The Princess and the Matchmaker (궁합, Hong Chang-pyo, 2018)

Princess and the Matchmaker posterLove – is it an act of fate or of free will? For the women of 18th century Korea, romance is a girlish affectation which must be outgrown in order to fulfil one’s proper obligations to a new family and the old by becoming the ideal wife to a man not of one’s own choosing. Love, in this world, would be more than an inconvenience. It would be a threat to the social order. In Hong Chang-pyo’s The Princess and the Matchmaker (궁합, Gunghab), each and every decision is dictated by birth, but as our soothsayer reminds us, serendipitous meetings can change all that’s gone before.

A severe drought is plaguing the subjects of Joseon, and their eyes are on their king to sort it out. For complicated reasons, many assume the pause in the rains is down to the gods’ wrath over the aborted wedding of problematic princess Songhwa (Shim Eun-kyung) some three years previously. Even before her failed marriage made her a flawed woman, Songhwa had always been tainted with an aura of ill fortune seeing as her mother died in childbirth. A reading of her astrological charts implied her presence was bad for the king (Kim Sang-kyung) and so she was sent away only to be called back when another reading revealed her presence may be essential to the king’s recovery from illness. She’s been at the court ever since but the taboo of her supposed bad luck has never left her. The king determines he’ll have to marry Songhwa off to improve the public mood but with her reputation who will they be able to find for a husband? With names thin on the ground, the king decides on a series of open auditions with the royal astrologer announcing the “winner” after a thorough examination of their birth charts.

It goes without saying that no one is especially interested in Songhwa’s opinion. Still naive and innocent, Songhwa is quite looking forward to finally getting married though a frank conversation with a recently hitched friend perhaps helps to lower her expectations. Still, she’d at least like to see the face of the man she’ll be spending the rest of her life with and so she sneaks out of the palace and goes investigating. Her first ventures outside of the walls which have protected her all her life are marked by a sense of magical freedom, though what she sees there later shocks her. Her subjects starve, and blame her for their starving. Lamenting the poor nobleman who will be taking one for the team in marrying the notoriously ugly and difficult Princess Songhwa, they pray for her wedding day and the rain they fully expect to fall.

Given all of this ill feeling towards the princess, it doesn’t take much to guess what sort of men are prepared to toss their hats into the ring. The suitors may look attractive on the surface, as Songhwa discovers, but each has faults not visible in his stars. One is a child, another a womanising playboy. It comes to something when the worst possible match isn’t the murderous psycho posing a philanthropist but the ambitious social climber who will stop at nothing to advance his cause.

Some might say the sacred art of divination is a bulwark against court intrigue, but this like anything else is open to manipulation. The king’s old astronomer has been taking bribes for years – something brought to light by ace investigator with a talent for divination Seo Do-yoon (Lee Seung-gi) with help from shady street corner soothsayer Gae-shi (Jo Bok-rae). Appointed to the position himself, Seo unwittingly holds the keys to Songhwa’s future though that isn’t something he’d given particular consideration to. His job was just to read the charts before everything started getting needlessly complicated. When his list of candidates goes missing he has no choice but to start visiting the ones he can remember in person which is how he ends up repeatedly running into Songhwa in disguise and, despite himself, beginning to fall in love with her.

Songhwa, trapped in a golden cage, longs to live a life of her own free from the patriarchal demands of a hierarchical society. She bucks palace authority by sneaking out on her own, but never seriously attempts to avoid her miserable fate or resist the tyranny of an arranged marriage, only to be allowed foreknowledge of the kind of life for which she has been destined. Nevertheless, determining her own future later becomes something within her grasp once the corruption has been uncovered and the art of prophecy exposed for what it is. Destiny is more malleable than it first seems and as Seo advises the king, when compassion reigns the heavens will open. True harmony is not born of a rigid adherence to facts and figures assigned by the arbitrary conditions of birth, but by a careful consideration of the feelings of others. A life without love is as starved as one without rain and the truly harmonious kingdom is the one in which all are free to feel it fall where it may.


The Princess and the Matchmaker was screened as part of the 2018 London Korean Film Festival.

