This still from “Uprising,” provided by Netflix, shows Cheon-yeong riding a horse. (Image courtesy of Yonhap)
BUSAN, Oct. 3 (Korea Bizwire) — While not the first film to tackle slavery, “Uprising” stands out as one of the most compelling Korean films to explore this theme, masterfully portraying the sheer absurdity of a system that reduces human beings to disposable objects, stripped of all dignity and rights.
The film opens with the execution by decapitation of a renowned scholar, whose belief in the equality of all people enrages King Seonjo of the Joseon Dynasty (1392-1910), setting the tone for the rest of the movie.
It then introduces the story of a young slave boy, Cheon-yeong (Gang Dong-won), who is whipped on the calf in place of his master, Jong-ryeo (Park Jeong-min), a boy of a similar age, whenever the noble child fails to meet the expectations of his stern father.
Cheon-yeong, intelligent and brave despite his “lowly” status, secretly begins teaching his master military skills, driven by a desperate desire to avoid the whip and escape the fate of countless predecessors who were beaten to death.
As an unlikely bond forms between them, they gradually become close friends. One day, Cheon-yeong proposes to Jong-ryeo’s father he take the state military exam in Jong-ryeo’s place, after his master repeatedly fails to pass. In exchange, Cheon-yeong requests his freedom from slavery as a condition.
Cheon-yeong not only helps Jong-ryeo pass the exam, but also ensures he ranks at the top, securing him a position close to the king as his chief military adviser. However, fate takes a cruel turn when Jong-ryeo’s father breaks his promise and forces Cheon-yeong back into subjugation.
Amid a sudden invasion by Japanese forces and the years of ensuing war, the two young men drift further apart. During this social turmoil, Cheon-yeong joins the civil militia, where his unmatched sword-fighting skills earn him a fearsome nickname, “the Blue-Robed God.” Meanwhile, Jong-ryeo begins pursing his former childhood friend, mistakenly believing that Cheon-yeong is responsible for his family’s deaths in a fire.
This still from “Uprising,” provided by Netflix, shows Jong-ryeo confronting his father. (Image courtesy of Yonhap)
The historical action saga compellingly depicts the extreme social turmoil faced by the two men, illustrating the rigid slavery system and the desperate struggle of slaves to overthrow it. It also portrays how individuals, despite recognizing the system’s unfairness, can become constrained by their upbringing within it and unable to fully break free from its confines.
Actor Gang Dong-won fully immerses himself in his character, delivering a powerful performance that could mark one of his most memorable roles. Park Jeong-min also offers a nuanced portrayal of his character: a gentle, kind boy who grows into a deeply hurt and complex man, believing his best friend is responsible for the tragic loss of his entire family.
Under the universal themes of equality and friendship, director Kim Sang-man, known for films like “Midnight FM” (2010), incorporates distinctly Korean elements, such as the traditional musical storytelling art of Pansori.
Co-writer and producer Park Chan-wook, the acclaimed director of “Old Boy” (2003) and “Decision to Leave” (2022), helps add unexpected humor to the film, lightening the mood, while simultaneously provoking anger at an unfair society, through contrast and visually shocking scenes of noblemen throwing lavish feasts amid post-war poverty while commoners starved to death with birds pecking at the eyes of the dead.
The sword fight scene near the end, set against a backdrop of thick sea fog, is one of the highlights of the film. In this scene, three main characters initially fight against one another, only to later join forces amid confusion and a sense of loneliness. The misunderstandings and tension dissipate as the fog finally lifts.
“Uprising” was selected as the opening title for this year’s Busan International Film Festival (BIFF), which opened Wednesday, as the first over-the-top production in the festival’s history. The film is not suitable for children under 17 due to its violence and graphic bloodshed.
It is scheduled for release on Netflix next Friday.
(Yonhap)
