Notable Cast: Hyun Bin, Park Jeong-min, Jeon Yeo-been, Jo Woo-jin, Lee Dong-wook
History is an infinite source of inspiration to the culture at large, shaping civilizations into what they are today; the influence of the past is something that shapes current-day mindsets the world over. South Korea has had a very tumultuous and challenging past like many other nations, and so it is no surprise that various mediums would look back to inspire their own telling of stories from yesteryear. Film is a massive avenue for retelling slices of history, and of course, just like the figureheads explored in these works or the very events being depicted within them, there always comes talks of propaganda or skewing facts to fit personal or political narratives.
To say that a film, such as Harbin, is subject to finding itself outside of historians or politically fueled conversations from being had would be foolish, but to say that a film with a subject matter like this cannot be entertaining would also be to discredit a film as such. I went into this one with certain expectations, given that I am a huge fan of director Woo Min-ho and his previous works. In fact, his work prior to this, The Man Standing Next, also takes a piece of political history, albeit more modern than the events that unfolded in Harbin station that fateful day; suffice to say, director Woo has really become one who has a knack for telling these stories through cinema. So, how does this stack up to Woo Min-ho's previous works? Honestly, I think it fairs quite well, and of course, with these types of movies in general, I think the mileage will vary from person to person.
Without diving too deep into everything going on in the world at that time, I will just say Korea was an oppressed nation. A whole crew of freedom fighters led by Ahn Jung-geun (Hyun Bin) were plotting to make moves to put a hit out on Japanese Prime Minister Hirobumi Ito, who is played by veteran actor Lily Franky, who I have been a massive fan of for years. While the plot is certainly what makes up the bulk of this feature, it is filled with lots of espionage, dialogue-heavy moments, and lots of factions and key figures to keep track of. There is plenty of twisting and turning, backstabbing and betrayal, but it also psyches out the audience on who to route for. It is a relatively standard affair for this type of historical thriller, but it is well done here. It can admittedly drag its heels from time to time. Still, the slower moments are counterbalanced by some memorable set pieces and an atmosphere that is quite tense and suffocating the whole time as these individuals are fighting for their own lives and the lives of so many that have yet to come. With the war happening all around them, the moments of brutality and missions being pursued during it all are what keep this tale of espionage feeling rather large and impacting with its scale. The assassination is sort of the driving force of the narrative, but so much more happens leading up to this important moment in Korean history.
From a purely technical standpoint, Harbin is an absolute juggernaut of a production from CJ. The cinematography here by Hong Kyung-po, a huge veteran of the industry, who is most probably recognized for his recent collaborations with Bong Joon-ho, course, Parasite being undoubtedly the largest work to ever come from South Korea, is absolutely stunning, to say the least. This film is set in the dead of winter, and every frame has a certain stillness that reflects the harsh cold. From the opening shot of a camera panning across a vast frozen lake as Ahn Jung-geun traverses towards his destiny to the almost rhythmic swaying of a train as one of the best moments of classical spy espionage is unfolding, we see each section of the train rocking in and out of our hero's line of view, Hong keeps the film oozing with atmosphere from first frame to last and knows when to pull back on the larger picture and when to take it in to focus on the individuals pushing said picture forward. With a man with as many iconic films under his belt and some of the most beautifully framed images in those films, this still remains a standout in his already legendary career. With such a strong sense of visuals, a score by composer Cho Young-wuk would only make sense as the perfect marriage to the stunning imagery on display. The music in this movie is on point. I know some say the best score is the one you don't notice, but an argument could be made that sometimes the score becomes a character in and of itself. Every piece is so emotional but never feels melodramatic or manipulative, which can end up being a detriment to films like this. Instead, Cho manages to pick the right note every time, and the choices of instrumentation and the percussion used throughout flow with every shot, and sometimes, the strength of both can be an absolute audiovisual powerhouse. Woo Min-ho got peak cinema here with both his cinematography and musical score. Harbin's music belongs on a nice vinyl pressing. It is a score to be studied and one of the very best I've heard all year.
As with pretty much every other Woo Min-ho effort, here we have quite the ensemble cast. Hyun Bin is the perfect casting choice as the stoic Ahn Jung-geun, a figure in East Asia who is quite controversial depending on who you are, but again, what has happened and what is being depicted here, he is quite easy to route for. His performance is nuanced enough that you can let the other characters who weave in and out of the narrative opportunities to shine as well, Park Jeong-min, who has impressed me since the early days of his career really shines here as Woo Duk-soon, a sort of hot-headed yet compassionate figure who lets his mouth get the best of him at times and makes for a great counterpart to the quiet Ahn. Jo Woo-jin, a recent favorite of mine, just nails his role as Kim Sang-hyun. He is a chameleon who sinks into every character he plays, and I find him getting the most out of every role he turns in. His passion for the craft shows on-screen. Park Hoon leans into the villainous role of Mori Tatsuo, one of the Japanese who are captured by Ahn's men early on. His arc is a bit predictable, but he is an intimidating presence, and you feel the fear he instills in others each time he walks into the frame. Lastly, Lily Franky does a commendable job as Hirobumi Ito, and the make-up department really got him to look the part. While the Japanese characters can feel one-note, they get plenty of screen time to not just become cannon fodder, which feels insensitive to say but is more than often the case for these historical thrillers.
At the end of the day, I think Harbin could be categorized as an awards showcase film, and while I wouldn't argue with that mindset and sort of agree, I think it would be a disservice to the work as a whole. I believe it is an important story, and while we just got Hero, which was a musical take on Ahn's life, this is a more grounded and far less melodramatic depiction of Ahn Jung-geun and his fight for Korea's freedom. While not initially gaining freedom for the nation, his actions have not been forgotten and his story is an integral part of history now. I think Harbin is a thrilling film that highlights men fighting for a cause, and that is always worth exploring on film. For those that like these types of films, I highly recommend this one. I think it gets a little dragged down at times, but overall is highly engaging and filled with some of the best visuals and score you will see and hear for a film all year.
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