Hermandad De Guerra

Nations do not fight wars. Citizens fight them, and these citizens are honorable men and women who serve their country willingly or, as history shows, by decree of a desperate government.

As a result, patriotism has become the unlikeliest casualty. Once welcomed in the trenches of battle, patriotism has lost its limbs, fought back from life support, and suffered shell shock. Once easily recognized, patriotism has become a bit of a chimera, an ideal more easily attached to definable characteristics than it is any single soldier. However, in the bitter end, patriotism is defined by the actions of these individuals who serve; it is rewarded by the nations who sponsor this service; and, more often than not, it is measured in hardships endured.

Such is the complex, ever-changing battleground of writer/director Kang Je-Gyu's 'Taegukgi: The Brotherhood of War.'

In 1950's Seoul, Jin-Seok (Won Bin) and his older brother Jin-Tae (Jang Dong-gun) are enjoying a strong family life of perfect happiness. Suddenly, they find their lives turned upside down as soldiers of the South Korean government seize them – all men aged 18 to 30 are taken – and they are forced to take up arms – despite their lack of training – against the approaching North Koreans. On one brutal battlefield after another, the bonds of family are put to increasingly demanding tests as Jin-Tae – originally driven by his responsibility to protect his younger brother – continues to further exhaust his physical and emotional prowess despite the protests of Jin-Seok. He learns that he is a good soldier, one with a talent for inspiring others as well as an unanticipated thirst for killing the enemy. Eventually, these two brothers – once bound by a love for family – find themselves at odds within this new brotherhood of war, and the pressures to prove one another continue to exact heavier and heavier tolls as the war escalates. As circumstances evolve, the brothers inevitably find themselves on opposite sides of a losing conflict … but can either find a path to redemption or reconciliation that can save both of them?

There are many elements of 'Taegukgi' that elevate the film from the status of standard war film to a message of hope set against the backdrop of war. The film's scope is grand, dealing with the far more intimate themes of family, brotherhood, and personal responsibility when Director Kang Je-Gyu could have easily opted for banging the drum of nationalism. At its core, 'Taegukgi' is the story of two brothers, a strikingly poignant analogy for the entire North Korea / South Korea dilemma. While the battlefield choreography is as frenetic as it is harrowing, it never takes the film's center: this picture is founded on relationships – the human perspective to the world outside – and it never falters. Instead of focusing on history, Kang Je-Gyu crafts every scene to highlight the thoughts, actions, and emotions of the participants of history, and, for that, 'Taegukgi' deserves countless accolades.

Much like exploring the heart of darkness as depicted in American classics as Francis Ford Coppola's 'Apocalypse Now' and Oliver Stone's 'Platoon,' Kang Je-Gyu forces Jin-tae to explore his own budding evil, and this journey is not without its own relative scars. Once a man has crossed over and embraced wartime madness, can he ever truly find a way out? Arguably, if 'Taegukgi' suffers from any setback, it is that perhaps Jin-tae goes too far for an audience to accept his madness: believing his brother to have been killed by North Koreans, Jin-tae turns traitor once he is captured and seeks to wipe out every soldier serving South Korea. While the story offers the motivation for so drastic a change, it's hard to believe that the man who once fought so valiantly against the spread of Communism would suddenly choose to embrace it.

Still, it's a small diversion … but it's necessary to bring the aspect of brotherhood full circle, to have these two unique men face their darkest hour, and to make one final statement on the role that family inevitably plays in every man's life.

Recently, thanks to the worldwide success of 'Taegukgi' and 1999's blockbuster 'Shiri,' Director Kang Je-Gyu has signed an agreement with Hollywood's own powerhouse, CAA, to produce his next film in America. Only time will tell whether or not this agreement will afford some of the 'Korean sensibility' to American films, but certainly having one of South Korea's premier directors breaking into the Hollywood film system is a tremendous advantage for fans of international film.

Only the passage of time will earn 'Taegukgi' its rightful spot alongside the other great films dealing with the consequences of war.

