Villain and Widow (I-cheung-eui Ak-dang) 2010

Once again I’ve come head to head with a genre-bending Korean film and as usual I feel it necessary to comment on this fact. Villain and Widow is Son Jae-gon’s third feature, after The Man Who Saw Too Much (2000) and My Scary Girl (2006) and it is, as others before me have noted, perfectly uncategorizable. Being so used to the schizophrenic generic tendencies of South Korea cinema, this one actually seemed a little different. What I mean by that is that while it embodies many genres it doesn’t veer aggressively between them as is the norm. Instead it is a film which dares you to pigeonhole it, knowing full well you will come up empty-handed. Films like Save the Green Planet (2003) and The Host (2006) are both criticized and lauded for jumping with both feet from one genre to another as each new scene unfolds. I personally love that fresh style of filmmaking and find it invigorating and exciting, if done well. I suppose it could only last so long as the local film industry developed.

Han Suk-kyu and Kim Hye-soo

Villain and Widow is a film that seems to have taken the next step. Dare I say it, it transcends genre. Korean cinema understands genre and plays with it (and abuses it) with the utmost skill and it seems to me that Son is so acutely aware of the various tropes on offer that he has managed to mix and match them as he pleases but in doing so he has made something that doesn’t necessarily draw attention to itself. The previously mentioned films are nearly Brechtian in their blithe disregard for generic consistency and that can take you out of the experience if you resist it. In this film Son has managed to weave together elements from across the board to create a balanced narrative. I am very curious to see whether subsequent films will manage the same feat.

Han Suk-kyu plays Chang-in, a thief who is trying to get his hands on a valuable Chinese teacup that is somewhere in widower Yeon-joo (Kim Hye Soo)’s house, unbeknownst to her and her ex-child model daughter. The widower is dealing with depression, the child is an emotional wreck who is bullied in school, and the thief is up against a powerful, violent, and immature corporate heir. All the while there is the constant forward momentum as he tries to uncover the teacup not to mention some kind of relationship developing between the two leads.

Chang-in keeps getting stuck in the basement

If that sounds like a lot, it is. Throw in a young cop with his sights set on Yeon-joo, a nosy old neighbour, and Chang-in’s older partner in crime, and you’re left with too many strands, a number of which ultimately fall through the cracks. Despite this, the narrative is very easy to follow and Son quite skillfully guides us through this convoluted comedy/thriller/drama/etc. The film takes many unexpected turns as the situation becomes increasingly more complicated and it is full of inventive set pieces, not least a successfully protracted gag in which Chang-in keeps getting stuck in the basement. The film is never less than clever but it can be a little much at times although it also feels slight. It sounds like a contradiction in terms but I think it comes down to a lack of urgency in the narrative (save for the crime element) and the considerable depth of the plot.

The characters are well-rounded and quite unique. While Han is perfectly cast as the slimy and debonair burglar, it is Kim who steals the show as the fragile and complicated Yeon-joo. Her daughter is also well portrayed by Ji Woo and is quite an interesting character, having been a successful child model/actress she is now on the verge of becoming a teenager and is already all washed-up. She is considered ugly and wants plastic surgery, which is something that gets a lot of press in the country. It is a little distressing to see this young girl who already seems so damaged, not to mention the death of her father and the bizarre behavior of her mother.

Ji Woo as the daughter

I didn’t love Villain and Widow but I did enjoy it as it reminded me of films like The Ladykillers (1955) in the way that it managed to incorporate dark subject matter in what plays out like a mild-mannered comedy. I look forward to Son’s next film and I hope that he, as well as other Korean filmmakers, can successfully build on this evolution of hybrid filmmaking and provide us with some well-made and balanced offerings.


Reviews and features on Korean film appear regularly on Modern Korean Cinema.  For film news, external reviews, and box office analysis, take a look at the Korean Box Office Update, Korean Cinema News and the Weekly Review Round-up, which appear weekly on Monday, Wednesday, and Friday mornings (GMT+1).

