Sai Yoichi back in Korea

[Stefan Nutz]

For those on the list, like me 5 minutes ago, who haven't heard anything of a new Sai Yoichi film, here some information. I was a little
surprised that he is now back in Korea making movies. His new one is called "Soo" (Su, ?) and Sai, or better Choi Han-il 
(also credited as Choi Yang-il), did the screenplay as well. It will be interesting to see how Sai's career will develope in the upcoming
years - in case he stays in Korea. 

Synopsis:
Soo is in the business of solving problems. When his brother Tae-jin is killed by a gang, he takes his brother's identity to seek revenge.
Source http://www.koreanfilm.or.kr

More information:
http://www.hancinema.net/korean_movie_Soo.php


It's bloody and brutal, and harrowingly so. Japanese-born Korean director Choi Yang-il (Yoichi Sai) brings the Korean audience 
a hardboiled vengeance film with a slightly different flavor. When you think of blood-splattered retaliation, Park Chan-wook's vengeance 
trilogy or Quentin Tarantino's ``Kill Bill'' series may come to mind. But imagine such a film stripped of fancy cinematographic techniques 
and devoid of stylishly choreographed action sequences. Every gesture and grimace is meticulously planned, according to the director.
But Choi keeps the camera at a certain distance to portray the no-cut skirmishes. The product is heightened realism, and you believe in the 
brutal violence and the raw human instinct for survival. Tae-su (Ji Jin-hee) is a notorious hit man called Soo, who waits 19 years to finally 
reunite with his long-lost twin brother Tae-jin _ only to watch him get shot in front of his very eyes. Revenge becomes Soo's sole reason for 
breathing, as he single-handedly sets out to hunt down his brother's murderer. Here, the movie slips into major traps of common plot 
elements: identical twins the striking opposite of each other _ one good, the other bad _ and the woman that falls in love with both of them. 
If you're craving something purely ``hardboiled,'' think again. There is a unique combination of raw and primitive crudeness and 
unexpected tenderness to the movie, however. Knives take the place of guns, the usual choice of weapon in contemporary action films, 
and Soo embodies all the animalistic human instinct for survival and safety. In a desperate struggle to stay alive, Soo unhesitatingly 
scoops out an enemy's eyeballs with his bare hands.  But Soo degenerates from a cool-headed and merciless professional killer into 
a helpless, guilt-ridden brother. Tae-su sports a sharp dagger to slash dozens of lives, but it ceases to be a weapon when he falls 
asleep with it in his dead brother's bed. It is a material extension of a vengeful yet shattered and lonely soul 
There are in fact moments when you forget the protagonist is a callous and an unfeeling killer. Soo is quiet and reserved when not on 
duty, and is obedient in front of his boss, a fatherly figure. Soo draws sympathy from viewers as he embraces his dead brother's body _ 
it's chilling as you see two identical faces, one lifeless and the other helpless. Monologues addressed to Tae-jin throughout the movie 
mark Tae-su's tragic humaneness. There is also a comically surreal dimension to his undying persistence. Attacked by bullets, clubs, 
swords and hatchets, he manages to keep surviving. You stop grimacing at the insensitive brutality past a certain point. 
Source: www.dvdasian.com


best,

Stefan 
www.pageofmadness.com 
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