- Audience over 15
- running time
- 134 minutes
- cumulative audience
- 5318007 people
- 12th Asia Film Awards 2018
Tae-soo, who wanted to live a good life with all-round power, meets Han Kang-sik, the architect of power, after twists and turns, and rides the core line to win.
In an important time when the regime changes, an unexpected crisis strikes in front of those who were looking for an opportunity to form a new board…
In 2017, the Republic of Korea turns upside down!
“Is there a better country for the powerful to live in than Korea?”
The movie <The King> that started with the question
The absurdity of Korean society from the perspective of the victims
There were many movies
The seriousness or problem was given enough.
the absurdity of Korean society.
From the perspective of those in power
Wouldn't it be possible for the audience to feel the contradictions in it without any reluctance?
If so, those problems
I started working on the scenario because I thought I would be able to discover it more clearly.
<The King> solves serious problems in Korea
This is not the film I want to present.
Expressing social contradictions with satire and humor like a madang play
I wanted to make it fun and enjoyable for the audience.
Director Han Jae-rim
[ ABOUT MOVIE ]
An unprecedented event in Korean history! It turns coldly!
Exciting development! Overwhelming visuals!
Experience the exhilarating catharsis!
The movie <The King> is the story of a Tae-su, who wants to live a stylish life with undisputed power, meets Han Kang-sik, the architect of power who controls the Republic of Korea to his liking, and unfolds to rise as the king of the world. Unlike the films that conveyed a message by portraying the absurdity of the Republic of Korea through the socially underprivileged, this film <The King> reveals the absurdity of society from a new perspective by revealing the true face of the powerful rulers dominating the world. As such, <The King> begins by asking the audience the question, 'Who is the king of Korea?' Director Han Jae-rim said that around 2014, he started planning <The King> out of the frustration of “Is there any country like Korea where powerful people can live?” His frustration was finally completed with <The King> by combining the absurdity of society and cinematic fantasy. The key was to express his desire for power to rule the world and move according to his own taste without objection to the audience. For this reason, director Han Jae-rim tried to show the twists and turns and joys and sorrows contained in a man's biography rather than an event-oriented development. Thus, the expanding story centering on Park Tae-soo's character gives the audience a sense of immersion and helps them to experience exhilarating catharsis at the end. In particular, the modern history of the Republic of Korea, which went through turbulent times from the 1980s to the 2010s, was expressed in the most elegant and classic way, not from a fierce back view, but also did not miss a satire on reality.
The movie <The King>, which poses questions to the audience through cinematic fun and satire contained within, will open the door of January by depicting today's sensational Korea in 2017.
Best acting synergy! There was no such combination!
Jo In-seong, Jung Woo-sung, Bae Seong-woo, Ryu Jun-yeol
Welcome the return of all-time acting kings!
As the best topic to open 2017, the movie <The King> will feature the best acting synergy with actors recognized in the Korean film industry. As actors who have been loved by the audience have come together to 100% digest their characters in various genres, expectations are rising both inside and outside the film industry with a new combination.
In the movie <The King>, Jo In-sung takes on the role of Park Tae-soo, a man who wants to have undisputed power, who made a comeback to the screen after 9 years. Jo In-seong said, "The screenplay for <The King>, the actors to work with, the trust in director Han Jae-rim, and the charm of the character were the reasons I had to do <The King>." It would not be an exaggeration to say that Park Tae-soo is a life character for Jo In-seong, who has been waiting for a comeback on the screen for a long time. Jo In-seong plans to unfold delicate and diverse emotional lines covering the modern history of Korea, from high school when he learned the taste of power to designing and planning the power of the Republic of Korea and becoming a figure who reigns over the world. In addition, Jung Woo-sung, who captivated the audience with his overwhelming charisma for each work, will play the role of Han Kang-sik, a candidate for the next-generation prosecutor who designs and plans the power of the Republic of Korea. Jung Woo-sung said about Han Kang-sik's character, "From the outside, he looks serious wearing clothes of power, but if you look inside, you can see the funny side of power." Jung Woo-sung uses the character of Han Kang-sik, who moves power, to show thick and charismatic acting. In addition, Bae Seong-woo takes on the role of Yang Dong-cheol, a key figure in Strategy 3 and an obedient prosecutor in front of power, adding vitality to the play. Yang Dong-cheol's witty lines in the film, such as "Pride is short-lived, you have to look big, look broad", are expressed through his skillful acting, making the film's story interesting throughout. Lastly, Ryu Jun-yeol, who is active in various fields, took on the role of Choi Doo-il, the second-in-command of the wild dog group, who moves in the darkness behind the splendid world. Ryu Jun-yeol said, "Doo-il looks at the opposite direction from Tae-soo, Kang-sik, and Dong-cheol, but he has a decalcoman-like attribute with them. It was always different, but on the one hand, I had to show a very close relationship.”