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Korean Cinema News (07/04-07/10, 2011)

A lot of box office news this week as well as some festival news. Now that I'm back from holiday the Korean Cinema News updates will return to a regular cycle.

KOREAN CINEMA NEWS

Independent Films Making Waves in Korea

Numerous indie films are doing well at the box office while supposedly hot 3D movies losing traction. The Journals of Musan, with its troves of awards, and others are performing strongly at home and abroad. (The Hankyoreh, July 4, 2011)

Crossing Gains in Popularity in the North

Korea's 2008 oscar entry Crossing, which depicts a family's struggles in the border region of the North, is a big hot among movie fans in North Korea. (Daily NK, July 5, 2011)

Spike Lee to Remake Oldboy

After passing through many hands, the remake of Oldboy (2003) is set to be made by acclaimed director Spike Lee. Mark Protosevich is writing and the film is getting ready for production at Mandate. (Twitch Film, July 5, 2011)

Sector 7 Will Be First Korean IMAX 3D Film

Upcoming blockbuster Sector 7 will be Korea's first 3D IMAX film, it is set for release on August 4. (MarketWatch, July 7, 2011)

The Yellow Sea Picked for Sitges Film Festival

Na Hong-jin's sophomore feature The Yellow Sea has been selected for the 44th Sitges International Fantastic Film Festival. (hancinema.net, July 7, 2011)

Rookies Directors on the Rise, Stars Lack Drawing Power

New trends seem to be affecting the Korean box office as rookie directors and independent films are generating more revenue while vehicles with supposedly reliable box office draws are disappointing at the charts. (The Chosun Ilbo, July 8, 2011)

Box Office Dips Sightly but Korean Releases up First Half of 2011

While overall revenue was down 2.3%. Korean films upped their market share to 48% and saw their revenue rise by 9.9% in the first two quarters in 2011. Given that the back half of the year is packed with promising films this bodes well for the industry. (KOFIC, June 8, 2011)

CJ Buys Vietnam Cinema Chain

Megastar Media Company, Vietnam's largest exhibition company, has been purchased by CJ Entertainment for $73.6 million. CJ is aggressively expanding to foreign markets with 7 screens already operational in China as well as one in the US. (Screen Daily, July 8, 2011)

Second Korean Film Spotlight at Fantasia

Fantasia is to feature a Korean spotlight section that will feature five films: Bleak Night, Haunters, Hello Ghost, Invasion of Alien Bikini, and Petty Romance. (hancinema.net, July 8, 2011)

Leafie Set to Revitalize Korean Animation

Hopes are high for Leafie, A Hen Into the Wild, as it courts foreign buyers and may bring about a renaissance for Korean animation. (hancinema.net, July 8, 2011)

Isabelle Huppert Will Star in Next Hong Sang-soo Project

Hong Sang-soo's next film will feature none other than the revered French actress Isabelle Huppert, who had previously expressed an interest in collaborating with the acclaimed filmmaker. (hancinema.net, July 10, 2011)

New Sensory Experiences in Korean Cinema

4D theaters are enticing viewers in Korea with fog, water, shaking seats, and smells. A multiplex with this technology is expected to be built in New York and could take off in Europe if successful. (METRO.co.uk, July 10, 2011)

Darcy Paquet's Contribution to Korean Cinema

An esteemed figure in Korea, Darcy Paquet is well known to anybody with a serious interest in Korean film. In this Korea Herald profile, his contributions to the expansion of Korean cinema are lauded. (The Korea Herald, July 11, 2011) 

INTERVIEW

Cha Seung-won Profile

A piece on actor Cha Seung-won, who has been very busy of late, on his process for creating characters and his day to day routines. (hancinema.net, July 10, 2011)

TRAILERS

Lots of english subbed trailers this week, including for some highly anticipated summer blockbusters.

