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Welcome to Dongmakgol is a thrilling, inspirational pacifist film that portrays the remarkable directorial presentation of film-maker, Park Kwang Hyeon. Filmed amidst the setting of the Korean War, this serious conflict explores the congregating trails of a crowd of bitter opponents who found more than what they expected in the serene village called Dongmakgol.
This fortuitous gathering starts when Smith (an American pilot) crashes in the suburbs of Dongmakgol and is invited in by the villagers who, despite their humorous language barriers, tried their best to make the American feel relaxed and at-home.
Later, Smith was joined by the last existing affiliates of a fated squad of North Korea’s territorial armies: Lee Su-Hwa (commanding officer), Jang and nationalistic teen fighter Taek-Ki; all these soldiers ended following a dazed villager named Yeo Il back to the village.
As expected, the North Koreans got angry when Lieutenant Pyo Hyun-Chul and Seo Jae-Gyung (South Korean soldiers) entered serene village. The villagers, who did not know that the war was destroying their nation, were left wondering what the commotion was all about.
The story then continues just as anticipated by the viewers with the soldiers overcoming their distrust, discovering common ground, performing male-bonding rituals, and slipping with twisted easiness into the agricultural life, before taking weapons once more to guard their newfound home against US troops.
Interesting and unique plot implements the immensity of the lengthy movie. Even though the characters are likable and have an authentic relationship that is satisfying to the viewers, every element of this film is naturally conventional and predictable.
After a forceful confrontation involving the soldiers that hastily turns uproarious thanks to the nonchalant, unemotional reactions of the villagers, a lost hand bomb ends up demolishing the food stores of the villagers. Noticing the harshness of their deeds, the two sides create a cautious ceasefire agreeing to assist the villagers to restock the storehouse.
Though bewildered by the villagers’ lifestyle, the soldiers later understood that they had found a type of utopia where principles mean nothing and the mistakes from the past can be left in the past.
Nevertheless, just as they begin to inhabit into this serene new world, outer forces continue to make threats to obliterate Dongmakgol. Even though the soldiers can stick together to defend their new acquired acquaintances, can their forces and Dongmakgol survive?
Although the film is predictable, it keeps the viewer wondering what will be the fate of Dongmakgol; this element makes the movie extremely fascinating. Welcome to Dongmakgol features a score by Joe Hasaishi based on the play by Jang Jin, thus making it a complete experience. It can make the viewer cry, laugh and create all sorts of engaging emotions.
It is the type of pacifist movie that feels neither ham-fisted nor superficial. Regardless of its setting, it is not entirely a film about Korean re-unification but instead revolves around the notion of tranquility and harmony in general by using South and North disagreement as a way to draw attention to the illogicality and irrationality of war. But again, it demonstrates this concept without preaching.
Perhaps the most outstanding and arresting aspect about Welcome to Dongmakgol is its liberal and plentiful use of hilarity and paranormal practicality to entwine its amiable little story. Even though its message is serious, the movie balances its most abstemious elements with an excellent measure of humor.
In a different perspective, the movie feels like a thriving gag-a-minute comedy, whose funny stories are too many to talk about in this review. One attention-grabbing sequence in the movie is the spontaneous pig attack that is shown in slow motion, which leaves the viewer and possibly the whole casting crew amused throughout its time-span.
Once more, spontaneous slow-motion boar hunt is something which has to be witnessed to be accepted as true filmmakers and actors should include this pessimistic CGI-laden break in their films.
The production produce a great perfection of pitch which was mainly contributed by the directors and the supporting crew, with noticeable and outstanding film actors like Kang Hye-Jung (performing as innocent Yeo-II) and Jung (performing as North Korean commanding officer).
Within the fixed period, the film-makers did their best to make the cast well-formed and pleasing, especially the soldiers. Even though Miyazaki (Japan’s greatest animation directors) is cited by Park Kwang-Hyeon as an influence (noticeable influence in the film), there is a different Japanese filmmaker that reflects mainly in the stirring ending (Choi 170).
When men decided to fasten their arms, fighting a good fight on behalf of the village is the sequence that stirs up memories of The Seven Samurai. However, rather than feeling dutiful or artificial, there is a sense of truthful comradeship that is seen in the film.
This comradeship has not only been promoted by the actors of the film but also those who performed earlier. The unavoidably heartbreaking conclusion made the film to end more successfully. At the end of the day, watching the film is an experience that reflects the sentiments and emotions of the characters it portrays.
Just like the defense forces in the movie, it is possible that the viewers also do not want their experience in Dongmakgol to end. I definitely did not, and am enthusiastically in anticipation of the next movie from its endowed young director. I believe the public would be waiting in anticipation if the next film is brilliant and thrilling as this one.
In conclusion, there are so many positive things to say about Welcome to Dongmakgol. For instance, the camera works are extremely beautiful and triumphs in creating an almost wraithlike environment, bringing the village and the verdant that surrounds it to life.
The movie all together has a refined, cultured, sophisticated and a sleek look, however some scenes are sub-standard. Some people may find the slow-motion involving the boar attack strange, but I found it eye-catching and interesting.
One cannot doubt the genuineness of Welcome to Dongmakgol or its authentic complexity. However, its lack of objective or effort to do anything original with an inadequately prescribed plot is evident. Although it is engaging, amusing and likeable, Kwang-Hyun Park’s film offers more than just a comical experience, if not diversion.
This however does not make the film sub-standard or mediocre, but instead it is very interesting and the message being conveyed is serious. The comical scenes are captivating thus creating suspense and expectancy. One thing I love about this film is that three different sides of this war came together in the reserved Dongmakgol village.
Even if they detested each other in the beginning and they did not understand each other due to communication and cultural barriers, they still united as one. They also created strong bonds with the villagers and became one people. It is a great film portraying strong ethical bonds among the Koreans.
Works Cited
Choi, Jinhee. The South Korean film renaissance: local hitmakers, global provocateurs, USA: Wesleyan University Press, 2010. Print.
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