South Korea puts Saving Private Ryan to shame with this amazing war movie. Taegukgi (or Brotherhood of War) is probably the best traditional war movie i have ever seen. The battle scenes are intense and brutal, even more so then Spielberg's classic film (which is a movie i really like, too.) They also kick in at unexpected places. They are sitting around eating and suddenly bombs are exploding and limbs are flying. The acting is incredible and emotional even though i watched it in subtitles (dubbed English voices are horrible). The facial expressions said it all. The story is a heartbreaking tale of two brothers who are drafted into the Korean conflict in 1950. By the end, i came this close to tearing up. And i am a tough guy. Or so i think.

Now i know a lot of people in America tend to overlook foreign movies because their afraid of reading, or can't read, but i am finding more and more that foreign flicks are a lot better than recent Hollywood movies. Hollywood needs to take a lesson and make more creative stories.

This is truly a masterpiece of modern cinema, a milestone in war movies, and one of the best films i have seen in a long time. Incredible.---9/10

Let's be real; Saving Private Ryan is a better movie then Tae Guk Gi. This is movie tries too hard to be exactly like Saving Private Ryan- the action, the cinematography, the camera work... But behind all the technicalities comes a very moving and powerful character-driven story that is more riveting then Saving Private Ryan. In comparison to the incredibly gritty "Saving Private Ryan", Tae Guk Gi is more of a blockbuster movie that has more stylized action and drama. Still, this is a must watch.

I have watched Taegukgi for the first time just yesterday, so my impressions of the movie are still fresh. I have not known much about the Korean War that took place at the beginning of the 1950's, but that was a history lesson I will not easily forget. Taegukgi is really the best (anti-)war movie I have ever seen. And believe me, I have seen a lot. But no movie ever before has impressed me so much. In most Hollywood productions there is only one perspective, the winners view. Many directors tried to make a movie that shows both sides of the conflict, but all of them failed. Until now: Taegugki is showing the situation mostly from the south korean view too, but it is the first movie which shows also the "other side". I was very surprised, that the director showed also the crime that his own government committed to their own people at this time. That movie is the first war movie that is not glorifying war - it's horrifying, terrifying, scary - like in reality.

I'm not a big fan of war films, unless the war in question was at least a couple hundred years ago or somewhere in the future, or the stars - but I did enjoy SAVING PRIVATE RYAN, if "enjoy" is the best word to use for such an experience. Apparently, director Kang Je-Gyu (SHIRI) enjoyed SPR too, as its influence on his Korean war film TAEGUKGI is impossible to deny. SHIRI was the South Korean film that probably did more than any other to bring the country's cinematic new wave into being, and especially into the field of view of the rest of the world at large. Its main accomplishment was, arguably, demonstrating that Korea could make a film that competed head on with Hollywood product, in terms of slick production values but also perhaps in terms of vacuous scripts Although it is rather shallow compared to other Korean films, though, I think it's safe to say that SHIRI had more depth than Hollywood would have injected into a similar story.

TAEGUKGI is his first film since SHIRI, and he's definitely playing the Hollywood game again - tackling Spielberg head on this time. Like SAVING PRIVATE RYAN, TAEGUKGI attempts to humanise war by giving us some specific characters to focus on (in this case, two brothers played by Won Bin and Jang Dong-Kun) - and then uses our personal connection to show us that war is actually a dehumanising experience. The film also spares no effort in showing us the ability of bullets, knives and bombs to turn human beings into squishy piles of gore.

There's a fairly obvious political symbolism in the story of two brothers and the effects the Korean war has on their lives and relationship - I don't know if it would be fair to read the ending as a view about the conditions under which Korean reunification might occur though. The ending of the film won't come as much of a surprise, since it's basically foretold at the start with a scene set in the present day. The exact details might be a little unexpected though.

If you like your modern-ish day war films, and specifically if you liked SAVING PRIVATE RYAN, then there's very little doubt that TaeGukGi will impress. It's big, slick and well put together. Since it's not my favourite genre or topic of interest, I can't say I loved it like a brother, but was sufficiently satisfied with it given what it is.