Champ

My Heart Beats (Eng Subs)

Quick (Eng Subs)

Sector 7 (Eng Subs)

BOX OFFICE

Transformers Dominion Continues

Transformers 3 pulled in another 1,670,000 million viewers this weekend to come within a hair's breath of the 6 million mark. Sunny grew again to 270,000 while The Cat had a strong opening with 300,000. Poongsan also grew while White dipped slightly, both are performing well. (Hancinema.net, July 10, 2011)


Korean Cinema News is a weekly feature which provides wide-ranging news coverage on Korean cinema, including but not limited to: features; festival news; interviews; industry news; trailers; posters; and box office. It appears every Wednesday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at the Korean Box Office Update and the Weekly Review Round-up. Reviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Korean Cinema News (06/27-07/03, 2011)

Not picking up too much news as I'm off on holiday but a few items concerning the NYAFF (which I attended), including a great, and also a little sad, interview with co-founder Grady Hendrix.

KOREAN CINEMA NEWS

Fantasia 2011 to Feature Masterclass with Ryoo Seung-wan

Director Ryoo Seung-wan, whose current film The Unjust is impressing viewers around the world, will host a masterclass on action film staging and choreography. (Twitch, June 27, 2011)

Journals of Musan Wins Festival Award in Italy

The Journals of Musan as added yet another award to its pedigree as it picked up the Grand Prize at the 47th Pesaro Film Festival. (Yonhap News Agency, June 29, 2011)

Fashion 3D Glasses from LG

Famed UK designer Giles Deacon, known for his prints, has teamed up with LG, the Korean electronics manufacturer, to create a pair of designer 3D glasses which are available now on a limited basis. (HDTVtest, June 29, 2011)

5 Films To Watch Out for in Second Half of 2011
Davdi Teszar of The Korea Blog picks 5 Korean films to watch out for in the back half of 2011: My Way, The Front Line, Sector 7, Only You, and La Quotidienne. (The Korea Blog, June 30, 2011)

New Hiring at CJ

Kim Hee-jeon has been named international sales executive responsible for the US and Europe by CJ E&M. (Film Business Asia, July 1, 2011)

NYAFF Begins

The New York Asian Film Festival kicked off on the 1st and will feature a slew of Asian films, including 12 Korean titles, and numerous guests until it comes to a close on the 14th. (indieWIRE.com, July 1, 2011)

INTERVIEWS

The Many Projects of Producer/Director Yun Je-gyun

A discussion with the producer of the upcoming Sector 7 and director of Haeundae (2008) of the many projects he has going at the moment. (The Dong-a Ilbo, June 28, 2011)

Conversation with NYAFF Co-Founder Grady Hendrix
A great interview with one of the co-founders of the NYAFF in which he discusses the origins of the festival and how hard it is to keep it going. (Cinespect, June 28, 2011)

TRAILER

Just one this week and due to the amount of unsubbed trailers, I will instead mark those that have them in future.

The Beast

BOX OFFICE

Transformers 3 Dominates
Transformers 3 broke a lot of records this weekend as it raked in 3 million admissions by the end of Sunday. Sunny still going strong as it breaks the 6 million mark with 200,000 new admissions. Both Poongsan and White are showing a little staying power as they post decent numbers. (Hancinema.net, July 3, 2011)



Korean Cinema News is a weekly feature which provides wide-ranging news coverage on Korean cinema, including but not limited to: features; festival news; interviews; industry news; trailers; posters; and box office. It appears every Wednesday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at the Korean Box Office Update and the Weekly Review Round-up. Reviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Battlefield Heroes (평양성, Pyeongyangseong) 2011

The Villagers

Lee Jun-ik has somewhat hastily proclaimed that he has retired from the director’s chair following the poor performance of his latest film Battlefield Heroes. He has made seven films and by far the one he is most famous for is The King and the Clown (2005), a gay period comedy drama that came out of nowhere to become the highest grossing film in the peninsula’s history up until that point with over 12 million admissions. After that kind of success it must be hard to follow it up, especially since a director like Lee is not known for making high-falutin blockbusters that you would typically expect to score big at the box office, he is known for making high concept comedies and in no film market at any time in history has that been a recipe for surefire success. In each of the three years that followed The King and the Clown, Lee kept busy and released a film: Radio Star (2006), The Happy Life (2007), and Sunny (2008). Each of the aforementioned were solid midlevel players but none cracked their year’s top 10. Then in 2010 he released Blades of Blood, which has been somewhat popular overseas but a significant commercial failure at home.

