Silmido

From the very beginning until the very end, in this totally "male" film (women are visible for about 5 minutes) we see people of different background making choices - often neither right nor wrong, but what is necessary at the moment. However, political and military choices are often different, the latter is usually linear, without so-called second thoughts. Even if the mission is questionable, "politically incorrect". On the other hand, Korea could have been united if the Unit 684 succeeded...

Anyway, the film is evenly strong, based on true events, characters are elaborated and their developments and deeds are logical and reasoned. The cast is interesting as well, even those depicting protagonists can easily merge into team-play and joint decisions, not being stubbornly single heroes as we often see in e.g. US or Soviet war films.

Silmido is undoubtedly for you if you like powerful military dramas.

As the South Korean movie industry matures, more of their feature movies should become of interest to mainstream western audiences. Silmido is one of these movies.

The Korean peninsula continues to experience behind-the-scenes low intensity engagements between the two nations. Set in the 1960's, the nK strikes at the ROK leadership and prompts a response. The KCIA sponsors the formation of a special army unit to strike back at Pyongyang. Comprised of civil prisoners and other outcasts, the movie follows their formation, training, and deployment.

The film covers a great deal of cultural ground. The viewer gets a sense of the male-dominated, hierarchical government with its intrigues and power brokers. The spartan living conditions, training and discipline are not inconsistent with ROK practices. The motto used in the film - "Loyalty" - illustrates the conservative bent of the military system and the social schism which exists between it and the South Korean people at large. The film could have used "Strength and Honor" from Gladiator to the same effect. As a code of behavior, the concept of loyalty is the thematic underpinning for the major plot turns.

While lacking some of the pacing and plot roll-out elements of first tier film efforts, Silmido still delivers an interesting story line and succeeds as an action movie. It offers a harsh indictment of the government's leadership, not unlike American Viet Nam conflict movies, and the viewer is left with a perspective of Korean soldiers as army ants whose sole function is to live and die protecting their society.

Korean film is blossoming, from the action thriller "Shiri" to the delightful romantic "My Sassy Girl." "Silmido" takes this ability to make excellent films in a political direction. "Silmido" is to South Korea as Costa-Gavras' "Z" was to Greece: truth-telling about terrible government misdeeds. Unlike "Z," however, "Silmido" is not only shown at home, but is hugely successful, demonstrating the increasing strength of Korean democracy. One hopes that films like "Silmido" are a sign of increasing openness, and better times ahead for the Korean people.

As was the case with "Z," the excellence of the film guarantees an international audience for the story, and the widespread attention may well lead to additional revelations. Although the details of the government plot are sordid, the film romanticizes the actions of death-row convicts, and one suspects that the filmmakers took some liberties in portraying some of their noble and comradely behavior. Nevertheless, an first-rate movie and highly recommended.

This one shouldn't be seen while feeling vulnerable.

In 1968, a group of 31 death-row prisoners were selected by the South Korean military with the intention of crafting them into a super-tough unit to slash the throat of the North's President, in retaliation for a similar attempt by the Communist government.

The endured an unspeakably gruelling training, but became the ultimate fighting unit: no past and no worries about the fate (just as long as they don't get captured). However, at the 11th Hour, the South Korean government altered policy and retracted the standing orders: no go on the mission. So the condemned men, 'Unit 684', who lived, trained and survived together were left with no purpose, and were a potential powder keg on the diplomatic level… I expect you can guess what happened next.

This movie went stellar in Korea, and given the success of films like Shiri, JSA, Taegukgi and Champion I can appreciate why. This is concerned heavily with national identity, loyalty, responsibility, duty, faith and friendship. It's also gutsy, violent and tough – so much so you might end up feeling you've trained with the men themselves. One of the strengths of Woo-Suk Kang's film is that it's engaging: you feel like you evolve with the men, that you live with them. Is this isn't brought about by any particularly subtle techniques, but by cinematic brute force. The film pummels you over the head with images of torment, crushing, bombastic Hans Zimmer-esquire music, gunfire, widescreen effects, explosions, and close-ups of bodies smashing rocks.

It's melodramatic to the bone. OTT, posturing and hard to take seriously.

But for some reason, I was moved, and impressed. Despite it's excesses and bombast, the film gets under your skin. The issues surrounding the country's responsibility to the men it sentences, then entrusts with its dirty work are raised, but not properly examined, ditched in favour of loud speeches and actors being manly. But the film's resolve to take itself absolutely seriously pays off. Despite the length and tracks of boredom that set in, director Kang's decision to milk scenes for all their worth makes you care. And you will be moved for the men.

There is also some genuine food for thought. The film lacks the scale to examine some of its more controversial issues properly, and the villains it creates are your basic dispassionate men-in-high-places-in-suits, but the betrayal wrought on the prisoners is made more complex by the changes in some superiors' characters, and by the ideas of bravery and cowardice that are briefly raised.

I find it slightly dispiriting that a Hollywood-like lack if complexity has seeped into some of South Korea's film (e.g. Shiri, Tube, Taegukgi), this is an angry dog of a film, committed to the men it depicts. I'm sure major historical liberties were taken, and for Korean cinema, sample Save The Green Planet above this, but this still an accomplishment, and a tough experience.

They gang rape nurse and there are several "GAUNTLET" style shoot-outs. All of that would make for an exciting movie you'd think. This movie tells the story of North Korean shock troops that launched a botched mission to kill the South Korean President. It starts off with the soldiers being recruited from death row (a la Dirty Dozen). They then run them through a series of obstacles, but the real obstacles are the ones in their hearts and minds. Now I tried to power through one of these films before "JSA", it gets all muddled down in political and societal dialog. Now "OLDBOY, I COME WITH THE RAIN" I my favorite movies (behind "THE PRINCESS BRIDE" of course). But I don't understand Korean society or politics, all I know there is no witty repertoire or a since of comedy. Nor is there any on my sign unleash hell, or _You NEED me on that WALL, you WANT me on that WALL!" Just reading the subtitles my eyes roll to the back of my head and the next thing I know the soldiers is in a running gun-battle with the trainers.