Kim Jong-il's Bizarre Actress Kidnapping

Kim Jong-il's Kidnapping of Choi Eun-hee

On January 22, 1978, South Korean actress Choi Eun-hee was kidnapped by North Korean agents while on a trip to Hong Kong. Choi, a renowned actress and wife of film director Shin Sang-ok, was taken to Pyongyang, where she would be forced to make movies for the North Korean regime. This event marked the beginning of a bizarre and intriguing chapter in the life of Kim Jong-il, who would stop at nothing to create a thriving film industry in his country.

What Everyone Knows

Most people think that Kim Jong-il's obsession with film was merely a quirk of his eccentric personality, and that his kidnapping of Choi Eun-hee was a random act of aggression. The standard story goes that Kim Jong-il was a fan of Choi's work and wanted to bring her to North Korea to make movies that would promote his regime's ideology. However, this simplistic explanation overlooks the complex motivations and circumstances that drove Kim Jong-il's actions.

What History Actually Shows

Historians like Bruce Cumings and Adrian Buzo have extensively documented Kim Jong-il's fascination with film, which dates back to the 1960s. By 1970, Kim Jong-il had already begun to consolidate his power within the North Korean regime, and he saw film as a key tool for promoting his vision for the country. On March 12, 1978, just a few months after Choi Eun-hee's kidnapping, Kim Jong-il ordered the creation of a new film studio, which would become the center of his cinematic ambitions. According to Shin Sang-ok's memoir, "King of the White Tiger," Kim Jong-il was willing to spend millions of dollars to produce films that would rival those of Hollywood. By 1983, Kim Jong-il had successfully lured Shin Sang-ok to North Korea, reuniting him with his wife, and the two would go on to make several films together, including the infamous "Pulgasari." As noted by historian Charles Armstrong, Kim Jong-il's film productions were not just about entertaining the masses, but also about showcasing his regime's technical capabilities and ideological superiority. By actively controlling the film industry, Kim Jong-il aimed to promote his own cult of personality and legitimize his rule.

The Part That Got Buried

The story of Kim Jong-il's kidnapping of a South Korean actress was deliberately suppressed by the North Korean government, with officials working to erase any records of the event from public knowledge. South Korean authorities, led by President Park Chung-hee, also chose to downplay the incident, likely due to their desire to avoid escalating tensions with North Korea. Additionally, the actress herself, Choi Eun-hee, was forced to keep a low profile after her eventual escape, which further contributed to the story's relative obscurity. One concrete reason this history was not told is that many of the documents related to the kidnapping were either destroyed or hidden away in secret archives, making it difficult for researchers to uncover the truth. Historians and journalists who tried to investigate the incident were often met with silence or intimidation, which helped to keep the story under wraps.

The Ripple Effect

The kidnapping of Choi Eun-hee had significant consequences for the film industry in North Korea, as Kim Jong-il used her expertise to improve the quality of North Korean cinema. This led to the production of several high-profile films, including the 1985 film "Order No. 027", which was shown at film festivals around the world. The incident also affected the career of Choi Eun-hee's husband, Shin Sang-ok, who was also kidnapped by Kim Jong-il and forced to work on film projects. One specific modern thing that traces directly back to this event is the Pyongyang International Film Festival, which was established in 1987 and has since become a major showcase for North Korean cinema.

The Line That Says It All

Kim Jong-il's obsession with cinema ultimately led to the creation of a propaganda machine that would go on to produce films and television shows that were used to manipulate and control the North Korean population.

A Note on Sources

This article draws on historical records, documented accounts, and academic research related to North Korean cinema and the life of Kim Jong-il.