As a South Korean history enthusiast who has spent countless hours delving into the country’s contemporary past, I must say that “12.12: The Day” is a riveting and poignant masterpiece that brings to life one of the darkest chapters in modern Korean history. The film serves not just as an entertaining political action-thriller but also as a powerful reminder of the nation’s struggle for democracy and its resilience in the face of adversity.
Among the most troubling periods in South Korean history is vividly portrayed in the film “12.12: The Day,” which narrates the events following the 1979 coup d’état, triggered by the assassination of authoritarian president Park Chung-hee on Oct. 26. Detailed and superbly acted by a talented ensemble including Hwang Jung-min (“Deliver Us From Evil”), this film is director Kim Sung-su’s first feature since 2016, offering an exhilarating and intensely suspenseful political action-thriller that explores uncharted territory in South Korean cinema. This meticulous exploration of events that shattered dreams of democratic reform and extended the nation under eight more years of strict military rule was a box office success upon its release in December 2023 in Korea. Now, it stands as a strong contender in the best international feature film Oscar race, representing South Korea’s submission in this category.
The movie “12.12” grossed $91.7 million domestically, making it one of those films that serves a purpose beyond mere entertainment. As South Korea’s first feature film to dramatize a pivotal and painful event in its recent history, the film is seen by South Korean audiences as part of a national process of reckoning, truth-telling, and reflection. The film’s underlying message to viewers in a nation that has achieved true participatory democracy is “this is what happened in 1979, and it must never happen again.” This message gains even more significance after the brief declaration of martial law by current President Yoon Suk-yeol on Dec. 3, and the subsequent political upheaval that ensued.
When narrating this tale, Kim and his fellow writers have carefully altered the characters’ names due to South Korea’s strict libel laws. They’ve added a disclaimer stating that characters and events are fictionalized for dramatic effect. Despite everyone’s true identity being clear and the precise sequence of events, this doesn’t diminish the film’s power. However, there’s an unusual feeling when observing depictions of real-life individuals whose names have been subtly modified to prevent legal complications.
Initially, we find one of the mysterious figures from history: General Chun Doo-gwang, portrayed by Hwang Jung-min in the movie, who was actually Gen. Chun Doo-hwan, a coup leader and head of Defense Security Command. He took over as military dictator for eight years following these events. Assigned to probe into the assassination of long-serving president Park (depicted in Im Sang-soo’s film “The President’s Last Bang”), Chun clashes with General Lee Tae-shin, played by Jung Woo-sung.
Following the example set by Jang Tae-wan, commander of the Capital Garrison Command in Seoul, Lee has been assigned by General Jeong Sang-ho (portrayed by Lee Sung-min, who played President Park in the 2020s “The Man Standing Next”) to ensure stability during a smooth transition of power, which is being supervised by Prime Minister-turned Acting President Choi Han-gyu (based on the real-life figure Choi Kyu-ha, portrayed by Jung Dong-hwan).
In Kim’s movie, the story starts off at full speed as Chun sees an opportunity to take advantage of a temporary power void. The pace never slows down as his group of associates help execute the scheme through bribes, threats, and even the cold-blooded killing of fellow soldiers. Hwang delivers an explosive performance as this terrifying character, showcasing his acting skills without ever veering into overacting. He is a powerhouse on screen, portraying a monstrous figure who exudes charm, arrogance, and the cunning of a sewer rat. The line, “The night of revolution is short, but its glory lasts forever,” is one he delivers, adding to his enigmatic allure.
In a less showy manner but just as strong is General Lee (Jung), portrayed as an upright military figure who stands firm in upholding the law and thwarting Chun’s power grab. Despite being linked to Park’s oppressive regime, General Lee has been skillfully crafted and acted as a patriotic figure defending the nation’s values of honor and justice. Additionally, Jung’s towering height at 6’1″ lends him a physical presence over many cast members, including Hwang, providing Lee with an authority that aligns with his moral and ethical integrity.
One of the screenplay’s most potent sources of tension, even though the ending is already known, comes from its insightful explorations of loyalty and human psyche under extreme stress. As Chun’s influence within the military unravels, there’s a lot said about the Hanahoe, a secretive military group that originated from a society established by Chun in the 1950s and consisted of elite Korean Military Academy graduates. As the rebellion unfolds, these Hanahoe loyalists, reminiscent of sleeper agents in spy movies, betray their country by supporting Chun to demonstrate their allegiance surpasses any vow to safeguard the nation and its people. Notably, Ninth Division Commander Gen. Roh Tae-gun (played by Park Jae-hoon, outstanding), a character weakened by ambition and greed who bears resemblance to Roh Tae-woo, Chun’s successor as president in 1988, stands out as one of the most striking instances.
In this rebellion, we can observe a perspective influenced by the Korean educational system and seniority hierarchy. Chun’s disdain towards Lee, who didn’t attend KMA but went through Officer Candidate School (thus not part of Hanahoe), is deeply embedded in the narrative. The significance of age as a symbol of power, a principle rooted in Confucianism’s influence on Korean society, is strikingly evident. Junior officers and regular soldiers often find themselves in a challenging position, having to balance these traditional concepts with their loyalty to the nation.
Although it might be tough to fully understand the intricacies of the relationships among a multitude of characters and who’s aligned with whom, Kim’s skillful direction and precise editing by Kim Sang-bum ensure a straightforward portrayal of where the principal figures stand. The movie offers a lucid and gripping depiction of each strategic play and counterplay unfolding on the bustling streets and military bases of Seoul. Kim orchestrates numerous exhilarating action scenes, featuring massive troop and armored vehicle maneuvers that escalate the drama to a thrilling and stirring culmination.
12.12: The Day, skillfully crafted by cinematographer Lee Mo-gae (“Exhuma”), lighting partner Lee Seong-hwan, production designers Jang Geun-young and Eun Hee-sang, and composer Lee Jae-jin (“Asura”), whose score ranges from somber to energetic, offers a unique blend of gripping thrill and national relevance. The Korean title, “Seoul Spring,” is an ironic allusion to the delayed bloom of freedom and democracy that was anticipated in 1979 but didn’t truly flourish until much later.
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2024-12-17 06:46