Kundo: Era Fora de Controle

This had a great balance of action with over the top martial arts in the context of corrupt Josean Empire. It was a great story, the chapters and Westernized score gave it a Tarantino flavor like a Kill Bill morning of the 1800s. The dialogue and story also had that comedic appeal that's subtle without overshadowing the action a hard balance to attain (I've seen it in the Bond Franchise, First 3 Die Hards, and Sergio Leone Classic "The Good The Bad & The Ugly". I found it Brilliant!

Imagine if you took an Italian western, Kurosawa's "Seven Samurai" and "Robin Hood" and then transported all this to 19th century Korea. This is pretty much what you get in Jong-bin Yun's masterpiece, "Kundo: Age of the Rampant". It's a new martial arts epic that I cannot recommend strongly enough--and fans of this sort of picture are bound to be satisfied with this excellent film.

The film begins during the latter years of the long Joseon Dynasty. The country is racked with famine, disease and locusts. But these locusts aren't the kind you're thinking of...they're the human kind. These are the various lords and governors who exploit the people and make the suffering and starvation even worse--as they strip the land from the people and force them into slavery. However, an honorable gang of bandits have made it their mission to right wrongs, care for the poor and punish the evil men in charge. For a while, their mission goes off without a hitch, as bureaucrat after bureaucrat are captured and sentenced for their crimes. However, one of these evil men, Yo-Joon, is something else. He is not only among the most evil and bloodthirsty, but he's an incredible fighter and more than a match for any of these Robin Hood-style bandits. Plus, he has his loyal band of seven evil warlords and an army...what good could these bandits do against such odds? Well, being heroes, they do what heroes must do even if the mission seems like certain death.

The film's plot is very reminiscent of an old western and the music really heightens the effect. It's not exactly Ennio Morricone's in style but has many similarities to his scores that this great and very prolific Italian composer wrote for epics such as "The Good, The Bad and The Ugly" and "A Fistful of Dollars". It's rousing and energetic to say the least. And, the main bandit, Dochi, is also cut from the same mold as these great old films. All in all, a terrific film that features top-notch acting, music and production values--as good as any martial arts movie you could find. See this film...just don't take your young kids. Only a crazy person would let them watch this film or films like it. It's extremely realistic in its violence and bloodshed--as you would expect. So, even if they beg you, find another film for them and watch this one when the little ones are asleep, as it clearly earns its R rating.

We/I might not know this one particular story of Kundo, but we have seen this underdog story before. Which is not to be held against the movie, because it does a fine job telling the story of class distinction and the "small" people rising up against oppression. You might not agree with everything happening here, but you can't fault the movie or the story for that.

The action is more than decent enough and our hero against his own will, has a great journey to undertake. Some have compared this to some of the classic Japanese movies. But even if you don't agree with that either, you only have to like the story to get into it and enjoy the movie.

A fine historical adventure film, clearly indebted to the Robin Hood story and indeed referencing ROBIN HOOD: PRINCE OF THIEVES quite openly at the end. It's much more humorous than I was expecting, an all-star-cast story of the corrupt Joseon nobility and the outlaws who team up to take them down. Laughs early on give way to wholesale slaughter at a later point, with the usual heavy emoting interspersed with well-staged action sequences. An effortless watch, as usual with Korean cinema.

Kundo is an odd but charming amalgamation of influences. While very strongly identifying itself as a martial arts film, much like The Good, the Bad, the Weird (2008) in its heart it's a western. Its hero, Dolmuchi certainly lends himself to western tropes; a downtrodden man turned outlaw seeking vengeance. Add to that a Robin Hood-esque sub-plot involving a band of larger-than-life rebels and you have yourself one of the most intriguing South Korean imports since Mother (2009).

All is not well in Joseon dynasty Korea (approximately mid-19th century). There are consistent strife between the the ruling aristocracy and the poverty stricken farmers and artisans that struggle to survive. During this time Jo Yoon (Kang) is taken from the brothel he was born in, to the house of his father (Joo) and told he is the heir to his fortune; that is until his half-brother comes along. Thus, Jo Yoon slides into all-consuming evil and claws his way back up to power after the "death" of his brother. His brother's pregnant wife (Kkobbi) avoids harm so Jo Yoon hires a lowly butcher Dolmuchi (Ha) to finish the job. Dolmuchi refuses and his family is killed as a result. Thus the game of good and evil is set with Dolmuchi siding with a team of bandits who steal from the rich to give to the poor.

Members of the the gang of bandits are introduced with flashy tile cards while riding in the saddle which emulates the slap-dash styling that defined Sergio Leone's most iconic westerns. You get a very clear sense of the personality of the bandits from the get-go and director Jong-Bin Yin wisely uses this short hand so we feel invested in their fate while concentrating solely on the struggles, both internal and external, of Jo Yoon and Dolmuchi. Dong-Won Kang is rapturous with his calm, concise words and demeanor. The concubine's son turned nobleman wears white and darts with the steady grace of a samurai yet his preening has a very dark and sinister side. Meanwhile Jung-Woo Ha's Dolmuchi is as coarse as a bag of rice with his constant swearing and Fairbanksian swagger. Despite receiving a burn on his head after the death of his family, Dolmuchi keeps a sense of humor and takes relish in relieving noblemen from their top knots. The commonality between the two is a seething anger that threatens to undo their progress.

Despite it's epic sweep and solid acting, Kundo may ultimately have trouble putting butts in the seats due to its fighting sequences. The fights are well choreographed don't get me wrong, but there's nothing that stands out apart from perhaps the final showdown. Even then Jo Yoon is put at so much of a disadvantage one can't help but speculate that if he had the use of all his limbs and faculties he would once again be able to easily defeat Dolmuchi. In addition there are some scenes that seem to conflict in tone with one another for no apparent reason. Then again it might just be a product of film grammar from another culture I have yet to truly understand.

All in all though, Kundo is a riveting Korean epic with a story that rivals the best of western mythology. There is some strong character work and directorial choices that sets it apart from others of its ilk and while the fighting scenes were short of spectacular, the bandits and their unique skills sets stop them from becoming monotonous.