This year he's back with Battlefield Heroes which once again has not been met with the breakout success that had been hoped for and following its decent performance (it was by no means a flop) he has publicly declared that he is hanging his hat, this is after having previously said he would do so were his next film not a big hit. This seems to me a little rash and I worry that a big-budget war comedy was a reckless film to gamble on, but we shall see. I recently caught up with respected film critic Chris Bourne at the NYAFF and he believes that Lee will make a return after another brief hiatus, I am inclined to agree and I certainly hope he will.

As for the film itself, also known as Pyongyang Castle, it is a big-budget war comedy set in the 600s and the plot consists of the Silla kingdom and Chinese Tang dynasty banding together to overthrow the Goguryeo kingdom by laying siege to their castle. Silla’s strategist is worried that Tang will conquer them also after winning the battle and so conspires with Goguryeo in various twists and turns. The story is somewhat straightforward and yet it is also convoluted and a bit contrived, although the fact of the matter is that it is all a stage for the bawdy comedy to play out on.

The Rice Bowl

The cast has many recognizable faces (if you’re well-versed in Korean cinema) and a number of great cameos including one from the great Hwang Jeong-min. The problem with reviewing a film like Battlefield Heroes for Western audiences, is that I feel a lot may be lost in translation. While I enjoyed it, I know there must be a number of things that I missed which is a shame but the film still has a much to offer. The comedy is often low-brow and when it is verbal it can be very quickfire, which means it can be a little difficult to follow with subtitles. My favorite parts of the film featured the villagers who were ‘drafted’ into the Silla camp and their antics. There is a funny scene where they all appear at the Goguryeo gate in a big rice pot, a play on the Trojan Horse, and pop out comically trying to persuade them to surrender for some stores of rice. The scene gets even more ridiculous when it breaks into a karaoke song, this didn’t bother me too much but I imagine it may be too silly for some.

Battlefield Heroes features a number of well-choreographed fight scenes and the action is very convincing, much more so than you would expect for a comedy. This does lead to a slight identity crisis on the part of the film as it juggles comedy, action, and melodrama but it never veers too far out of control and remains firmly a comedy. Ultimately the film was a little slight for me and I wouldn’t recommend it to casual viewers of Korean cinema. It didn’t leave me with much to go away with and was at times forgettable, but it was worth watching and I really hope to see more from Lee in the future.

★★★☆☆

Large-scale war scenes played for laughs

Reviews and features on Korean film appear regularly on Modern Korean Cinema.  For film news, external reviews, and box office analysis, take a look at the Korean Box Office Update, Korean Cinema News and the Weekly Review Round-up, which appear weekly on Monday, Wednesday, and Friday mornings (GMT+1).

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Haunters (Cho-neung-ryeok-ja) 2010

Science fiction is a genre that hasn’t gotten too much play in South Korean cinema, outside of monster movies (The Host, 2006), and disaster films (Tidal Wave, 2009) there are perhaps only half a dozen films that could be categorized as science fiction. One, 2009: Lost Memories (2002), is set in the near future but in an alternate universe where Japan sided with the allies in World War II and kept it’s prewar colonies, which include Korea. The only other prominent example and certainly the one that is best known to Western audiences is the delirious, deranged, and brilliant Save the Green Planet (2003), while not a strict sci-fi, as it is equal parts horror, detective thriller, social commentary, romance, and comedy, it plays with the tropes of sci-fi in a remarkably clever fashion. Another genre that has not been seen often in Korea in superhero film, granted this is an American specialty and is a relatively recent branch of cinema. Examples in Korea include Descendants of Hong Gil-dong (2009), Jeon Woo-chi: The Taoist Wizard (2009), and A Man Who Was Superman (2007). Woochi was a remarkably successful action-comedy about a chosun-era wizard who ends up in modern day fighting creatures from the past, on the other hand Superman is a comedy drama that has a big emotional punch and features all the Superman imagery while featuring a protagonist who doesn’t actually have any powers it acts as a a superhero film as only a South Korean film could. Comic book movies however, are quite popular in Korea and include the immensely popular Oldboy (2003) and even different styles of film such as the recent romantic comedy Petty Romance (2010).

