Being the director of a watershed hit like Shiri (1999) can give you some strong advantages when making your next film. It gives you the ability to attract top-name actors and crew. It becomes much easier to raise large sums of money from investors. Park Chan-wook (JSA) and Kwak Kyung-taek (Friend) chose to shoot smaller, more personal works after their record-breaking hits, but Kang Je-gyu took full advantage of his position and aimed for the stars. Taegukgi, which premiered close to five years after Shiri, ranks as the most expensive Korean film ever at $12.8 million and features perhaps the two hottest male stars in Korea. (Won Bin, when asked why he agreed to star in the film, is reported to have said, "You'd have to be an idiot to turn it down, wouldn't you?")
Taegukgi Its title named after the South Korean flag, Taegukgi tells the story of two brothers from Seoul who are forcibly conscripted into the army shortly after the outbreak of the Korean War in June 1950. The older brother, played by Jang Dong-gun, decides that he must try to win a Medal of Honor in order to secure the discharge of his bookish younger brother, played by Won Bin. As the war progresses from the outskirts of Busan to the northern reaches of the peninsula, however, Jang's character grows distant and starts losing himself in the passions of war.
Certainly this film is unique in Korean film history for its large scale, its battle sequences and the intricate reconstruction of war-torn Seoul and Pyongyang. The crew deserves praise for the tremendous amount of effort they put into the look and feel of the movie. I found it particularly interesting to see a reconstruction of the street Jongno in pre-war Seoul.
The scenes of war shown here are quite impressive, but ironically they also contain one of the film's biggest disappointments. Presumably to give the audience a feeling of excitement, the director shakes his camera violently back and forth in all of the fight scenes. The result is that we can barely see the elaborate explosions and effects, robbing the film of its greatest asset. Viewers who go to see this in the theater are strongly advised not to sit in the front rows, in order to avoid getting nausea from the lurching camera (not to mention the very gory scenes of battle carnage).
In general, one gets the sense that this film could have been crafted into a far more moving and eye-opening account of the most destructive event in Korea's history. For much of Taegukgi's extensive running time we are focused on the melodramatic discord that springs from the older brother's decision to sacrifice himself. This personal story dominates the film to the extent that, in some ways, the war is merely an elaborate backdrop. The film also makes little effort to say anything new about the conflict. North Korean soldiers are portrayed as crazed fanatics (no JSA-style humanism here), while the Chinese are just a teeming horde. It does try to show the ruthlessness of Southern as well as Northern forces (which provides for some well-acted cameos by Kim Soo-ro and Kim Hae-gon), but this is hardly new. Ten years ago, Im Kwon-taek's Taebaek Mountains portrayed the damage wrought by violent anti-communism with far more conviction.
In the end analysis, Taegukgi is a commercial blockbuster with little to say, but a keen sense of how to attract local viewers with spectacle and melodrama. As I write this, it is playing on a record 450 screens across Korea and it has become the first film ever to sell 2 million tickets in five days. With a long box-office run virtually guaranteed, it appears that Kang Je-gyu will continue to be able to call the shots for his future productions. (Darcy Paquet)