Directed by: Choi Jae-hoon (최재훈) Starring: Jang Hyuk (장혁), Kim Hyun-soo (김현수), Joe Taslim, Jung Man-sik (정만식) Release Date: September 23rd, 2020
There have been a number of Korean films that have attempted to infuse traditional martial arts and swordplay genres with its own local flavors and rich historical contexts such as Shadowless Sword (2005), The Sword with No Name (2009), and Memories of the Sword (2015). And while often visual stunners, the results have typically better represented the great costume drama or period piece genre than the gritty actioners favored by fans of more traditional martial arts genres so greatly pioneered in Hong Kong, Chinese, and Japanese cinema. The Swordsman (2020), Choi Jae-hoon’s directorial debut may just be the right blend of of exciting sword-wielding action, drama, and warrior’s code to satisfy the appetites of more die-hard genre fans.
After a coup to overthrow the king, Joseon’s best swordsman and loyal bodyguard to the former king, Tae-yul (Jang Hyuk), abandons his position to begin a new life of quiet solitude in the countryside. Many years later, Tae-yul begins to suffer from acute vision loss and so he and his daughter Tae-ok (Kim Hyun-su) begin to seek remedies within a neighboring village. There, they encounter a merciless band of thugs from Chung-nara (or the Qing dynasty) who have been abusing the Joseon villagers with secret ransoms for their wives and daughters being stolen from their families and sent away as gifts to the Qing empire.
The thugs, lead by the fierce swordsman Gurutai (Joe Taslim), walk with an heir of untouchability as their criminal acts go unpunished out of fear of retribution from the Qing empire. But when Tae-yul’s daughter gets caught up in the slave trade, he is forced out of retirement and decides he must wield his sword once again to strike back at the ruthless menace.
The Swordsman takes that extra step in its sword design to help define each warrior in both personality and fighting style. For instance, lead protagonist Tae-yul (Jang Hyuk) wields a sword that resembles a simple wooden baton uniquely designed for countering foes in a non lethal way, but when unsheathed reveals itself as the deadly dual edged sword he was gifted by fellow sword master Seung-ho (Jung Man-sik). Medium length and pronged at its tip, it enables him to effectively bob and weave his opponents with tight upright spins and agile somersaults across the ground to deflect, disable, and slash at the limbs of his attackers that come in the dozens.
This weapon seems to reflect the hardened exterior of Tae-yul’s soul, forged in the defeat he can never forget all those years ago. Now committed to a life of peace with his daughter, he shows himself to be merciful when fighting with his sheathed sword. But provoke him by stealing away his daughter, one better be ready to feel the deadly sting of his years-long buried pain. This careful consideration of weapon design extends to all the key fighters in The Swordsman and gives the action sequences and the identity of the warriors a fresh look of its own.
The Swordsman is a fun hybrid of mainstream historical drama and traditional martial arts action. The mainstream feel initially comes through the clean look of the film’s costuming and make up style. This comes mostly through the characterization of Tae-yul’s daughter Tae-ok (Kim Hyun-soo) as she gleefully whisks through the market or is otherwise basking in the natural beauty of the world, all smiles through a simple meal or after catching dinner with her sling-shot. Like this, there’s a warm and entertaining first half of The Swordsman dedicated to establishing its protagonists.
The classic swordplay and martial arts style begins to permeate and eventually take over The Swordsman as the villains are introduced. Feeling like a Bruce Lee film, the thug posse enters the otherwise peaceful village complete with their brass-knuckle policies and over-the-top personality defining hairstyles. Their ruthless acts upset the balance of a world that needs to be put back into order by a lone savior, and Tae-yul is forced to unsheathe his blade once again to set them straight. This sets up a series of great action scenes and duels that culminate in an exciting final showdown to firmly establish The Swordsman in that long tradition of great martial arts movies.
(Sword puns intended) As far as pacing goes, there’s never a dull moment in The Swordsman. The editing is sharp and fluid. There’s no unnecessary romantic involvements, extended third acts, and never ending epilogues that often suck the wind out of a lot of Korean productions. Much like other traditional martial arts and action movies, when The Swordsman is over, its over. The End.
A great aura of mystique is given to the lead character of Tae-yul. Like the long-running Japanese film series about the blind samurai Zatoichi (1962-1989), there remains a thick cloud of mystery surrounding the past of the lead protagonist. His guiding principles of loyalty, honor, and code of morality are interpreted only through his actions. This makes the character much more alluring and elevates his status as a legendary swordsman meant for the record books. I could easily watch Jang Hyuk return as Tae-yul for future adventures and tribulations in various sequels and spinoffs.
The Swordsman features some amazing looking swords but doesn’t take the opportunity to establish that personal connection between sword and swordsman. Like the fabled sword “Green Destiny” in Crouching Tiger, Hidden Dragon (2000), or the Hattori Hanzo crafted katana in Kill Bill (2003), I found myself craving for that relationship between man and sword to come across a bit stronger. There is a scene where Tae-yul visits a blacksmith that could have made for a great time to forge a sword to his unique specifications, or perhaps even give a name to his weapon (too cliche?) but it didn’t come.
Due to the balancing act of appealing to mainstream and traditional martial arts fans, the action style in The Swordsman does feel a bit reserved at times. Perhaps in order to preserve a 15+ rating, there are moments that seemed noticeably free of blood or to cut away entirely from various slashes or stabs. The blood that does appear looks mostly digital as well, which one can grow accustomed to. But I can’t help imagine how much more pleasing it would have been if The Swordsman went full blood spray and splatter using that classic crimson colored paint whenever limbs were severed or throats slashed like in Lady Snowblood (1973) or the Lone Wolf and Cub (1972-1974) series.
While The Swordsman moves quickly when things start to pick up, the first part of the film may cause viewers to doubt its commitment to the action genre. With the swordsman Tae-yul in hiding, he would aptly be described as a hermit were it not for his bubbly daughter he keeps close. His expressionless puppy-dog face is mostly covered by his long and unkempt hair, and acknowledges others with the slightest of nods or smiles. This caused me to think his fighting days were behind him and that the story was going to be more of a mental battle than a physical one. Thankfully, the actual story of a father’s effort to retrieve his kidnapped daughter picks up just as doubts emerged and the unstoppable train begins to roar before you know it.
The story itself in The Swordsman could easily be described as overly played. The badass father or protector figure going to extreme lengths to recover an innocent acquaintance or loved one has taken many forms. But we know this formula works because it has brought us some of the best action movies like Taken (2008) or The Man From Nowhere (2010). So the question remains, “Does The Swordsman provide enough of a make-over to make the ride worth revisiting?” I believe the answer is a resounding YES! The Swordsman manages to meld the best vibes of Shaw Brothers classic One-Armed Swordsman (1967) and the mysticism of legendary Japanese swordsman Zatoichi (1962-1989) into a familiar yet fresh new tale of gritty swordplay and heroism set in the uniquely Korean backdrop of the Joseon era.
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