History never ceases to amaze me. I wouldn’t call myself a history buff by any stretch of the imagination, though constantly there are stories that I’ve uncovered within the last year about history I didn’t know. Some of the events like the Tulsa Massacre of 1921 remained hidden from a large portion of us for years. HBO’s Watchmen brought the now one hundred year old event back into focus and back into conversation. I’ve learned about other great leaders within the civil rights movement of the 60s that had been hidden from me up until the last year; great men like James Baldwin, Huey P. Newton, Bobby Seale, and Fred Hampton. I couldn’t tell you why they fell outside my view. 

History has always been something I’ve accidentally locked into. Normally it’s never something I typically seek out. Growing up in schools we learned about American Wars and a number of civil rights activists, but largely so much of it is American history. I ended up learning about the first legitimate marathon in Japan last year, thanks in large part to our coverage of Samurai Marathon. It’s fascinating how something that began as a training exercise developed into being one of Japan’s happiest traditions. Japan, and much of the Eastern world, has fascinating history that we in the United States never get to learn about. If we do somehow it’s through our own biased lens.

While the Korean epic The Swordsman might not be 100% historically accurate, it challenges us to look at another side of history. The film takes place within the transition from the Ming dynasty to the Qing dynasty as a secluded, former, and quickly blinding soldier (Jang Hyuk) must rescue his daughter (Kim Hyun-soo) from the impending political takeover, at the center of which she has found herself. The narrative has a lot more moving parts than that, but this gives you a bit of surprise to look forward. The Swordsman is an epic in every sense of the word. It is this larger than life historical drama that boasts the grandness of 300 or 1917 while retaining the intimacy of its father-daughter dynamic at its core. When it swerves away from those two plot lines, the film loses its scope and intimacy in favor of a history lesson.

The Swordsman manages to slow its pace during these moments. I often found myself bored during these parts of the movie. I understand that for a good story, the audience has to have context with what is going on past the core characters. The narrative just spent a little bit too much time fleshing out the context rather than the characters at times. I feel as though I connected with Hyuk and Hyun-soo but not a lot of the characters. They feel two-dimensional with little to offer the narrative. That is with one major exception: the film’s antagonist Gurutai, played by Joe Taslim. Taslim is a name worth remembering. Not only is he terrific in this movie but he will also be playing Sub-Zero in the upcoming Mortal Kombat reboot.

Here within The Swordsman, Taslim walks a thin line between intimidating and charismatic. His performance is a big win for the movie. His character is unpredictable and unrelenting. Honestly, one of my favorite parts of the movie. With him, I was constantly on the edge of my seat for every scene that he was in. Taslim has a magnetic presence about him. His performance was great, but the fight choreography could be the real star of the film. The fight sequences are nothing short of brilliant. I’m not sure how many of our Stateside friends will check out this movie, but The Swordsman is basically an international version of Daredevil set in feudal Japan. The action sequences do not disappoint one bit. Hyuk is incredible in this movie as an increasingly blind soldier looking for his daughter and to regain his sight - all while proving that he is the best swordsman within the region. Hyuk does a marvelous job as the unrelenting hero of the story. He is both fierce and sympathetic within the same breath.

Overall, The Swordsman is a thrilling epic that lends itself to exquisite fight choreography but not always the best narrative decisions. The film can sometimes spread the narrative a little bit too thin in an attempt to flesh out the actual history of the time period. With such choices, characters can feel two-dimensional and underdeveloped. Not to worry, The Swordsman still has a good deal left within its arsenal to offer. Excellent fight choreography and performances by Joe Taslim, Jang Hyuk, and Kim Hyun-soo give The Swordsman its “epic” status.  

RORSCHACH RATING:

Mental Health Moment: The film does have a colossal opening that draws viewers in right away. After the title sequence, we learn that this opening will play out more fuller as the film develops. We also learn that it was roughly about 15 years in the past from our present day setting. Tae-yul (Hyuk) has been in seclusion with his daughter Tae-ok (Hyun-soo). Perhaps one of the most endearing things about the film’s first act is seeing how close this father-daughter dynamic is. When the separation between the two occurs you see how far Tae-yul is willing to go to be reunited with his daughter.

I can’t speak to the parental angle of this story, but I can speak to the mental health that comes with separation. There is an immense fear that rises with the act in which our mental stress takes a shift into overdrive. Will I ever see this person again? Will they be the same when we are reunited? What is going on in their world? The fear of the unknown quickly overtakes us. As Thanos said, “it turns the legs to jelly.” Sometimes it’s not even a temporary separation but a permanent one, like death or a break-up. Always be aware and be present. Don’t merely show someone how much they mean to you but tell them at every chance you get. Value the time you have with them and fight for them with all your being. You never know how much someone means to your mental health until you’re separated.

If you or someone you know is reading this right now and struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message, or tweet at us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!

Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others, and edited by Cam Smith. Music by Mallory Johnson and others. The Swordsman is property of Well Go USA and Opus Pictures. We do not own nor claim any rights.

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