(Korean Movies) The Throne, 2014

The Throne, 2014

The Throne, 2014
period drama
Audience over 12 years old
running time
125 minutes
cumulative audience
47th Indian International Film Festival 2016


“Let’s be good. A child needs to do well to survive!”
Yeongjo, who suffered from controversy over the legitimacy of the succession to the throne throughout his reign, makes ceaseless efforts to become a perfect king in academics and etiquette. The precious son Crown Prince, who was obtained late, hopes to become a king recognized by all, but is disappointed by the Crown Prince who is not as expected.

“Since when did you think of me as the Crown Prince?
I thought of you as a child again!”

The son who became the joy of his father Yeongjo with his extraordinary intelligence as a child. Unlike his father, Sado, who excels in arts and martial arts and has a free spirit, wants to become a perfect crown prince according to Yeongjo's wishes, but he becomes increasingly resentful of his father, who does not know his true feelings and only pushes him.

meet the king and crown prince
The fate of not being able to connect the relationship between father and son,
The most tragic family story in history begins.


The most tragic '8-day record' in history

first day
“This is not a country job, it’s a household job.
Now, as the head of the household, I am disposing of the child who tried to kill my father.”
Crown Prince goes into the back pole and Yeongjo drives an iron nail.

Second day
“… The Crown Prince's birth mother, Youngbin, said:
Guain's life was between the respiratory tract and asked for a response."
Yeongjo punishes the crown prince and orders him to write the gyoji that makes him a commoner.

third day
“Since when did you start thinking of me as a prince and also as a child?”
Yeongjo catches the crown prince who escaped after breaking the back pole, locks him up again, and covers the back pole like a tomb.

fourth day
“This is a problem in my family that cannot cross the palace walls.”
The apostle picks up a fan in an unbearable thirst, and finds a dragon painting he had drawn in it and weeps.

fifth day
“Mong-ah, why didn’t you bark last night? Are you afraid of the boss too?”
An apostle who foretells his fate in the dark afterlife.

sixth day
“Can’t a son give his father a glass of water?”
The three sons, unable to speak with the apostle, appeal to Yeongjo in tears.

seventh day
“All I wanted was one warm gaze from my father, one kind word… ”
Yeongjo and Sado are having a heart-to-heart conversation as father and child, not as king and crown prince.

eighth day
“Think about it, mourn it, call him Crown Prince Sado”
After confirming the death of his son, Yeong-jo gives the name of regret.


12.3 million <The King's Man> Director Lee Jun-ik,
Re-examine the most tragic family history in history!

Director Junik Lee focuses on the family history of 'Sado', a historical event that everyone knows but no one knows properly, and tells the story of 'Youngjo', a father who had to be king at any moment, and 'Sado', a crown prince who wanted to be a son even for just one moment. It is the most tragic family history recorded in Joseon history. He is familiar with the genres of historical dramas such as <The King's Man>, <Hwangsan Bee>, <Like the Moon in Clouds> and <Pyongyangseong>. It is a true story that is more tragic than any Shakespeare tragedy.”

Director Lee Jun-ik, who wanted to portray a causal relationship spanning three generations, from 'Youngjo', 'Sado' and 'Jeongjo', said, "If the story of 56 years is captured in two hours with a composition that intersects the present and the past, I thought it would be a good way to unravel a story that spanned three generations.” In particular, 'Apostle', who delighted 'Youngjo' with his extraordinary intelligence, from childhood, 'vice cleanliness', where their sincerity starts to diverge from each other, the 'yangwi wave', where the conflict between the two becomes sharper, and the conflicting interests of the families surrounding them. It is planned to arouse dramatic tension and emotional empathy in the audience at the same time by densely showing.

Song Kang-ho, who first worked with director Lee Jun-ik through <Sado>, expressed his trust in him, saying, "The story of <Sado> is a real tragedy in history that everyone knows, but it was reborn with the warm gaze of director Lee Jun-ik." . Yoo Ah-in said, "Director Jun-ik Lee is a person with a caring and sharp insight that looks at the work from an actor's eye level. Based on trust, I was able to fully focus on filming.”

