After spending ten years in jail as an assassin for a criminal organization, Su-hyuk (Jung Woo-sung) has had a lot of time to think. With nothing left but an envelope of items belonging to the man he once was, Su-hyuk heads towards freedom and whatever pieces of his life he can manage to pick up. Surprised to learn he has a daughter with his ex, Su-hyuk realizes how important it is to shed every connection to his past. However, he quickly learns just how difficult it will be to leave it all behind.
For thirty years now, Jung Woo-sung has wowed audiences with his portrayals of dozens of widely diverse characters. From his breakthrough role as a high-school dropout in BEAT, to playing a bounty hunter in the Korean Western action film THE GOOD, THE BAD, AND THE WEIRD, Jung Woo-sung has solidified his name as one of the most popular and versatile Korean actors today. No stranger to playing a complex role, Jung Woo-sung now enters a new era as director. There are many advantages when an actor transitions into the director’s chair, especially when they are featured in the film themselves. As director, we get to see Jung Woo-sung the actor exactly as he intends us to. Su-hyuk’s emotional upheaval as a father and former criminal comes across clearly in tight shots that highlight the character’s intense facial expressions. His body language in A MAN OF REASON conveys his emotions in a way that transcends the spoken word.
Jung Woo-sung has created a harmonious blend of unique characters. The raw acting of each directly conveys their inner turmoil and helps to successfully draw the audience in. This is likely due in part to the direction of Jung, who is reported to have instructed the actors to remain uninfluenced by outside media when starting filming for A MAN OF REASON, instead encouraging them to get the inspiration for their characters from the script alone. The two criminals hired to kill Su-hyuk, played by Kim Nam-gil (THE FIERY PRIEST) and Park You-na (HOTEL DEL LUNA), stole the show. The pair delivered stellar performances that are simply begging for their own spin-off show. Woo-jin (Kim Nam-gil) offers frequent comedic relief to the otherwise serious film, and Jin-a (Park You-na) balances her partner’s madness with cool intensity that challenges even the film’s most violent villains.
Good and evil are portrayed both through the characters’ actions and by their appearances. Woo-jin and Jin-a nail the look of unstable criminals with brightly colored outfits uncommon of those trying to keep a low profile. Su-hyuk’s dark outfit and glowering presence—as well as that of his past self, clad in a blood-red shirt—are in stark contrast to the brighter, more youthful shots of Min-seo (Lee Elijah) and their daughter, In-bi. Min-seo wears a cross necklace as a symbol of her unwavering faith and innocence; but for Su-hyuk, his family has become all he believes in, and her necklace is his symbol for vengeance. For Su-hyuk, there shall be no forgiveness without the spillage of blood.
In-bi is first introduced as the angel she is, beaming with childlike innocence born into a world of chaos. Su-hyuk first lays eyes on his daughter as a total stranger, peering through a glass barrier with her mother as In-bi practices ballet. The glass serves both as a physical barrier to mirror their own emotional one, and as a reflection of himself and what he has become. As he peers in, his glassy eyes become a window of his own making, reflecting the choices that have led him down this seemingly one-way path. In this moment, we can see his ten years of punishment culminating in his decision to leave his life of crime behind for good.
To transport us back ten years ago, the soundtrack pivots from melancholic marimba (provided by the talented Mothervibes) to a certain pop music earworm so powerful one cannot help but be immediately transported back into the early 2010s. The usage of Gotye’s “Somebody That I Used to Know” is a stroke of genius here. Just like Su-hyuk, this one hit wonder was essentially unavoidable a decade ago only to seemingly disappear. The usage of this song not only makes it easier for audience members to believe the time lapse but also to imagine what headspace the characters were in during the flashback. Good action thrillers rely on a soundtrack that transports the viewer into the emotional headspace of the characters onscreen – A MAN OF REASON goes a step further by transporting the viewer back through space and time.
The movie portrays Su-hyuk as a man of reason and as a man of action – he is reasonable in his demands, and he is reasonable in his expectations of the consequences. Throughout his mission he encounters innocents, former convicts who left the game, and hardened lifelong criminals who can’t seem to escape the vicious cycle. Everyone has a story that reinforces Su-hyuk’s current beliefs, but surprisingly, everyone’s stories are similar. Their choices have led them to where they stand in the present day, and their choices determine where they will be in the future. Su-hyuk knows his decisions aren’t just his alone to make anymore; he has a family to live for now. A MAN OF REASON is a delightfully unique action thriller and an exciting first look at Jung Woo-sung’s creative vision as a director.
Catch Jung Woo-sung in his directorial debut in A MAN OF REASON, brought to you by Epic Pictures, out now in select theaters in North America and on video on demand.
Tags: A Man of Reason, Beat, Epic Pictures, Gotye, Hotel Del Luna, Jung Woo-Sung, Kim Nam-gil, Korean Film, Lee Elijah, Mothervibes, Park You-na, The Fiery Priest, The Good The Bad and The Weird
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