The movie <The King>, which is attracting attention among the audience by showing the best combination of acting combinations that has never been seen in Korean film history, will give you pleasure just by watching the actors' performances as well as the material of the movie.
satirizing the world with rustic murder
Best Storyteller, Director Han Jae-rim
Korea's modern history
Completing the penetrating story sharply and exhilaratingly!
Director Han Jae-rim, who made his splendid debut in the film world for <The Purpose of Love>, won the Best Screenplay Award at the 26th Blue Dragon Film Awards and the Best New Director Award at the 43rd Daejong Film Festival. Afterwards, he won the Best Picture at the 28th Blue Dragon Film Awards through <Elegant World>, solidifying his position as the best storyteller. And in 2013, <Contemplation>, which contains the desire of powerful people to achieve their ambitions through contemplation of people, mobilized more than 9 million viewers and won the Best Director and Best Picture at the 50th Daejong Film Awards. take place From <The Purpose of Love> to <Contemplation>, director Han Jae-rim captivated the audience by not following the typical story development, but with humor and satire through the lines of rustic murder. This time, we return to <The King>, which contains the other side of the powerful people in Korea.
The movie <The King> is a story about the backs of key figures who move power. If director Han Jae-rim's previous work <Contemplation> expressed the weakness of an individual that can be felt between fate and desire for great power, <The King> freely depicts people who are already dominating the world and enjoying a splendid life. paid In particular, it quickly develops a story that penetrates the modern history of Korea and captures the attention of the audience by stylishly expressing the splendid world of powerful people and the dark side behind them. The process of a man who wants to have undisputed power, learns the taste of power and enjoys a splendid life without harshness is expressed in an ecstatic way that it feels like a fantasy. The dynamic story unfolds by the appearance of a new character chasing them who reigned like a king, gives the audience a refreshing and deep catharsis and gives new cinematic fun. In addition, the characters' rustic lines and actions contained in the right place will cool the hearts of the frustrated audience.
The mega project <The King>, which will provide new fun to the audience through the worldview completed by director Han Jae-rim, will meet the audience with a sensuous direction, empowering actors' performances, and a movie that the audience can sympathize with and feel refreshed. .
Largest! 280 production spaces alone
Check out the site of history completed by the best production crew!
One of the biggest tasks of <The King> was to capture a huge story that encompasses the modern history of Korea on the screen. In order to solve such a task, production crews from each field, who have been recognized for their best skills in name and reality, for <The King>, such as cinematographer Kim Woo-hyung, art artist Lee In-ok, and makeup artist Son Eun-joo, came together.
First, it is a video production that penetrates the turbulent era of Korea. Cinematographer Woo-hyeong Kim of <Assassination> thought that the film should contain the past, present, and future because it is a work that depicts Tae-soo's life. So, what he thought was most important was a sense of unity. Cinematographer Woo-hyung Kim, who filmed with the keyword 'penetrate' rather than having the feeling of the era in the background, used anamorphic lenses as a full set for the first time in Korea. He tried to express the visual beauty from the 1980s to the 2010s, and at the same time give new stimulation to the audience with unique colors.