Director Lee Jun-ik, who has captivated audiences with his new perspective on history and his directing ability to show affection for humans, will present a story that goes beyond reenactment of history and communicates with people living in the modern age.

The most intense meeting of 2015!
'Youngjo' that only Song Kang-ho can show
'Apostle' who had to be Yoo Ah-in
The perfect character completed by irreplaceable casting!

Song Kang-ho, a national actor with outstanding acting skills, and Yoo Ah-in, the representative of the next generation, met for the first time through the movie <Sado>. The 'best acting ability' that Korean audiences believe and see, such as <Monster>, <Snowpiercer>, <The Attorney>, etc., Song Kang-ho transformed into a king for the first time in his filmography and led the rise of the Joseon Dynasty. It deeply expresses the complex inner side of the father 'Youngjo', who is driven to He said, "'Youngjo' was not only the ruler of a country, but also the head of a family, so I wanted to express the human suffering of 'Youngjo'. Also, since I was acting in 'Youngjo' of various ages from 40s to 80s, I had to pay attention not only to the appearance but also to one breath, one voice, and one gait."

On the other hand, Yoo Ah-in, who showed a unique mask and appealing acting skills through works such as <Wandeuk> and <Veteran>, became the 'Prince Sado' itself, who met a tragic fate in conflict with his coercive father, 'Youngjo'. move the “After seeing the scenario, I was knocked down by the bitter feelings between the rich man and the rich man Yeongjo and Sado. I thought deeply about the feelings of the 'Apostle', who was burdened with a heavy fate as a Crown Prince who had to inherit the throne."

Director Lee Jun-ik, who completed the irreplaceable casting with the intense meeting of Song Kang-ho and Yoo Ah-in, said, "I felt that the character Song Kang-ho was really 'alive' as he played 'Young-jo'. In front of the camera, every moment, not even a second, he was not 'Youngjo'. From the scenario stage, I had Yoo Ah-in in my mind. Even when filming a movie, the temperament itself was already an 'Apostle' to the extent that there was no need for acting direction."

Moon Geun-young, Jeon Hye-jin, Kim Hae-sook, Park Won-sang
Characters surrounding 'Youngjo' and 'Sado'
Demonstrate a shining presence based on solid acting skills!

Moon Geun-young, Jeon Hye-jin, Kim Hae-suk, and Park Won-sang, the actors of Chungmuro, who give credibility just by their names, formed a relationship with the royal family of the Joseon Dynasty in <Sado>. Moon Geun-young, who captivated viewers with her neat charm and stable acting skills from her debut work [Autumn in My Heart] to [The Garden of the Wind], protects her son by playing the role of Hye-gyeong-gung, the wife of Crown Prince Sado and mother of Jeongjo in <Sado>. It is a three-dimensional representation of a person who shows a heartless figure who turns away from her husband for the sake of it. Actress Jeon Hye-jin, who was well-received by the audience for her performance that perfectly melted into characters such as Choi Joong-ryeong's wife in <Human Addiction>, is the concubine of 'Youngjo' and the birth mother of 'Prince Sado'. Youngbin' was played. Through her mourning witnessing the tragedy between her husband and her son, she is expected to arouse sympathy for the audience.

In addition, actress Kim Hae-sook, who boasts a wide spectrum from the nation's mother to strong villains such as <Sunflower>, <Kangcheol>, <Bat> and <The Thieves>, will meet with the audience as 'Queen Inwon', the adoptive mother of 'Youngjo'. Kim Hae-sook shows the image of an infinitely kind grandmother to 'Sado', while to 'Youngjo', she exudes the cool charisma of a great queen who never backs down. Park Won-sang, who left a deep impression on the audience as an intelligent actor with the appearance of a pro-democracy activist in <Namyeong-dong 1985> and a labor lawyer in <Broken Arrow>, played the role of 'Hong Bong-han', the father-in-law of 'Sado' and father of 'Hye-gyeong-gung'. He portrayed a rational person who had no choice but to condone the death of his son-in-law for the safety of his family.