Reminiscent of 'Cinema du Look'

Haunters is all of the above and more, it is a clever sci-fi, an off-kilter superhero film, a stylish comic book movie, and an intermittently effective horror. The story is relatively simple, it starts with a dark, brooding, and malevolent prologue that shows us a child in a broken home who has the ability to control minds and does so to horrifying effect. In present day we are introduced to Gyoo-nam, a young man working in a salvage yard with his two foreign friends, after an unfortunate accident he must find new work and does so at Utopia, an oddly-named pawnshop run by Jeong-sik (played by the brilliant Byeon Hee-bong) and his daughter. Meanwhile the child from the opening, Cho-in, is now grown-up and uses his powers to live a quiet, but luxurious life. One day he robs Utopia, while everyone, including Gyoo-nam’s friends, are there. Suddenly he notices something, Gyoo-nam is immune to his power and then all hell breaks loose. The film then focuses on Gyoo-nam as he pursues Cho-in in a series of explosive set pieces.

The Last Supper

It’s a fun story if somewhat thin and features a seemingly bottomless amount of plotholes and inconsistencies but with two engaging leads, strong supporting characters, and a terrific mise-en-scene, it can excused most of its errors. As I watched it I was reminded a lot of the Cinema du Look of the 80s and 90s in French cinema, a set of fiercely contemporary, visceral, aesthetic, and post-modernist works that came from young directors such as Luc Besson, Jean-Jacques Beinex, and Leo Carax. These films favored style over substance and spectacle over narrative, equipped with visual flair they featured young, alienated characters who symbolized the marginalized youth Francois Mitterand’s France. I feel that Haunters emulates this brief movement of cinema (there were only 7 films) and as a result could probably be excused its flagrant disregard for logic as it seeks to win us over with style. One scene in the film that reminded me of the Cinema du Look was early on at the salvage yard where all the multi-cultural workers sit down for lunch in a Last Supper tableau and when asked by the lunch lady who has produced their lunch ticket, it is the Jesus stand-in who gets up. It is an odd scene that doesn’t add to the narrative but is a stylish visual reference that is in line with the aforementioned French film movement. Most of the film is also played out in seedy backwater Seoul locations, and most often at night, this mimics the Cinema du Look’s propensity for shooting in the Paris Metro in an effort to symbolize an alternative society.

Standout supporting cast

While the film always looks great, if a little dark at times, it does begin to spin its wheels a little as Gyoo-nam always goes after Cho-in, who is clearly a superior opponent, without any plan. Since this blind and frankly stupid bravery leads to the death of a lot of innocent people, it is difficult to root for our hero at times. He is a simpleton who has a good heart but seemingly little brains. Haunters features good performances from its leads (Ko-soo and Kang Dong-won of Woochi and Secret Reunion) as well as its supporting characters, especially from Abu Dod and Enes Kaya who play Gyoo-nam's Ghanaian and Turkish friends. The film is Kim Min-suk's debut work and exhibits a lot of promise for good things to come, perhaps next time he will focus a little more on the narrative. Previously he collaborated with Kim Jee-woon on the script for The Good, the Bad, and the Ugly (2008), a delightful action romp which also suffers from some loose plotting. Haunters will infuriate a lot of viewers due to its inconsistencies but if you can look past the plotting there is a solid Korean multi-genre film to be enjoyed.


Reviews and features on Korean film appear regularly on Modern Korean Cinema.  For film news, external reviews, and box office analysis, take a look at the Korean Box Office Update, Korean Cinema News and the Weekly Review Round-up, which appear weekly on Monday, Wednesday, and Friday mornings (GMT+1).

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Korean Cinema News (06/20-06/26, 2011)

As we roll into Summer, the news cycle is slowing slightly but there were still some interesting stories this week, including some on theater monopolies and the huge success of Sunny.