The second is the expression of space that encompasses the times. Director Han Jae-rim thought of art as an important part to the extent that he said, "I tried to express the space in a sense of scale by following Park Tae-soo's life in the structure of the narrative." Therefore, <The King> was a new challenge for art director Lee In-ok, who was in charge of the film's art. As directed by Han Jae-rim, she completed about 280 spaces in the film alone. In particular, since it is a space that encompasses all times, props that fit the place were very important. The art team completed the mise-en-scène by finding all the visual materials from magazines to dramas of that time.
Lastly, it is a classic that conveys the atmosphere. Director Son Eun-ju, who was in charge of makeup for <International Market>, focused on makeup, being wary of the times being too prominent. In particular, the main characters tried to give subtle changes rather than extreme changes according to the flow of the times, and the characters around the main characters expressed the sense of the times. In this way, without special makeup, he made an extraordinary effort to capture the tone of the film by using the popular colors of the era and the colors that were popular in each era.
<The King> with them will captivate the audience by expressing the perfect self-portrait of the era by adding sensuous visual beauty and splendid sights to the densely expressed scenario.
[ PRODUCTION NOTE ]
Production Report 01.
From the first camera used in Korea
Decalcomani, even the phantom shooting technique!
It penetrates the visuals from the 80s to the 2010s!
Director Han Jae-rim, who has sensibly expressed symbolic scenes in each movie, will meet with cinematographer Kim Woo-hyeong of <Assassination> to present a splendid and sophisticated visual beauty this time. In order to visualize the modern history of Korea from the 80s to the 2010s of the movie <The King>, director Kim Woo-hyeong challenged various methods such as using a full set of anamorphic lenses for the first time in Korea as well as different camera work.
#01. A look that transcends the times! The epitome of classic
Director Han Jae-rim said, “I had to find a classic. Although it was in the 80s, it was like a modern thing, and it was important to keep the characteristics of the times apart from the times. We tried to find a point where we could see the movie in one tone,” he said, referring to the direction of discussion with cinematographer Kim Woo-hyung about the concept of the movie. For that point, cinematographer Woo-hyeong Kim used anamorphic lenses as the first full set in Korea. However, there was a problem that it was difficult to use with other lenses because of the unique color and contrast differences of anamorphic lenses. So, cinematographer Woo-hyeong Kim created an unshakable look that penetrates an era by combining a lens and a light in one set.
#02. The overall balance is balanced, and the expression is light and witty!
Camera work expressed according to the viewpoint of the Taesu
In addition, the camera work was also important to express the material that might be heavy in a light and witty way. Through the natural movement of the camera, director Kim Woo-hyeong expressed the change of the Taesu's psychology from before he knew the taste of power until he came to the center of power. The intimidating appearance of Han Kang-sik succeeded in maintaining the overall balance by expressing it based on the viewpoint and emotions of Tae-soo rather than the emphasis of the character.
#03. Add a fantasy element to the real story!
Another element of cinematic fun!
Finally, it delivers cinematic fun to the audience by adding various fantasy elements to the real story. Director Han Jae-rim said, "I wanted to help the audience easily immerse themselves in the real story by using fantasy and exaggerated images." As he said, at the opening of the movie, a high-speed camera phantom is used to maximize the expressions of the actors in an instant, providing fresh stimulation.
As such, <The King> is going to present the fun that has not been seen in existing movies with classic and sophisticated visual beauty, based on the vast history of Korea spanning 30 years from the 80s to the 2010s.
Production Report 02.
A space that expresses the flow of the times!
Production design that depends on space usage
Create the perfect mise-en-scène of power!
One of the viewing points of the movie <The King> is a place that expresses the desire of a man who wanted to have absolute power from the 80s to the 2010s. From high school days, to a salaryman prosecutor who has learned the taste of power, to the Ministry of Strategy, which holds the pendulum of power in the Republic of Korea, the space was realized according to the view of the governor. Director Han Jae-rim said, “We strategically used space and color to realistically convey the undisputed power to the audience. I also kept in mind that it is a story that follows a man, not an incident-oriented film.”
