HARBIN

Directed by Woo Min-ho

Starring Hyun Bin, Lee Dong-wook, Jeon Yeo-bin, Park Jeong-min, Park Hoon

World Premiere - Toronto International Film Festival 2024

Commentary by Seton -

Harbin is a Korean film. World Premiere at TIFF September 8, 2024. A biographical period drama film directed by Woo Min-ho and starring Hyun Bin as Ahn Jung-geun. Ahn is the Korean independence activist who in 1909 assassinated Itō Hirobumi, the first Prime Minister of Japan.

From the perspective of an American with no substantial knowledge of Korean history, I was deeply moved by this film. I was not hindered by having seen any other production on the topic and half with excitement and half out of curiosity, I read some other reviews. This won’t change my view, I’m pretty stubborn when I form an opinion. Personally, I feel that comparing films on the topic is a disservice to the film at hand. The only comparison should be against the subject matter. Filmmakers make their films based on their vision and not in conjunction with another’s work. The individual projects have their own unique agendas and so they’re not true or fair comparisons. In that regard, my opinion is no one should compare them as a first run film review and find when they do that its rather insulting. I do understand that our first foray into a subject matter may become our standard we judge all others against. If that is so, then Harbin will be my standard. In any case, my perspective is a fresh point of view from the outside. 

I can be a wee bit detailed in my reviews & studies and if you’ve found my obscure new site, then you’ve most likely seen Harbin already. If not, know I don’t hold back and if spoilers are an issue for you stop reading now and see the film first. Otherwise, continue and see the gems I noticed or “perceived” if not intentional and enjoy my thoughts as you see this work of art for yourself. Yes, I saw it three times at TIFF – plan to see it again as soon as it is available, and I hope they market the soundtrack so I can buy the CD and listen to its music often.  

Early on we are immersed in the failures Ahn has faced and the arduous struggle to persist against surmounting odds. Recovering from a serious lapse of judgement, he didn’t have an easy time of it from both his colleagues and his own inner turmoil.  The film uses black and white as it teeters between present time and haunting memories and backstory which I found the subtle absence of color to be an authentic technique drawing me in deeper as it gave me a sense of being in Ahn’s head. 

Right from the get go, we see the battles they fought. With the way this was filmed (the location, the action, the music) it felt real. Men in these situations would do anything to stay alive and stop their enemies. At times their grappling moves reminded me of wrestlers the moment their game plan changes from ‘pin their opponent’ to ‘just don’t get pinned’. So, it wasn’t a gun fight, or mechanical, it was man’s brute strength. They were afraid, they were angry, they were exhausted, they fought with every ounce. The music that played during this scene immediately woke my soul and raced my heart. Violins gave rise to the intensity and elongated the strain while the percussion added horror and violence. The music itself acted out the battle. Combining it with the action made it richer and gave the moment tangibility. The musical bellows accompanying the sorrowful cries of the aftermath could make you weep as we pan away to visions of solitude. The snow swirling through the trees, the piercing light of day casting down shadows that almost looked like souls moving among the trees. I felt the loss of fallen comrades.

The captured Japanese are humiliated for their loss and Ahn shows us for the first time, he does not know his enemy, not truly. He also shows his presumptive nature that others will behave with the same conviction he possesses. The Japanese general, Tatsuo Mori (Park Hoon) is adamant about having the right to die dignified according to his culture’s beliefs. Ahn, out of ignorance but with compassion albeit misplaced, prevents this and subsequently turns Mori into a vengeful obsessive personal advisory. [unique to Hyun Bin and Park Hoon they played this similar scenario in ‘Memories of Alhambra’]

Mori’s brutality 10 minutes into the film really sets his core function throughout. The make-up department was phenomenal with his character specifically. The costume and camera angles drive home the formidable force he commands. Mori’s singularly focused motivation is juxtaposed to the freedom fighter’s solidarity. Throughout they demonstrate the collaborative efforts of the team. Even though some viewers will argue we aren’t given depth of character stories, I find staying on the outskirts of such detail adds to the endlessness of time Korea suffered oppression, the feeling of solitude and loneliness. Even though we may want more, we’re given just enough of each character. This freedom fighter army is an ‘all in’ endeavor shown when ‘good-bye’ letters are collected from each and we realize the seriousness of the jeopardy they each face handling their individual tasks. This alone, collectively expresses the sense of backstory. I also like the ambiguity for keeping the story mysterious. 