KOREAN CINEMA NEWS

A Look at Asia's Take on Spaghetti Westerns

Based on the spaghetti westerns that emanated from Europe in the 60s and 70s, Asia has recently taken to shifting what is chiefly an American genre to the East. Korea's The Good, the Bad and the Weird (2008)is the most popular example thus far. (Bleedingcool.com, June 20, 2011)

Kim Ki-duk's Latest Selected for Karlovy Vary Film Fest
The Karlovy Vary International Film Festival has invited Kim Ki-duk's latest film, the documentary Arirang to screen in its 'Another View' section. (Yahoo! News, June 21, 2011)

New Character Posters for Sector 7
The much anticipated Sector 7 has released some new posters, they are characters shots for the main stars of the picture. Sector 7 will be released on August 4. (Film Smash, June 21, 2011)

Upcoming Blockbuster Quick Promises Speedy Thrills
Quick, a summer action film focusing on motorcycle will be released on July 21 in Korea and producers are promising that it will be the fastest Korean blockbuster ever. (The Korea Times, June 21, 2011)

Seoul Begins Showing Local Films with Japanese Subtitles
The City of Seoul, with the help of CGV Theaters, will begin to exhibit Korean films with Japanese subtitles. This follows the increasing popularity and viability of English subtitles being added to local films in Korea's capital. (The Korea Herald, June 21, 2011)

Poongsan Readying for Big Splash
The Kim Ki-duk scripted Poongsan, directed by his protege Jeon Jae-hong, was just released this past weekend in Korea, and its producers have high expectations that their low-budget film will make a big impact on the marketplace. (Joong Ang Daily, June 22, 2011)

Korean Stars Owed 2.2 Billion Won in Backpay
The Korean Entertainment Management Association (KEMA), is claiming that various stars are owed a total of 2.2 billion won in backpay. Affected screen talent includes Hyeon Bin and Song Hye-kyo. (Manila Bulletin, June 23, 2011)

Quick Presold to 7 Countries
Incoming blockbuster Quick has been presold to 7 countries, including France. The film is reported to have cost around 8 million dollars. (hancinema.net, June 23, 2011)

Outcry from Independent Producers as Multiplexes Monopolize Screenings
Following previous complaints, the Korean Film Producers Association (KFPA) has outlined new grievances against multiplexes which continue to exhibit monopolistic tendencies. The main problem is that in Korea the main exhibitor are also the main film producers, thus they control access to their films and smaller, independent features are often squeezed out of the marketplace. (Joon Ang Daily, June 24, 2011)

Will Sector 7 Be the Next Hit to Crack 10 Million?
This summer sees the return of potent Ha Ji-won/Yoon Je-kyoon team, who previously collaborated on Haeundae (2009). Many are wondering if they will again have a hit on their hands that will cross the 10 million viewer mark. (Hancinema.net, June 26, 2011)

TRAILERS

Dr. Jump (no subs)

Pain (no subs)

Quick (no subs)

BOX OFFICE

Sunny Back on Top
After 4 weeks coming in behind Kung Fu Panda 2, Sunny saw its weekend take increase by 50% (330,000) and handily took first place, it has no accrued an enormous 5.7 million admissions. Kung Fu Panda is still going strong and looks set to cross 5 million next week. Poongsan was the big new release and did well with 240,000 while holdover White added 100,000 to its total, which stands at 615,000. (Hancinema.net, June 26, 2011)



Korean Cinema News is a weekly feature which provides wide-ranging news coverage on Korean cinema, including but not limited to: features; festival news; interviews; industry news; trailers; posters; and box office. It appears every Wednesday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at the Korean Box Office Update and the Weekly Review Round-up. Reviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Blades of Blood (구르믈 버서난 달처럼, Gooreumeul beoeonan dalcheoreom) 2010

Most national film industries have their own variant of the period film and depending on the length and volatility of their history, they may have a few different epochs rendered in these offerings. Korea revels in genre cinema so it is no surprise that period films are numerous in the marketplace. Like other genres it is frequently cross-blended with other styles of filmmaking, and frequently it is twisted into something you may not expect: The King and the Clown, a gay period romp, became the nation’s top grossing film when it was released in 2005; Woochi mingled period, action, and science fiction into a high concept comedy and went on to be the second best performing film at the local box office last year; and Detective K, the first installment of an episodic procedural comedy was the most successful film in the first quarter of this year. These clever and original examples are joined by many more straightforward but exceptionally well-made period dramas such as Chunhyang (2000), Untold Scandal (2003), and The Servant (2010) all of which scored big with Korean audiences.

