il Production

Launch: 3 February 2015

Author: Paul Fischer

Genre: Politics, International Relation, History, Non-Fiction

Rating: ★★★★

Buying Link: Amazon

A Kim Jong Il Production by Paul Fischer is a nonfiction book that tells the extraordinary true story of how Kim Jong Il, the future dictator of North Korea, kidnapped two of South Korea's most famous filmmakers, Shin Sang Ok and Choi Eun Hee, and forced them to make movies for him in the 1970s and 1980s. The book is based on extensive research, interviews, and archival materials, and it reveals the inner workings of North Korea's propaganda machine, the personal and political motivations of Kim Jong Il, and the daring escape plan of the captive couple. The book is not only a fascinating account of a bizarre and dramatic episode in history, but also a compelling exploration of the power and influence of cinema in shaping the identity and ideology of a nation.

The main point or argument of this review is that A Kim Jong Il Production is a well-written, well-researched, and well-balanced book that offers a rare and insightful glimpse into a secretive and oppressive regime, as well as a captivating and inspiring story of resilience and creativity in the face of adversity.

One of the strengths of the book is the author's ability to provide a rich and nuanced portrait of the main characters, especially Kim Jong Il and Shin Sang Ok. Fischer does not portray them as one-dimensional villains or heroes, but as complex and contradictory human beings, who have their own ambitions, passions, fears, and flaws. For example, Fischer shows how Kim Jong Il was not only a ruthless and paranoid tyrant, but also a genuine cinephile, who had a vast collection of films from around the world, and who admired and respected Shin Sang Ok as a filmmaker. Similarly, Fischer shows how Shin Sang Ok was not only a victim and a prisoner, but also a visionary and a rebel, who used his artistic talent and intelligence to challenge and subvert the propaganda system that he was forced to serve. Fischer also gives a vivid and sympathetic depiction of Choi Eun Hee, who was not only a glamorous and talented actress, but also a loyal and courageous partner, who supported and protected Shin Sang Ok throughout their ordeal.

Another strength of the book is the author's ability to provide a comprehensive and detailed account of the historical and cultural context of the book, such as the history of Korea, the politics of the Cold War, the development of the film industry, and the ideology and aesthetics of North Korean cinema. Fischer does not assume that the reader is familiar with these topics, but explains them clearly and concisely, using relevant examples and quotations from the sources. Fischer also does not impose his own judgment or bias on the facts, but lets the reader form their own opinion and perspective on the events and issues that he presents. Fischer also makes effective use of comparisons and contrasts between North and South Korea, as well as between other countries and regions, such as Hollywood, Europe, and China, to highlight the similarities and differences in their cinematic cultures and practices.

One of the weaknesses of the book is the author's tendency to rely on speculation and conjecture in some parts of the book, especially when he deals with the motives and emotions of the characters, or the gaps and inconsistencies in the evidence. For example, Fischer often uses phrases such as "perhaps", "maybe", "it seems", "it is possible", "one can imagine", "one can assume", and so on, to suggest what the characters might have thought, felt, or done, without providing any concrete or conclusive proof or support. This can sometimes create a sense of uncertainty or doubt in the reader, or even a sense of disbelief or skepticism, especially when the author makes some bold or surprising claims or interpretations. For instance, Fischer claims that Kim Jong Il was secretly in love with Choi Eun Hee, and that he orchestrated the kidnapping as a way of expressing his obsession and admiration for her. However, he does not provide any direct or convincing evidence for this claim, and he admits that it is based on his own "hunch" and "intuition". This can make the reader question the credibility and validity of the author's arguments and analysis.

In conclusion, A Kim Jong Il Production by Paul Fischer is a remarkable and riveting book that tells a thrilling tale of kidnapping, cinema, and escape from North Korea. The book is well-written, well-researched, and well-balanced, and it offers a rare and insightful glimpse into a secretive and oppressive regime, as well as a captivating and inspiring story of resilience and creativity in the face of adversity. The book has some minor flaws, such as the author's reliance on speculation and conjecture in some parts of the book, but they do not detract from the overall quality and value of the book. The book is suitable for anyone who is interested in history, politics, culture, or cinema, and who enjoys a good story with suspense, drama, and humor. The book also raises some important and relevant questions for further discussion, such as:

• How does cinema influence and reflect the identity and ideology of a nation?
• How does propaganda work and what are its effects on the people and society?
• How does one cope and survive in a hostile and oppressive environment?
• How does one express and exercise one's creativity and freedom in a restricted and controlled system?
• How does one escape from a situation that seems hopeless and impossible?

The book deserves a high rating of 4 out of 5 stars, and it is highly recommended to anyone who is looking for a fascinating and enlightening read.