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Silently he watches them slowly cross the sky.
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His war game begins again as he crouches behind rocks on a ridge overlooking an area with houses jumbled together. Manuk imagines he is with his dad, pinned down by enemy fire. Instead, we hear the postman cry in surprise and pain, before crashing his bicycle and shouting at his unseen tormentor.
Manuk slinks away and climbs the hill towards his home. He takes a key from a special hiding spot, and approaches the verandah in front of his house. He notices a parcel and hurries to open it. He pulls out an old leather wallet containing a faded black and white photograph of a man crouching with a child dressed as Manuk is now, but much younger. Manuk gently caresses the photograph with his thumb. He then pulls out a set of dog tags, and an old boot.
He marches up and down in front of his house, wearing the boots as if he is a soldier on guard. Later, inside the house, he plays with the toy soldiers and tanks he has made from bits and pieces of metal he has found and falls asleep on the floor.
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The film is set in Korea, during the war that pitched the north of the country and its allies China and the Soviet Union , against the south and a United Nations coalition led by the United States of America which included more than 17, Australian army and air force personnel. Neither is it an explicit comment on the conflict in Iraq which began the year before the film was finished.
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Rather it is about the impact of war on those left behind, and so has a much more universal and timeless appeal. Part of what is exciting about the film from an Australian perspective is that it does not allude to the usual iconography or correspond with the kinds of social and cultural experiences that typically mark films from this country. It does not allude to local histories of storytelling, or overtly suggest that it can tell us something about what it means to be Australian, and yet it tells us so much about these things by telling a story from, about and set in a different place and culture.
As Sung-Ae Lee has argued in a reading of the coverage of the film and its success in Korean language newspapers in Sydney, the film provided the opportunity for the celebration of diasporic achievement and success, for cultural maintenance through its remembering of the Korean War , and for empowerment of the diasporic community Lee , p.
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The film is divided into four parts of roughly equal length and an epilogue, a structure familiar from mainstream Hollywood cinema but not so usual in Australian short filmmaking Thompson , pp. In the first part, the setup, the protagonist, Manuk, and his world are established. He is clearly very young, too young to tell us what is happening; we must piece together the story ourselves. One of the pleasures of Birthday Boy is realizing how much of the story is seeded early on but only gradually revealed, and only able to be fully assembled in the climax, to devastating final effect.