Director Lee Jun-ik said, “The Apostle is a film that follows the psychological changes that arise between people. I wanted to take a deep look into the emotions of people who do their best to protect their precious values amid conflicts in family relationships. The solid performances of famous actors such as Moon Geun-young, Jeon Hye-jin, Kim Hae-sook, and Park Won-sang densely expressed the conflicting interests of the characters surrounding the tragic historical event.”

The tragic family history of <The Apostle>, completed with the addition of Korea's leading actors who are active on screen and CRT, will give a deep resonance to the audience.


A historical event that everyone knows
But no one really knew
Five historical keywords in <Apostle>!

#1 King Yeongjo, the 21st king of Joseon
His real name is Lee Geum, the second son of King Sukjong, and as the half-brother of King Gyeongjong, he was appointed Crown Prince during the reign of King Gyeongjong. Yeongjo was the longest reigning period in the 500-year history of the Joseon dynasty from 1724 to 1776, leading to the renaissance of Joseon in the 18th century. Yeongjo, who had a soft, agile and somewhat sharp personality, pursued perfection in his studies and etiquette. King Yeongjo promoted politics for the livelihood of the people by alleviating the rivalry between the overheated gangs through the Tangpyeong policy, but he suffered from controversy over the legitimacy of succession to the throne for the rest of his life due to the suspicion of poisoning his older brother Gyeongjong and the birth of a concubine of a lowly status. He makes a sad choice that leads to the death of his son, Crown Prince Sado.

#2 Yeongjo's second son 'Prince Sado'
Born in 1735, seven years after Prince Hyojang, the eldest son of Yeongjo, died at a young age, his real name was Lee Seon, and Sado was appointed Crown Prince before he was two years old. Sado was very clever from an early age, and he read 'filial piety' at the age of three and practiced the example of 'sohak', but as he grew up, he showed an artistic temperament, immersed in martial arts and painting rather than academics. Yeongjo's excessive expectations for his only son turned into a sudden disappointment. Yeongjo, who devoted his heart to the education of the crown prince with a heavy responsibility to somehow continue to work, causes conflict between the two of them. Unlike his father who seeks perfection and perfection as a king, Crown Prince Sado, who is a free and enterprising way of thinking, goes on an irreversible path after hearing extreme distrust and harsh rebuke from his father, Yeongjo. This leads to a tragic event in which, at the age of 28, he is imprisoned by his father in a back-jug and dies.

#3 Mischievous expectations 'vice cleanliness'
Proxy cleaning refers to performing various tasks on behalf of the king with the permission of the king. Usually, the royal family was in charge of the cleaning by the Crown Prince, the Crown Prince, and the Crown Prince. In 1749 (the 25th year of King Yeongjo), King Yeongjo was ordered to conduct politics on his behalf when he was 15 years old as a measure to train Crown Prince Sado, who was far from the king's temperament. King Yeongjo was deeply displeased with Crown Prince Sado, but did not achieve the cleanliness by proxy. It is said that Crown Prince Sado performed the cleanliness with the responsibility of the crown prince, even though he heard shouts and abusive language rather than praise and encouragement.

#4 Misaligned sincerity 'Yangyu wave'
Ambition means that the king will pass on his throne to his heir before he dies. The 'absentment wave' refers to a series of political changes due to the declaration of the abdication of the king. The 14th (1739), 16th (1740), 20th (1744), 21st (1745), and 25th (1749) years of the reign of Crown Prince Sado are 4, 5, 9, and 10 respectively. , was 14 years old. King Yeongjo decreed Sado as Crown Prince and used it appropriately as a wave of abdication. In fact, even though there was absolutely no intention to do so, the Crown Prince and his subjects had to dissuade the abdication with all their might. However, the relationship between the two people has deteriorated irreversibly and the anxiety of Crown Prince Sado has also worsened through the vicarious cleanup and the abdication wave.

#5 Irreversible Destiny 'Im Oh Change'
In 1762, in the year of Im Oh, Prince Sado, who was imprisoned by his father Yeongjo, died within 8 days. In 1762, when Noron's servant Na Kyung-eon reported to Yeongjo of the 10 misconducts of Crown Prince Sado, King Yeongjo's anger reached its peak. Yeongjo ordered the apostle to commit suicide, and when he failed, he issued a doctrinal decree to abolish the crown prince and locked him in the back yard.