International teaser trailer (English subtitles)

Steel Rain (강철비, Yang Woo-suk, 2017)

Steel Rain posterA little way in to Steel Rain (강철비, Gangchulbi), one of its heroes – a Blue House official, gives a pointed lecture on Korea’s past to some students of Geopolitical History. Fiercely critical of Korea’s previous subjugation by Japan, he laments that his nation was not able to free itself from the Japanese yoke and was awarded its freedom with the end of a wider political conflict which saw the Japanese “empire” collapse. According to Kwak Cheol-u, Korea has never quite lost its cultural admiration for its former colonisers which is why its most prominent corporations – Samsung, Haeundae etc, are all direct competitors with similar Japanese firms (and are only now pushing past them in terms of global market penetration and technological innovation).

Switching tack, he wonders why it is that Japan lost a war and Korea got cut in two by two new “colonising” forces. In his oft observed mantra, Kwak (Kwak Do-won) insists that the citizens of a divided nation suffer more from those who seek to manipulate the division for their own ends than they do from the division itself, which is where we find ourselves in the contemporary era of my button’s bigger than his button in which “capitalist pig dogs” face off against “dirty commies”. Adapting his own webcomic, Yang’s action thriller is among the most recent in a long line of North/South buddy movies and even if its cold-war paranoia feels distinctly old hat, it just goes to prove that everything old is new again.

Eom Cheol-u (Jung Woo-sung), a former North Korean special forces agent, is called back into the fold by his old commander for a very special mission. Tensions are about to boil over in the perpetually precarious state and the Dear Leader’s life is under threat from a suspected coup. Eom is to silence one of the conspirators in return for which he will be given elite status and his family will be well looked after. Unfortunately, the mission does not go to plan and Eom ends up witnessing a missile strike on a welcome meeting at a Chinese managed factory in which the (mostly young and female) employees are murdered in cold blood. Managing to escape with the Dear Leader himself who is seriously wounded, Eom travels over the border along with two young girls. From this point on he’s in conspiracy thriller territory trying to work out just what’s going on and who he can really trust.

The symbolism is rammed home by the fact that our two heroes, Kwak and Eom, have the same first name – Cheol-u, only one uses the characters for “strong friendship” and the other “bright world”. Taken together they paint a pretty picture, brothers in arms despite the political difficulties which place them on differing sides of an arbitrary line drawn up by a foreign power without much consideration for those divided by it. As in many North/South buddy movies of recent times, the North Korean agent displays the best qualities of his nation in his essential “goodness” – a caring husband and father, he executes his mission with maximum efficiency but bears no ill will towards those outside of it and is keen to protect the people of North Korea from almost certain doom should a nuclear war break out between the two peoples. Kwak, by contrast, is more of a schemer whose moral universe is much less black and white. A fluent Mandarin speaker he’s in tight with a North Korean official who keeps trying to talk him into taking a research post at a Chinese university while his family life is somewhat complicated thanks to a divorce from his plastic surgeon wife.

Meanwhile, the film is at pains to point out that Korea became the focus point of the first East/West proxy war and, in Kwak’s view at least, remains insufficiently important in the eyes of its “allies” to merit much direct consideration. Thus our boardroom squabbles are often reduced to the looming face of the American President “advising” the Korean officials on the best course of action while others worry about what Japan is going to think and wonder if the US secretly values the opinion of the Japanese more than the Koreans on the ground. The situation is further complicated by the fact that the government is in a transitionary phase in which a new president has been elected but not sworn in. The crisis may well play out entirely within the old president’s final hours which means that diplomatically he has little to lose and as he is a conservative, might as well milk the situation for all it’s worth. In short, he’s as keen to ruffle diplomatic feathers and bring the situation to a head as everyone else is and war looks more likely than not. The central message is that, as Kwak is fond of implying, governments care little for their people or that millions may die when idea of division is so easily manipulated, especially if it’s not “their” people who will be doing the dying.

Not for nothing is the new president seen reading copy of Willy Brandt’s book on successful reunification, even if he begs his outgoing predecessor to consider the economic impact of any possible change in relations with a Northern neighbour. The North Korean official also warns that China is not keen on the idea of a war seeing as that will necessarily mean an influx of North Korean refugees no one wants to take responsibility for. The cold war may be about to turn hot, but the heroics that cool it down turn out to be of a much less gung-ho nature than might be expected, relying on personal sacrifice and a perhaps outdated code of honour. Nevertheless, the crisis is averted not through macho posturing but through “diplomatic channels” and a careful balancing of powers. Perhaps not so farfetched after all.


Streaming worldwide via Netflix.

Steel Rain will also receive its international festival premiere as the opening night gala of the Udine Far East Film Festival on 20th April.

Far East Film Festival trailer (no subtitles)