[Jeon Chan-il's Cultural Talk] Some Trends in Korean Cinema: The Deconstruction of Heroic Narratives

The reason I was so impressed by director Kim Han-min’s second installment of the ‘Yi Sun-sin Trilogy,’ Hansan: Rising Dragon, was above all the outstanding directorial rhythm. Even though I already knew the outcome, the intensity of immersion (Flow) racing toward the conclusion was so powerful that my palms were sweaty. With as many as 30 main and supporting characters, the film’s rare narrative cohesion without any noticeable disruption was a once-in-a-lifetime cinematic experience for me, a viewer with over fifty years of film-watching experience.

The same held true during my second viewing. Although I was already familiar with the first story of the trilogy, Myeongryang (2014), and the turning point in Kim Han-min’s cinematic world, The Admiral: Roaring Currents (2011), the director’s directorial prowess far exceeded my expectations. That is why I consider it a notch above Myeongryang, which I had highly praised for achieving the highest level across all layers of the film?characterization, acting, sound direction including music effects, dramatic pacing, and thematic consciousness?transcending the label of a ‘blockbuster’ to become a ‘masterpiece’ with an aura.

Another reason for the special attention given to Hansan lies elsewhere. Despite a production budget of around 30 billion KRW and surpassing the break-even point of 6 million viewers on the 20th day after its release on the 15th, it is judged to have ‘deconstructed’ the so-called ‘heroic narrative.’ As is well known, Yi Sun-sin is one of the greatest heroes in Korean history alongside King Sejong the Great. Texts that dramatize heroes, regardless of genre, must maximize the heroic aspects of the hero. Even if the human side of the hero is emphasized, the heroic nature must not be neglected. Myeongryang is the optimal example of this, effectively portraying Yi Sun-sin’s heroic grandeur while not overlooking his human side. Choi Min-sik’s performance was the best choice, and audiences on this land responded enthusiastically. The record-breaking box office of approximately 17.6 million viewers is proof of this.

The decisive reason why director Cho Cheol-hyun’s Secret Royal Inspector (2019), which dramatized the hidden story behind the creation of Hangul, failed to surpass even 1 million viewers was likely because it was not a heroic tale of King Sejong the Great. Despite starring two star actors, Song Kang-ho and Park Hae-il, it was not the image of King Sejong that audiences had known and wanted to see. The real protagonist behind the creation of Hangul was not the greatest hero of our history, King Sejong, but the lowly monk Shinmi. Which audience here would have wanted to confirm that controversial ‘fact’ or ‘truth’? Ultimately, the film attempted to deconstruct the heroic narrative, and paid a heavy price for it.

Now, more than three years later, the situation has changed considerably. While general audiences still tend to prefer and cling to heroic narratives, Hansan has surpassed 6 million viewers and is heading toward 7 million. Although it cannot be compared to the momentum of Myeongryang, which surpassed 10 million viewers in just 12 days, it is faster than the 30-day pace of Aladdin (2019) with 12.72 million viewers and matches the speed of Masquerade (2012) with 12.32 million viewers. This is why the deconstruction of the heroic narrative in Hansan deserves renewed special attention.

As the director emphasized the difference between a strategist and a warrior, Yi Sun-sin in Hansan is completely different from the one in Myeongryang. Park Hae-il’s interpretation of Yi Sun-sin is distinctly different from Choi Min-sik’s. He rarely raises his voice. Even when giving orders, he calmly communicates through his adjutant. His expression remains the same. Even when nervous, it is expressed internally rather than externally. Park Hae-il’s acting is that subtle. It is no less dignified than the detective character in Park Chan-wook’s Decision to Leave, which won the Best Director award at Cannes. Although I personally do not fully agree, this subtlety has led to criticism that Park Hae-il’s acting impact is weak. Some even complain, without much persuasion, that the real protagonist of the film is not Yi Sun-sin but Wakizaka Yasuharu, played by Byun Yo-han. I interpret all of this as a result of the deconstruction of the heroic narrative.

Hansan is a meaningful challenge distinct from the typical Hollywood hero films that have dominated the global mainstream film kingdom. It has succeeded in capturing three rabbits?distinctiveness, individuality, and both commercial and critical acclaim. Moreover, the deconstruction of the heroic narrative in Hansan is directly connected to the ‘Korean Wave’ (Hallyu) that has caused a global phenomenon in recent years. It impressively embodies the worldview and values of coexistence and mutual prosperity consistently promoted by K-content such as K-pop’s BTS and BLACKPINK, director Bong Joon-ho’s Parasite (2019), which simultaneously topped Cannes and the Academy Awards, and director Hwang Dong-hyuk’s OTT drama Squid Game (2021), which achieved Netflix’s highest record. What remains now are achievements at film festivals and awards.

The deconstruction of the heroic narrative is also found in Emergency Declaration. Directed by the master Han Jae-rim, known for Elegant Lies (2007), The Face Reader (2013), and The King (2017), this is a monumental aviation disaster drama in Korean film history. Although characters played by Song Kang-ho, Lee Byung-hun, Jeon Do-yeon, Kim Nam-gil, and Kim So-jin are clearly heroic figures, none of them stand out or rise as special heroes. The film, which boasts spectacle comparable to Top Gun: Maverick (2022) in its disaster sequences, takes a completely different path from Clint Eastwood’s Sully (2016), which heroized the single character Chesley ‘Sully’ Sullenberger played by Tom Hanks. Despite relatively poor box office performance with fewer than 2 million viewers, Emergency Declaration is, in my final assessment, a work that deserves to be noted alongside Hansan.

Beyond commercial success, the deconstruction of the heroic narrative is sensed in a series of recent Korean films. Lee Jung-jae’s directorial debut Hunt is no exception. None of the central characters in the film are portrayed as the usual heroic figures. Regardless of such attempts, signs of this can also be seen in Decision to Leave and the Korean film Broker, directed by Hirokazu Kore-eda. Isn’t that interesting? If so, can the deconstruction of the heroic narrative be diagnosed as a certain trend in Korean cinema? Although longer and deeper observation and research are needed...

Jeon Chan-il (Film Critic / Senior Reporter & Planning Director, Hallyu History & Culture TV Co., Ltd.)

This content was produced with the assistance of AI translation services.