References | Korean National Culture Encyclopedia


Director Lee Jun-ik, Song Kang-ho, and Yoo Ah-in Talk About The Apostle!

# Director Jun-ik Lee
Q. What made you decide to make the story of 'The Apostle' into a movie?

A. <The Apostle> is a film that captures the tragic family history behind the history that everyone knows. I wanted to focus on the family history of 'Sado', a historical event that everyone knows but no one knew about, and draw a causal relationship spanning three generations, from 'Youngjo' to 'Sado' to 'Jeongjo'. It follows the story of a father who had no choice but to make his son die by locking him in a back yard, and their hearts and minds. It's a tragic story, but I wanted the audience to sympathize with the conflict between 'Youngjo' and 'Sado' and to meet historical dramas more closely. They lead the story based on facts, but in the end there are people. I tried to focus on the psychology and emotions between 'Youngjo', 'Sado', 'Jeongjo' and numerous characters including 'Hyegyeonggung' and 'Youngbin'.

Q. How did you want to portray 'Youngjo' and 'Apostle'? How was the acting of Song Kang-ho and Yoo Ah-in?
A. I started filming thinking, “An actor named Song Kang-ho is ‘Youngjo’ and an actor named Yoo Ah-in is ‘Apostle’”. Even though he had never played the role of a king, Song Kang-ho was 'Youngjo' itself. There was never a single second in front of the camera that was not 'Youngjo', and I felt really alive. In the process of adapting the screenplay, I kept thinking of Yoo Ah-in in the role of 'Sado'. The unique rebellious temperament felt by Yoo Ah-in made him feel like an apostle, and he did a great job without acting direction.

Q. It seems to be the story of a father and son spanning three generations of King Yeongjo, Sado, and King Jeongjo, but the relationship between women around men is also interesting. How did you portray their relationship, which is a family relationship and a power relationship at the same time?
A. There is a saying that power cannot be shared between the father and son, and the kitchen cannot be shared between mother and daughter. It means that when a certain social role is assigned, conflicts with it occur within the family, but I don't think it is limited to 'Youngjo' and 'Apostle'. In the process of being born, growing, and maturing, all beings in the world determine how wisely they can overcome the conflicts of relationships and form the whole of life. I wanted to show women's thoughts and choices as a value more than power, not women on the men's periphery around power. They are women who risked their entire lives as much as men and did their best to protect their values by risking their lives.

Q. What are the viewing points of <The Apostle> that director Lee Jun-ik suggests?
A.. I thought that it would be a good way to unravel the story of three generations if the story of 56 years was captured in two hours with a composition that intersects the present and the past. Rather than clearly explaining the characters in the film, I wanted to look into their relationship. I want the audience to focus on the psychology and emotions that go deep between the characters of the moment as they watch the movie.

# Song Kang-ho
Q. What drew you to the scenario and made you choose?

A. The subject of 'Apostle' has been produced and introduced in many dramas and movies. I was curious about the power of a tragedy that actually happened, a true story. Like 'Sado', I don't think 'Youngjo' is a common-sense father. I was drawn to <Apostle> by curiosity about the reason why I had no choice but to kill a bloodthirsty because of what kind of position it is to be a monarch of a country and the title of king.

Q. How was your collaboration with Director Jun-ik Lee?
A. I watched all of Lee Jun-ik's works without missing a single one. His works are always warmly felt. Even if it tells a tragedy or a heartbreaking story, warm gaze and embracing are melted in it. Although we had been working together in Chungmuro for over 20 years, I was always curious because I had never met a relationship, and I wanted to work with him, and I finally met him through <Sado>. He was very good as a director, but he was a person I respected as a person even when filming was over. It was an unforgettable filming, and he is someone I always want to see and want to meet again in the next project.

