Jang Hun studies the dynamic of Kim Man-Seob (Kang-ho Song) and Jürgen Hinzpeter (Thomas Kretschmann) in his film A Taxi Driver (2017) which unfolds in a neglected and unkempt Gwangju in the 1980s. A hefty and charismatic performance from Kang-ho Song is profoundly important in this film, a film in which, despite its many flaws, thrives on its character development and technical triumphs to create a conclusively delectable watch.
We are in South Korea in the 1980s, as an uprising takes place in Gwangju, which the general population of South Korea is oblivious to and uninformed about. We are introduced to a taxi driver by the name of Kim Man-Seob, living in Seoul, who juggles his problems one at a time, struggling to pay his rent and to keep his daughter pleased. When eating lunch at a canteen, he overhears a topic of conversation between two other taxi drivers, about a German willing to pay 100,000 won to drive him to Gwangju, deaf to the mutiny taking place in Gwangju, Kim strikes up a plan to steal this client. The German, is a journalist by the name of Jürgen Hinzpeter, due to the restrictions implemented by the government, Jürgen pretends to be a Christian missionary. After being picked up by Kim, they leave for Gwangju. After an altercation with government troops, Kim and Jürgen get into Gwangju, rampage ensues, as we follow these two characters in the Gwangju uprising, and their struggle to document, escape and help Gwangju.
Jang Hun manipulates the audience into instantly sympathizing with Kim Man-Seob when developing his background, Jang Hun inserts exposition explaining why we should commiserate with Kim. Kang-Ho Song delivers an impeccable performance that eclipses the other performances. Kang-Ho Song, who has already established himself as a luminous, grade-A actor, has once again proven the degree wherein his acting can go to.
Despite the film being based on the Gwangju uprising, the Director took it upon himself to change the story, most likely to make the story more cinematic and commercial. Jang Hun over exaggerates certain character motives and actions. Irrational behaviour and the consistency of a character's persona throughout the film shapes a supposition that it was lazily written. Riddled with discernable cliches and glaring plot holes, the writing seems to focus only on developing Kim, and doesn't develop Jürgen. Often this wouldn't be an issue, but given the amount of screen time the character receives, it is unfair for the audience to be unable to relate and sympathize with him. Side characters such as Gu Jae-sik and Hwang Tae-sul are better developed than Jürgen.
The film has outstanding production design by Yi-jin Jeong, who creates monumental period cityscape images of Gwangju and encapsulates the feeling of 1980 Gwangju faultlessly. The film is well-paced, thanks to the quick-cut editing from Jae-beom Kim and Sang-beom Kim. The tonal shifts throughout could've come across as jarring, but due to the skilful editing, the tonal shifts are smooth. The quick pacing fit the story well, as the story was anxiety-inducing. The music score, composed by Young-wook Jo accentuates this anxious feeling throughout the film, and it is extremely commendable what a sensational job he has done. He has created built up instrumentals that offer an everlasting apprehensive experience for the audience.
The cinematography throughout is noticeably innovative, beautifully constructed camera movements, inventive dialogue shots, and brilliantly justified hand-held shots. The cinematography compliments the lighting, as they come hand in hand. The lighting subconsciously brings out angst. The film is often gorgeously lit and utilizes natural light flawlessly. The niche colour palette is bright and vibrant which clashes in contrast to the harsh subject matter emphasizes the hope and faith of the character's we are following. The frame composition is expertly done and occasionally helps carry the story on visually.
Jang Hun has dealt with the subject matter competently, where it is safe and inoffensive, he's directed a technically-innovative film, in specific regards to the impeccably shot action sequences. The film fails on a story-telling front, often melodramatic and riddled with painstaking cliches, as well as has multiple plot devices to give an excuse to some of the ridiculous plotlines. It is easy to overlook these issues due to the sheer effort and talent behind this film. Predominantly enjoyable, A Taxi Driver is often unrealistic in what we see on screen but does just enough for a thoroughly enjoyable experience.
We are in South Korea in the 1980s, as an uprising takes place in Gwangju, which the general population of South Korea is oblivious to and uninformed about. We are introduced to a taxi driver by the name of Kim Man-Seob, living in Seoul, who juggles his problems one at a time, struggling to pay his rent and to keep his daughter pleased. When eating lunch at a canteen, he overhears a topic of conversation between two other taxi drivers, about a German willing to pay 100,000 won to drive him to Gwangju, deaf to the mutiny taking place in Gwangju, Kim strikes up a plan to steal this client. The German, is a journalist by the name of Jürgen Hinzpeter, due to the restrictions implemented by the government, Jürgen pretends to be a Christian missionary. After being picked up by Kim, they leave for Gwangju. After an altercation with government troops, Kim and Jürgen get into Gwangju, rampage ensues, as we follow these two characters in the Gwangju uprising, and their struggle to document, escape and help Gwangju.
Jang Hun manipulates the audience into instantly sympathizing with Kim Man-Seob when developing his background, Jang Hun inserts exposition explaining why we should commiserate with Kim. Kang-Ho Song delivers an impeccable performance that eclipses the other performances. Kang-Ho Song, who has already established himself as a luminous, grade-A actor, has once again proven the degree wherein his acting can go to.
Despite the film being based on the Gwangju uprising, the Director took it upon himself to change the story, most likely to make the story more cinematic and commercial. Jang Hun over exaggerates certain character motives and actions. Irrational behaviour and the consistency of a character's persona throughout the film shapes a supposition that it was lazily written. Riddled with discernable cliches and glaring plot holes, the writing seems to focus only on developing Kim, and doesn't develop Jürgen. Often this wouldn't be an issue, but given the amount of screen time the character receives, it is unfair for the audience to be unable to relate and sympathize with him. Side characters such as Gu Jae-sik and Hwang Tae-sul are better developed than Jürgen.
The film has outstanding production design by Yi-jin Jeong, who creates monumental period cityscape images of Gwangju and encapsulates the feeling of 1980 Gwangju faultlessly. The film is well-paced, thanks to the quick-cut editing from Jae-beom Kim and Sang-beom Kim. The tonal shifts throughout could've come across as jarring, but due to the skilful editing, the tonal shifts are smooth. The quick pacing fit the story well, as the story was anxiety-inducing. The music score, composed by Young-wook Jo accentuates this anxious feeling throughout the film, and it is extremely commendable what a sensational job he has done. He has created built up instrumentals that offer an everlasting apprehensive experience for the audience.
The cinematography throughout is noticeably innovative, beautifully constructed camera movements, inventive dialogue shots, and brilliantly justified hand-held shots. The cinematography compliments the lighting, as they come hand in hand. The lighting subconsciously brings out angst. The film is often gorgeously lit and utilizes natural light flawlessly. The niche colour palette is bright and vibrant which clashes in contrast to the harsh subject matter emphasizes the hope and faith of the character's we are following. The frame composition is expertly done and occasionally helps carry the story on visually.
Jang Hun has dealt with the subject matter competently, where it is safe and inoffensive, he's directed a technically-innovative film, in specific regards to the impeccably shot action sequences. The film fails on a story-telling front, often melodramatic and riddled with painstaking cliches, as well as has multiple plot devices to give an excuse to some of the ridiculous plotlines. It is easy to overlook these issues due to the sheer effort and talent behind this film. Predominantly enjoyable, A Taxi Driver is often unrealistic in what we see on screen but does just enough for a thoroughly enjoyable experience.