#01. Salaryman Prosecutor Park Tae-soo VS Strategy Department Prosecutor Park Tae-soo
Art director Lee In-ok said about the movie <The King>, "The contrast between spaces was very important for a movie. I hoped that the contrast between the space when Taesu succeeded and the space when it was not was clearly different.” As he said, the contrast between the spaces can be clearly felt in the space of the governor when he was a salaryman prosecutor and the space of the governor after entering the strategy department. The office space of the office worker period was a narrow, stuffy, and empty space as it was a time that reflected the fiercely civic life. On the other hand, the space of the Ministry of Strategy is a place that enjoys power, so there is plenty of room, and large columns like a lobby were used to emphasize the luxury of the office. It was one of the spaces that showed that the situation of the character had changed as the two places were clearly contrasted.
#02. The core of the power of the Strategic Department, Archives
A library space that can be seen as the core of power, like Yang Dong-cheol's line, "In case of an incident like kimchi, it should be cooked as delicious as kimchi and then eaten properly." The secret archive, which was completed with the imagination of the art team, was thought to be a space like a root that distributes nutrients to the prosecutors of the Strategy Department, and judged that it was a scarier space than any other place. Therefore, in the case of the data room, it was set as a long corridor with no end in sight, and objects and materials were stacked on top of each other to create a sense of density. It conveys the tension of Tae-su when he first entered the archive to the audience.
#03. Top 1% Private Space, Penthouse
It had to be revealed that the penthouse was a private space that only those who possessed the top 1% of power could enter, and at the same time, it was Han Kang-sik's space, a space where the Tae-su was fascinated by power. As such, the penthouse was splendid in itself. The splendid and elegant appearance of the penthouse and the party appearance of those who have won power create a funny atmosphere by creating a strange contrast. The place is also a place that symbolizes the Hangang Sik. The satire was maximized when the appearance of enjoying a party while singing popular songs and dancing ridiculously met a high-class place.
The film, which depicts the modern history of Korea for the first time in Korean film history, is expected to present a new world to the audience by completing it in a space where a man can fully feel his lust for power.
Production Report 03.
Detailed changes over time!
From clothes to hairstyles
Birth of a classic that encompasses the modern history of Korea!
From the 1980s to 2010, Jo In-seong tried various transformations for a visual that encompasses the modern history of Korea. He had to make a lot of changes in his clothes and hair, as he had to digest everything from his high school days when he was a high school kid to the flashy days he was running on the road to success. To reflect such an era, Director Eun-Joo Son, who took on the role of makeup in <International Market>, drew out the character's appearance by looking for numerous references.
#01. Jo In-seong, who expresses 30 years of history without CG
The most important point of <The King>, which contains a vast history of 30 years through one man, was to avoid the outward appearance. Jo In-sung had to play various age groups, from high school students to those in their 40s. In the case of past scenes, there were many cases of using CG to reproduce the appearance, but in this <The King>, it was decided to implement the past appearance only with hair, clothes, and the surrounding atmosphere. Sohn Eun-joo, head of the makeup department, said, “Since the scope of the era is vast, I was very worried about expressing the details. Although our film deals with 30 years of modern history, we analyzed it by dividing it into units of one to two years.” In order to make a difference for each era, Jo In-seong took advantage of the character's details, such as directly participating in a makeup test during the pre-production period. His participation made it possible to express Park Tae-soo's character psychologically rather than radically changing his style, and succeeded in drawing the desired image.
#02. From shirt color and size to tie! More than 30 suits only!
A world of costumes that captures the splendid world!
In addition, various costumes are prepared as it covers the age of 30 years. As they are those with power, various suits were prepared for each character. Even in the color of the suit, a fantasy element was added by choosing a suit with a unique color rather than a suit with a commonly worn color. In the case of Park Tae-soo, from the time he was a salaryman to the point of entering the world of power, he gradually changed to a sophisticated look, while Han Kang-sik tried to maintain his sophistication by changing the tone depending on the scene.
As such, the movie <The King> is expected to increase the immersion of the audience with a synchronized rate that spans the ages by adding the actors' explosive acting skills and the efforts of the production team.