O Substituto do Rei

As has been pointed out by other reviewers, this story is a new spin on "The Prince and the Pauper." It actually reminded me, however, of the American movie "Dave," in that the protagonist is a naive pawn whose empathy allows him to rise to the occasion, including finding love in the chaos.

Byung-hun Lee is simply an amazing actor. Having seen his "dark" side in movies like "A Bittersweet Life" and "I Saw the Devil," I was very pleased to see he could handle the role of Ha-Seon with such a light touch. It was a joy to see him effortlessly shift from hilarious toilet humor to inspiring leader. I was particularly struck with the scenes where he interacted with commoners, in which I really felt the empathy Ha-Seon felt for them.

This is the first of director Chang-min Choo's movies I've seen, and I was impressed at how he was able to seamlessly balance the light and serious scenes in the movies. To often, one or the other seems forced, but here Choo creates a character who grows and changes, but still remains, at heart, the same, good person he was at the beginning -- the kind of person who, by the end of the story, could be happy and believable as a king or a pauper. I think Choo also gave the movie a more intimate feel by focusing on one-on-one conversations and limiting the normal "cast of thousands" you often see in period pieces about kings.

Overall, the acting was top notch -- particularly from Hyo-ju Han as the Queen and Hyo-ju Han as Minister Do -- and the costumes and set design were beautiful.

Masquerade is an engaging and charming period piece with humor, action, and romance.

'Masquerade' is kind of movie that is hardly to find weakness from it. It is so beautiful and entertaining from the beginning through the end. The first half of the movie is about how Ha-seon adapts in palace environment which is interesting to see and sometimes really funny, and the last 45 minutes of the movie is just so tense. This is an example movie that is handled by professional cast and crew members. Chang-min as director built a dazzling and powerful movie, the cinematography is beautiful captured and solid frame by frame, the make-up and costume design are also did their responsibility well. Cast member also had done an incredible part especially Byung-hun as King Gwang-hae and Ha-seon. His name has already known internationally as a tough fighter in 'G.I. Joe series' and will be in 'Red 2' too but you wouldn't find him acts like in this kind of movie, it's totally worth to see. Byung-hun acts really convincingly as two different character here, a serious charismatic king and a naughty lazy comedian. Without the right guy who plays exceptionally in the main role, this movie wouldn't be that great. Overall, 'Masquerade' is a serious making movie with great storyline and strong performances although the ending is not so extraordinary. No wonder 'Masquerade' is appreciated and so successful in South Korea which it well deserved.

Last year's South Korean box office champion (a No. 3 all-time grossing picture in the history of Korean cinema), this period drama stars Byung-hun Lee for a meaty dual role, the king and his doppelgänger scoundrel, intricately chronicles a spell of 15 days' clandestine regency under the helm of the said doppelgänger.

A grandeur of a period drama pivots heavily on its art design, set decoration, makeup and costumes whether or not can conjure a believable world of that time, as a result MASQUERADE is impeccable in all these aspects. Despite basically it is an interior chamber piece, a few outdoor shots meticulously dispense us legitimate solemnity and natural quaintness.

The outline of the story is quite straightforward, and all the ramifications are predictable, the transformation from a good-to-nothing to a righteous and gallant role model is the unflagging keynote, director Chang-min Choo interposes effectual gags in-between the brooding atmosphere, first time we saw a king breaks wind on screen and his eye-opening defecation formalities, which is gross at first glance, but the comical reaction is pure golden! (Hollywood should learn how to turn repellent vulgarity into some genuine laughter from it).

Finally Lee scoops up his representative work on big screen which could testify his talent beyond the awful exploitation of his taciturn Asian fighter figure in Hollywood action potboilers. Acting with his mother tongue, the constant changeover of manners and tones is a demanding task, he successfully nail both the imperial majesty and the antic street-smartness. What is more touching is among the set pieces where the expendable side characters face their doom, Lee's reactive performances are wonderfully empathetic, effectively efface the cliché and sappy default of a thin plot. Seung-yong Ryoo (the helping hand), Hyo-ju Han (the queen) and Gwang Jang (the eunuch) all offer a bit subtler presence pertains to their different functions.

There is an elephant in the room since everyone knows the impostor cannot be spared at any rate, so the film cunningly contrives a twist to lift the culmination which we cannot say is a mind-blowing one, at least it is a tenable one. Overall, the film is slightly over-stretching its sentimentality but nevertheless stands for a universal crowd-pleaser and a top-notcher of South Korean film industry.

Well this movie is not meant to be hidden! I know enough history to recognize that the two faces of the ancient god Ianós have no relevance to bad or good or prince Gwanghae or the dual role of Byung-hun Lee.But the acting of the latest is surely godlike.

Byung-hun Lee plays the part of Gwanghaegun the fifteenth king of the Joseon Dynasty and this movie is a work of fiction created around a quote that I love , "Do not put on record what is meant to be hidden".