Every year over 100 films are made in Korea but only a dozen or so are marketed overseas. Blades of Blood is one of these and my guess is the film’s producers were hoping that foreign audiences would find something to connect with in this expensive and frequently gloomy enterprise because it certainly didn’t at home. The film only managed 200,000 admissions, a far cry from break-even point. The film features major, bankable stars, is technically competent, and can be quite good at times, so why did it flounder so badly?

The film is more than passable, if somewhat unremarkable, and I’m sure the filmmakers were a little surprised by its poor showing. Out of the two marquee names, Hwang Jeong-min is very good as the blind swordsman Hwang (more than a little reminiscent of Zatoichi) but Cha Seoung-won is problematic as the ambivalent villain Mong-hak. This perception could be entirely my own since I associate him with Kim Sang-jin’s blithely irreverent comedies. Cha portrays characters who are always over-the-top, goofy, and unsure of themselves: a disrespectful youth in Attack the Gas Station (1999); the fighting teacher in Kick the Moon (2001); the wannabe homeowner in Ghost Story (2004); or even as the jailed father in A Day With My Son (2007). To see him in such a startlingly different role is jarring and I couldn’t really get over it. Hwang on the other hand is familiar with oddball characters, A Man Who Was Superman (2007) being a great example, and he excels and seems to revel in this role.

Technically the film is very proficient, the cinematography is solid, the production design and costumes detailed, and the sound is very effective, if a little overbearing at times (like when the soundtrack is inundated with dozens of swooshing swords). One thing I couldn’t possibly understand was the prosthetic vampire teeth they attached to Cha, I suppose they were symbolic of his descent into mayhem, his craving for bloodletting and power, but frankly they looked ridiculous. The final shot of the film is also immensely perplexing, I’m sure that it means something but I really couldn’t be bothered to figure out what that is.

I think the film’s major flaw, at least what pervaded most of its running time, was the uneven plotting and the plodding exposition that went along with it. From the very beginning I had a little trouble following what was going on. I knew there was a rebellion that were forced to compromise and Mong-hwa wasn’t going along with it, he set out hellbent on revenge (possibly, I’m not sure) and killed Gyeon-ja's family. Then Gyeon-ja and Hwang (a former member of the rebellious alliance) went after Mong-hak. There’s also something about the Japanese invading, the rival faction in the King’s court, and a girl but she is so poorly written I can’t quite figure the role she played in it all.

I’ve racked up quite a few negative points, but I must say that I enjoyed a lot of this film. When I could follow it, it was at times engaging and the fight scenes were very good. The comical scenes involving Hwang mentoring Gyeon-ja were played for cheap chuckles but they work well, because they are well choreographed and because of Hwang. A lot of the narrative is an excuse for swordplay, characters get killed with hardly any provocation, but I suppose that’s par for the course and I think it benefits the film. The ending is quite melodramatic and somewhat apart from the rest of the film, but it’s done very well and I wonder had rest of the film had been done this way, could it have struck a deeper chord with Korean audiences? I definitely enjoyed myself with Blades of Blood despite its numerous flaws but I daresay that for many viewers it may be a step too far in the wrong direction.

★★★☆☆

Reviews and features on Korean film appear regularly on Modern Korean Cinema.  For film news, external reviews, and box office analysis, take a look at the Korean Box Office Update, Korean Cinema News and the Weekly Review Round-up, which appear weekly on Monday, Wednesday, and Friday mornings (GMT+1).

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.