L'impero delle ombre

I have to wonder if director Kim Jee-Woon titled this film in some part after the Melville WW2 film Army of Shadows. This isn't to get all movie trivia on you all, rather it's to make a small point about how Jee-Woon is doing two things in The Age of Shadows and doing them well: making a sort of homage to films about resistance movements and espionage during wartime (in a way this makes this a war film, but the front-lines are often with a few people behind closed doors, or trying to find people on a train who are incognito, or sides being reversed, with torture on the table for the side with power to those captured), and at the same time it's Jee-Woon making a film about his own country's history, when Korea was occupied by Japan, which adds a personal dimension to it.

While I'm sure if I was Korean I would have more of a connection to it - I actually didn't know as much about this history as I thought - knowing about other resistance and underground movements against occupying powers (and another film that comes to mind outside of Melville's film, which is much darker than this, is Inglourious Basterds) makes the drama palpable. Oh, and the actual conflicts and character dynamics pop every possible moments. It's a story about loyalty and honor, but also how difficult that really is: the point of view is mostly from Song Kang-Ho (remember him from Snowpiercer and The Host and other films by Bong Joon-Ho?), a Korean born officer for the Japanese police who was one years before part of the resistance against Japan, but has now gone to the side of conformity. But people underground, including Kim Woo-Jin who is wanted by the top Japanese police brass, see some potential in Hang-Ho's character, the conflict in him deep down, and look to "open his heart" to turn for them. Partially.

This is a complex film, and I'm sure on a first screening a few plot points here and there or little scenes made it so that I'm also sure a second screening might clear up a few things (it's a long film too at 140 minutes, not unlike Army of Shadows, so it's kind of dense viewing - not a bad thing, just what it is). In this complexity the filmmaker, who also is the writer, finds a lot of strong thematic connections, how we as the audience can fill in the gaps that might be questioning on how or why characters decide to do things, the journey for Lee Jung-Chool as alright cop to gray-area level traitor, and it doesn't shy away from gruesome details and moments. It doesn't dwell on things like the torture scenes, when resistance fighters who are captured and given burning skewers or ripped-off finger-nails, but it's important to show enough of that so it impacts certain characters. At the same time the violence is brutal but cut quick (not too quick, of course), which also brings back to mind Basterds.

What I mean to say going back to 'complex' is that you have to pay attention to it (you look at your phone while watching this for a second and you'll miss something, put it away, it's not that kind of movie - aside from that you'll miss the often exquisite filmmaking and those moments where the screws tighten like that entire sequence on the train that makes up a 20 minute chunk midway through). It treats its audience like adults who can take some very hard decisions from characters, and also how subtle cues can alert people to things, and yet at the same time there's even some humor here and there. When the main resistance guy gets introduced to Lee Jung-Chool, the way to make things a little less, uh, 'tense' is to go through an entire barrel of liquor. How this one minute of film is cut together, showing drink after drink tumbled down until the barrel is empty, is one of the funniest things this year - but, again, subtle-funny. It's more about character than anything else.

This is at times a rough film, its twists and turns confronting your expectations and making you question what's going to come next, and other times bleak and depressing. But it all leads up to a place that is phenomenal in terms of its dramatic arc and how the director builds up the kind of palpable suspense that shows he's watched his share of The Godfather a thousand times (but he makes it his own, it's not aped to annoyance). He's so assured that he goes past being one of the most skillful directors in Korea right now; The Age of Shadows confirms after massively entertaining and incredibly dark efforts like The Good, the Bad, the Weird and I Saw the Devil as basically someone in the entire WORLD that should be cherished. This is a remarkable film, and one of the better, more harrowing efforts of 2016.

A period drama pierced with elements of action & thriller that's polished in all filmmaking aspects and manages to be a tense, riveting ride for the majority of its runtime, The Age of Shadows maintains its gripping aura for the first two acts with its cleverly constructed & palpably tense cat-n-mouse premise but falters during the final act that feels a tad too drawn out & melodramatic. Worth a shot for the impressive set pieces it has in store.

South Korean thrillers rarely misfire even if they aren't that well reviewed or rated. Coming for Kim Jee-woon, who masterfully directed "I Saw the Devil" and "A Bittersweet Life", "The Age of Shadows" makes a notable entry to his filmography. The Western audience doesn't really get to see period South Korean film set in early 20th century and it gives us a chance to perceive life on the Eastern front.

"The Age of Shadows" takes place in the 1920's around a back-and-forth game between a group of resistance fighters and Japanese agents. The film is deeply rooted in the Korean independence movement from the Empire of Japan. While most of the people back home wanted to gain independence, they could not do anything in front of the strong Japanese authorities. The key was to form resistance groups to overtake the Japanese dominion.

The film stars two of South Korea's biggest actors working in the industry today, Song Kang-ho and Lee Byung-hun. They have paved the way of the South Korean new wave by delivering outstanding performances that helped the film industry achieve new heights. In "The Age of Shadows" they play on the opposite side of the fences, Song as a Korean police officer charged to sniff out the resistance and Lee as the leader of the resistance fighters. Lee's character begins to sense that the police officer can turn ways and be persuaded to help the resistance by feeding them information. At this point the wheels start to be in motion and it will be a very bumpy and eventful train ride, literally.

"The Age of Shadows" is a good period thriller with twists and turns that will keep you entertaining until the end.

Mil Jeong (밀정 ~ The Age of Shadows).

Viewed at 2016 Venice FilmFestival. Tremendous Korean epochal drama about life and resistance under the oppressive Japanese occupation in the early decades of the century. Director Kim Jaewoon really knows how to set up drama and suspense mixed with blazing action. There was so much in this film that I felt like I was watching a Beethoven symphony. Dark Sepia toned photography used to good effect enhances period feel. Musical soundtrack employs jazz and adrenaline tensor stretches and the final shootout in the train station is orchestrated deftly to Ravel's Bolero.

139' running time is long and winds up with several anticlimactic codas but never lets you out if its grip. For Koreans this is clearly a film with heavy patriotic messages. The final theme is "Don't let your failures stop you -- build on them and rise to the next level" -- until victory is achieved. I would love to see this film with a Korean audience and would expect to see people on their feet cheering at the end... A young Italian I met afterwards said he loved it even though he knows nothing of the history involved. I could easily see why -- in a way this is something like a Kimchee spaghetti western and charismatic actor Kang-ho Song, 49, has got to be the Korean equivalent of John Wayne, or at least, Robert Mitchum.

* This was South Korea's official submission for the Best Foreign Language Oscar of 2016. There were four, notable SK movies released in 2016 and this movie was the one officials felt was the best to submit....boy were they wrong. Both "The Handmaiden" and "The Wailing" are simply superior in just about every reguard.

* The movie is not bad by any measure, it's technical merits (cinematography, acting, production design, etc) are all great. The movie has a great stoic, 1920s feeling to it. And Song Kang-ho is outstanding (no surprise here). This was clearly well planned and organized by top workers in SK. It just didn't have a strong story behind all the great acting and camera-work.

* It's the story that feels just a tad underwhelming. It ends up going exactly where you expect it to (with a few MINOR surprises along the way). But right from the get go, you know where this one is heading. And it's this predictability and makes the 2 hours and 15 minutes feel a bit long.

* When all's said and done, this is a good movie from South Korea, but not great. It's not among the all time greats (and boy there are a lot), and it's not even the best movie from South Korea in 2016. But if you are a fan of period dramas (this one is light on action), then this is something you should check out.