The plot of the movie is the following.The king, afraid of his life during rumors of assassination attempts, searches for a man that looks like him and can replace him as long as the danger for his life remains.

What follows is a masterpiece.Great actors,great direction and great costumes create a drama worth anyone's time.

Do not miss it.

This much is history – in the eighth year of King Gwang-hae's reign during the 17th century Joseon dynasty, there was a sudden reversal of policies that had favoured the aristocracy. Suddenly, the wealthy were made to pay more taxes and the same burden lightened on both the peasants as well as the middle-class. The noble were also ordered not to exploit the poor as slaves, lest they face the wrath of the King. Strangely enough, it is during this period that the Annals contain fifteen missing days, preceded by an intriguing entry that reads 'one must not record that which he wishes to hide'.

Inspired by this fascinating set of events, director and co-screenwriter Choo Chang-min imagine a fantastical scenario along the lines of Mark Twain's seminal novel 'The Prince and the Pauper' and Ivan Reitman's political satire 'Dave' where a look-alike commoner swaps places with the King and thereby institutes badly needed ground-up reforms. The excuse for such a body swap? The threat of assassination, which in the opening minutes is shown leaving King Gwanghae spooked and doubting the trust of even those closest to him – the Queen and her brother Yoo Jong- ho.

Under his orders, his loyal Chief Secretary Heo Gyun (Ryoo Seung-yong) finds a doppelganger in Ha-seon, a jester at a courtesan's place who impersonates the King for popular amusement. Barely after his audition, Ha-seon is thrust onto the throne when the King is poisoned and falls unconscious, leading the Chief Secretary to activate the former so that the country does not descend into chaos. What ensues is an enthralling mix of comedy and drama done with a lot of heart, all three elements combining to render this one of the very best Korean films we have seen in a long while.

Indeed, the experience that Chang-min invites his audience to partake is similar to Ha-seon's own transformation. Not used to the life of royalty, Ha-seon initially struggles with its customary practices – most notably the lack of privacy – and like the awkward adjustments he has to make, the first half of the film goes for a light-hearted tone with generous but genuine laughs. A particular laugh-out-loud sequence has him failing to understand the inordinate amount of attention paid to the daily movement of his bowels, but most of the humour is more subtle but no less amusing – especially a running gag where his regular closed-door meetings with the Chief Secretary are interrupted by the need to perform an abrupt switch of positions when his night snack is delivered.

Even in these early moments, it is clear that Ha-seon has more empathy than the real King ever had. This is portrayed in both the smaller moments – after learning that his leftovers go towards feeding the Royal servants, Ha-seon specially eats only a basic bowl of bean gruel to leave the rest of the dishes to those who prepared it – as well as a more fully fleshed arc that sees him try to restore the rightful presence of the Queen (Han Hyo-joo) in relation to the throne. It is also a perfect precursor for Ha-seon's subsequent transformation, as he grows increasingly unwilling to be just a puppet for the Chief Secretary.

Instead, Ha-seon begins to rule by common sense, putting in place badly needed reforms so swiftly that they stun the rest of his political circle. More importantly, he ends up antagonising the very traitors who had masterminded the King's poisoning, setting the stage for a gripping showdown where not just his identity but his very life is on the line. And yet even in the face of clear and present danger, Ha-seon shows unexpected mettle, choosing instead to stand firm for his beliefs and decisions rather than scuttle away to safety, earning the admiration of the Chief Secretary and the Chief Eunuch (Jang Gwang) who realise that Ha-seon was an even better ruler of the people than the King himself.

Though Chang-min provides a steady directorial hand to the compelling tale, what truly knocks it out of the park is Lee Byung Hun's bravura acting, holding the screen with poise and charisma. As King Gwanghae, he is arrogant, petulant and utterly contemptible; but as Ha-seon, he is lively and charming at the beginning and affectionate and empathetic later on. One of the best – and most touching – scenes in the whole film has Ha-seon agreeing out of resignation to his advisers' proposal for 20,000 men to be essentially sent to their death to help the Ming dynasty and then retracting it with a most forceful proclamation of his duties as a King of the people; that very sequence a perfect illustration of Byung Hun's regal performance.

Outstanding in their own right too are the various supporting acts, including Seung-yong's righteous Chief Secretary who eventually finds himself caught between a rock and a hard place and Jang Gwang's Chief Eunuch who begins to have a change of heart about the masquerade when he sees the goodness in Ha-seon's rule. Rare is the film that is wonderfully acted by every single cast, and one supposes that this is testament to the power of Byung Hun's own leading anchor.

The top-notch quality of the production is also evident in the sumptuous sets and lavish costumes, which add class and pomp to a brilliantly acted, cleverly scripted and confidently directed film. All the jokes and intrigue isn't just for entertainment; indeed, its message of justice, benevolence and fairness is as true to the rule of governance today as it is four hundred years ago. That relevance gives it real heft, and whether you are a fan of period dramas, we urge you to see what we think is one of the finest Korean movies we have seen, brilliant and beautiful in its humour, poignancy and most of all, heart.