A film that should strike at the 'heart' is obsessively focused on the 'eyes.' It's not a matter of scale, but depth is key.
It tells the story of those who thought of their country before themselves, particularly shining a light on the 'noble soul' Ahn Jung-geun. Just the name makes one feel reverent, and the scale is grand, the music majestic, and the emotions are constantly heightened. Yet, strangely, it is boring and flat. Perhaps due to the dissonance of excessive elements, authenticity is buried, and only superficiality stands out, resulting in (regrettably) little emotional impact. It does not advance beyond other successful films that deal with this historical backdrop and the stories of independence fighters. The more one endures with patriotism, the greater the disappointment becomes, as seen in ‘Harbin’ (directed by Woo Min-ho).
In 1908, independence fighters led by Ahn Jung-geun (Hyun-bin) achieve a significant victory against the Japanese army in Shin Asan, North Hamgyong Province. Ahn Jung-geun, the Chief of Staff of the Korean Army, releases Japanese prisoners of war according to international law, but this incident leads to a counterattack, causing doubts about Ahn Jung-geun's leadership among the independence fighters and creating rifts.
A year later, in Vladivostok, Ahn Jung-geun, along with Woo Deok-soon (Park Jung-min), Kim Sang-hyun (Jo Woo-jin), Gong Bu-in (Jeon Yeo-bin), Choi Jae-hyung (Yoo Jae-myung), and Lee Chang-seop (Lee Dong-wook), gather again to reclaim their lost country. Upon hearing that Ito Hirobumi (Lily Franky) is heading to Harbin for negotiations with Russia, Ahn Jung-geun and the independence fighters head to Harbin, while the Japanese army pursues them after obtaining information about their operations that leaked from within. They sacrifice their lives once more for the singular goal of eliminating the old wolf in Harbin.
The film expands its scale with global locations in Mongolia, Latvia, and Korea. The opening war sequence is particularly overwhelming. General Ahn Jung-geun's character comes across dynamically, while also shedding light on the human struggles of Ahn Jung-geun.
The problem is that there is no substance. Emotions are excessive within a shallow narrative, and there are too many unnecessary elements. Thus, it drags on.
The perspective on the independence fighters is narrow, and the human aspects of Ahn Jung-geun, who is also a person, are ultimately about the fear and anxiety he felt in each event, and the steadfast beliefs he wanted to uphold, but these are only superficially captured in a few scenes. Moreover, the methods and content are clichéd and old-fashioned. There are no particularly new facts, unique perspectives, or advanced weaponry.
The roles of the characters are also flat. The independence fighters, Japanese soldiers, and supporters are all familiar figures, fulfilling the same roles we've seen before. Their doubts and beliefs, friendships and betrayals, and twists are all clichés we've seen countless times. The subplot about finding a mole is also too predictable, lacking tension. Above all, the charisma of the Japanese characters is exceptionally weak.
Instead of substance, the film focuses on embellishments, with a vast mise-en-scène, and introduces new characters, which is truly the worst part. This is particularly true for 'Murder King' Jung Woo-sung. This character, who takes up unnecessary screen time (if he were an important character, he was poorly realized), is a jarring and distracting element. The character portrayed by Jung Woo-sung is a former independence fighter who wanders after losing his comrades (family), but his anger does not resonate at all. Rather, it comes off as ridiculous. The acting, appearance, and tone of the episode do not match at all. (It overlaps with the shock felt during the first appearance of 'Prince Yan' Park Seo-joon in 'The Marvels.')
The transition from the highlight to the ending sequence is also disappointing. The mid-section is so lyrical that it becomes boring, while the climax and later parts are so bland that the editing disrupts the flow, robbing yet another opportunity for emotional impact. The dialogue that aligns with the current situation is excessively direct and numerous.
The unique calculation and mismatch strategy of the director create a sense of bewilderment. Only the passionate performances of the actors remain touching. Hyun-bin, who struggles throughout, is heavy, while Park Jung-min and Jo Woo-jin deliver their expected performances reliably. Unfortunately, the director's extravagant packaging does not highlight the film's message at all. The film's break-even point is approximately 6.5 million. PS, (the mole in this work is) Jung Woo-sung
Releasing on December 24. Rated 15 and over. Running time 114 minutes.