There is plenty of intrigue all around. Moments when loyalties are questioned, and actions taken to prove such loyalties or discover disloyalty. One such act to prove loyalty, Ahn cuts off the tip of his ring finger and uses the blood to paint the trigram portion of the Korean flag. Later, the rooting out of a mole is played out as the camera fixates on the emotional distress fighting against Hyun Bin’s skillful stoic face. At heightened times of unbearable sorrow Hyun Bin’s voice trembles with grief and his weeps are painful. His shaking voice pleads for his dead comrades with, “if we don’t bleed no one will remember them”. Their deaths wound Ahn’s soul and he feels directly responsible.

Their journey is long and clandestine to evade capture and interference from Mori and his men. The steady bow of the violins ring in a sort of death march as they begin their ride. Traversing the desert with its highs and lows the music turns hopeful as they ride up out of the depths. Watching the horses gallop across the melted ice bed, the combination of musical score and cinematography made me gasp in awe and my mind went to Oscar as for me, this moment was perfection.

Lee Dong-wook’s portrayal of Lee Chang-seop is immersive. Ms. Gong played by Jeon Yeo-bin who Ahn is often seen concerned for her safety retains an active role asserting her value as a resourceful ally and Russian speaker. She truly is a key participant. It is during an ambush they realize they have a mole feeding Mori information and a significant loss is suffered. The scene is performed masterfully.  Hyun Bin delivers a heart aching scene with Ahn’s incredible grief and sorrow reaching an unbearable level of pain. He is all the more determined to find the mole. As I mentioned before, the camera stays steady on Ahn’s face. Tears welling, body trembling as the disloyal mole is revealed. Such disbelief on how this could be and then we see how evil Mori is with his tactics in breaking the spirit of our comrade and that person’s conflicting angst. The tortured soul, out of his mind in fear, beating his head on the tiled floor – the scene is horrific, and the intricate sounds used as Mori continues his manipulation fills me with fear.

Sound is skillfully used throughout the film and often makes you feel the story comes off the screen into the room. It adds to the moment when Ahn is told his plan will have no escape route and this will be the end. He’s not alone as others will have similar sacrifice to misdirect Mori and success relies on a collaborated effort.

And so, the event is at hand, Ms. Gong looks stunning at the train station, and you get the sense of her profound respect and admiration for the heroic Ahn during their final exchange. She assures Ahn, “our fallen comrades will help you from heaven – thank you”. 

The camera choice to follow Ahn as he glides through the crowd fixated on Itō has an amazingly dramatic effect. So empowering. It’s smooth, it’s graceful, it’s masterful. “Koreya, ura!” He succeeded. Next, we see Ahn ascending the steps without weakness, so brave and commendable. He always had a sense of duty and a belief in doing the right thing for freedom and peace. The intensity of sound around this moment, I felt I was Ahn in every shaking breath as the noose is cinched.

Just as the opening battle of the film transitioned to a skyward view of forest trees, we see them again this time with the sound of church bells giving a mournful mood. And yet, hope is on the rise. Ahn had faith in his comrades, and we see that belief fulfilled in the strides they make in their progress.  Will more of his belief’s be fulfilled as the movement continues. Our comrades are back on their horses for their next journey in the pursuit. This time three riders when once there were four. Life goes on and the fight continues. “We must keep the fire going – the light into the darkness.”

Click the picture, link to TIFF & Trailer