Q. What does Song Kang-ho mean by 'Youngjo'? What kind of worries did you go through to express the inner conflict of 'Youngjo'?
A. I tried to convey the character of 'Youngjo' convincingly to the audience. 'Youngjo' has the appearance of being the head of a family, but his pride as a monarch who leads the country seems to have worked the most for him. I wanted to deeply deal with the human agony and pain of 'Youngjo' within the limited running time of the two-hour movie. I think that the pressure of the king's seat to the point of throwing out blood had a big effect on 'Youngjo'.

Q. How was your relationship with Yoo Ah-in, who played ‘Sado’?
A. He is a very attractive actor and I think he is the best actor for the role of 'Sado'. There is a point in Yoo Ah-in's acting that stimulates the maternal instinct. The desperate situation of 'Apostle' and the unavoidable madness will be conveyed three-dimensionally through Yoo Ah-in's acting, and it is likely to shine greatly in <The Apostle>.

Q. What are the viewing points of <The Apostle> presented by Kang-Ho Song?
A. <Sado> is a film that captures the feelings of the father 'Youngjo' and the son 'Sado' in a desperate yet calm and candid manner. Based on historical facts, not fictional works, the focus is on the emotions of two people, 'Youngjo' and 'Sado'. I tried to honestly express the feelings of the father and son. A unique, strong, and powerful historical drama seems to have been completed.

# Yoo A In
Q. What drew you to the scenario and made you choose?

A. <The Apostle> is the work that attracted my heart the most in my short acting life. I thought that I should not miss the once-in-a-lifetime opportunity to play ‘Apostle’. As an actor, I thought that the opportunity to express these feelings through acting came to me, so I just wanted to hold onto the role of 'Apostle'. Throughout reading the script, I was knocked down by the intense emotions that I couldn't tell whether the father 'Youngjo' and the son 'Sado' had a love-hate relationship or a bad relationship.

Q. How was your collaboration with Director Jun-ik Lee?
A. He has a lot of energy and is considerate of seeing the work from the actor's eye level, but he has a sharp insight like a blade. He usually feels like a person with a free spirit, but when he starts filming, he accurately pinpoints the actor's acting with a cool gaze. We were able to focus on filming while relying on each other based on mutual trust.

Q. Who is the ‘Sado’ played by Yoo Ah-in?
A. I tried to closely follow the feelings of the 'Apostle' and the circumstances he was in. It seems that 'Apostle' did not simply classify 'Apostle' as a madman, but tried a lot to reveal his emotional weakness so that the audience could fully understand, sympathize, and grieve in his heart. Because I am a character who shows compassion and compassion for wanting to hold the hand of 'Apostle', I think I have revealed a lot of my soft side.

Q. Is there anything you put effort into acting the dramatic emotional change of 'Apostle', who has a complex emotional line?
A. The situation in which the character 'Apostle' is placed is very special and not common. The 'Apostle' is faced with a fate from which he cannot escape, and has no choice but to accept the fate that has gone awry. I had to think deeply about the uniqueness of the emotions of the character 'Apostle', who was burdened with a heavy fate as a crown prince who had to inherit the throne. In particular, we focused on the emotional change of the 'Apostle', from anger and despair before entering the back week to extreme fear in the back line. Also, the film itself has a composition where the past and the present intersect, so it was helpful when acting. It seems that every day of the 8 days became a point, and it worked easily to adjust and control the amplification of the smoke.

Q. How was your collaboration with Song Kang-ho, who played ‘Youngjo’?
A. As an actor, he respected me very much. When filming, 'Youngjo' and 'Sado' were the 'community of fate' that created the most important moments and the most important performances, so I kept in mind my role of playing 'Sado', not my own role, and created a comfortable atmosphere throughout the filming. made it He is a cautious senior that is too difficult to deal with, but his acting and breathing were perfect to the point of pretending to be.

Q. What are the viewing points of <Sado> presented by Yoo Ah-in?
<The Apostle> is a film that tells the story of all fathers and sons in the world, and can be seen as a conflict between the old generation and the new generation. The clash or conflict between the generations represented by the character 'Sado' and 'Youngjo' is dealt with from a human point of view, so the audience will be able to fully empathize with the conflict between 'Youngjo' and 'Sado'.

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