The Day’ One of the blackest pages of South Korea’s history is documented in “12.12: The Day,” an intriguing story about the 1979 coup d’état that followed the October 26 assassination of autocratic head of state Park Chung-hee. This gripping, strongly performed picture has a superb cast, including Hwang Jung-min (“Deliver Us From Evil”) and it also happens to be director Kim Sung-su’s first film since 2016 an exhilarating and highly suspenseful political action-thriller which no other Korean movie has dared venture into before. The December 2023 release in Korea saw this forensic study on what shattered dreams of reforms towards democracy for a further 8 years under martial law it was a hit. Now as the country’s submission to the category, it becomes a contestant for Best International Feature Film Oscar categories.
A domestic box office of $91.7 million makes “12.12” one of those movies that are not just entertainment but have some other goal. Therefore, it was welcomed by South Koreans as a part of their national coming to terms with the past, telling the truth and looking back at themselves, because for this reason it is widely accepted in the country as a kind of confession before its own people as well as an apology to them. This drama can best be understood by audience members that live in a nation which has reached true participatory democracy’s level; “this is what happened in 1979, and it must never happen again.” After President Yoon Suk-yeol declared martial law on Dec. 3 for a short period and all political implications since then, this message becomes more distinct.
By adhering to South Korea’s strict libel laws, the authors have taken care to avoid violating them. This has led to the change of names in this story as well as a disclaimer stating “characters and events are fictionalized for dramatic purposes.” Moreover, since everyone is easily identifiable and the events’ timeline is accurate, it can be concluded that this does not undermine the force of the film. It is however a bit odd watching real-life figures who have had their names ever-so-slightly changed so that they are not liable to lawsuits.
Chief among these mysterious characters from history is coup leader and Defense Security Command chief Gen. Chun Doo-gwang (Hwang Jung-min), based on Chun Doo-hwan, who served eight years as a military dictator after these incidents. Soon placed in charge of investigating President Park’s murder which was depicted in Im Sang-soo’s scathingly satirical 2005 movie “The President’s Last Bang,” only for it to be banned by authorities and subjected to legal action Chun finds himself at odds with General Lee Tae-shin (Jung Woo-sung).
Based on Jang Tae-wan, commander of the Capital Garrison Command in Seoul, Lee has been asked by Gen. Jeong Sang-ho (Lee Sung-min, who played President Park in “The Man Standing Next” 2020) to keep things stable while an orderly transition is ensured by Acting President Choi Han-gyu (the real-life Choi Kyu-ha, portrayed here by the eminent veteran Jung Dong-hwan).
Kim’s movie begins at full throttle with Chun realizing that there is a temporary power vacuum he can take advantage of and then tightens the screws as his henchmen aid and abet through grafting, bullying tactics and killing each other soldiers. With this role Hwang lets loose all his flamboyant acting chops but never crosses the line into hominess, making him a terrific monster with charm, swaggering self-assurance and rat cunning so terrifying that it evokes both fear and loyalty among fellow conspirators. “Revolution night is short but its glory lasts forever”, he says.
Another approach that is not as flashy but is compelling, is Jung who behaves like a soldier willing to uphold the law and prevent Chun from assuming power. It’s impossible not to link Gen. Lee with the repressive Park’s regime, though he was dexterously portrayed by an actor as one of the patriotic heroes protecting the ideals of dignity and justice incorporated in state foundations. Furthermore, a significant detail in this play is that Jung stands taller than most other actors, including Hwang thus making him look powerful giving his moral constitution as well.
Among the most thrilling sources of suspense in a screenplay, even with its anticlimactic end, is that it deeply looks into loyalty and human psyche during tense moments. As Chun’s tentacles on the military are unmasked, Hanahoe is much discussed as a private military society, which traces its roots from a group set up by Chun back in the 1950s comprising of handpicked Korean Military Academy graduates. All these Hanahoe loyalists turncoat as the rebellion gains momentum; they appear just like spies at sleep mode who become traitors because they join with Chun against their country so as to prove their subservience is more important than any oath taken to protect it and its people. Some of these instances occur when Ninth Division Commander Gen. Roh Tae-gun (Park Jae-hoon) weakens and betrays his nation under power’s spell: He is based on Roh Tae-woo who was president after Chun in 1988.
Psychological aspects of the uprising are also evident in Korea’s education system and seniority. Chun’s hatred for Lee, who was a soldier but did not attend KMA and came through Officer Candidate School (and is therefore not part of Hanahoe), is central to the drama. The significance that age hold, as a strong determinant of authority which originates from Confucianism impact on Korean society, However, is vividly displayed when junior officers and other lower ranking soldiers find themselves trapped between these ideas and their commitment to their country; sometimes with tragic effect.
Although fully understanding all the subtleties of relationships and keeping one up-to-speed about who exactly is on whose side among the large number of characters can be quite hard work, this film does have Kim’s excellent direction and Kim Sang-bum’s razor-sharp editing. It leaves one in no doubt about where key actors stand though it may not help understand everything easily because it contains a lot of complex relationships . This movie illustrates clearly how every tactical decision goes down on the city streets and military installations in Seoul. There are thrilling scenes involving troop movements and tanks where Kim stages numerous battles that come to a dramatic end.
Cinematographer Lee Mo-gae (“Exhuma”) and his lighting accomplice Lee Seong-hwan make a profound impact on the production, while the art directors Jang Geun-young and Eun Hee-sang along with musical composer Lee Jae-jin (“Asura”), with his dim yet driving soundtracks, “12.12: The day” is one of those rare films that can operate as a thrillingly entertaining thriller go hand in hand with national interest. Its Korean title “Seoul Spring” refers to an ironic metaphorical phrase denoting blossoming of freedom and democracy years later after they were anticipated in 1979.
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