The Front Line Blu-ray Review
Band of Brothers, Korean style.
Reviewed by Jeffrey Kauffman, April 28, 2012
The Korean conflict is often termed "America's forgotten war", coming as it did between the epochal World War II and
then the seemingly interminable Vietnam War. Of course later generations have fought battles in Iraq and Afghanistan
which perhaps have only added to the under-remembering of Korea, but one of the most salient characteristics about
the Korean War that is forgotten by many Americans is that it was in fact fought largely by
Koreans, with "aid"
from
America and China. When pop culture finally took notice of the Korean War in such offerings as the film and television
versions of
M*A*S*H, it obviously wasn't an overly realistic portrayal of a conflict that spanned years and wreaked
devastating havoc across the Korean peninsula. The horrors of war, which
M*A*S*H to its credit
did try
to at least glancingly portray, were often offset by the madcap antics of the denizens of the Mobile Army Surgical
Hospital, which made the overall feel of the series bittersweet at best, and often strangely humorous for a show
ostensibly about war.
M*A*S*H did try to balance the horrors of war with the more
playful aspects of some of the characters, but even with noble intentions the atmosphere of both the film and television
series was often more concerned with the absurdity of war as a concept than with the actual horrors visited upon
individuals, plus the focus was after all mostly on the Americans rather than the Koreans. (These are all broad
generalizations, and
M*A*S*H fans will no doubt have manifold specific examples to counter this general
argument.)
The Front Line is a Korean made film that attempts to depict some of that same futility that informed
much of
M*A*S*H, only this time from a resolutely Korean viewpoint. What is set up as perhaps a
CSI-esque investigation into the killing of a South Korean officer instead turns into a rumination about the very
nature of
war, especially when that war is between putative "brothers".
The roiling atmosphere of the Korean Peninsula is
still in the news, as evidenced by the recent ascension of Kim
Jong-un to the position of Supreme Leader after the death of his father Kim Jong-il, close to
sixty years after the
supposed cessation of hostilities between the two Koreas. This microcosm of the long simmering Cold War conflict
between Communism and Capitalism has come to also define the very notion of a political "hot spot" in a supposedly
post-
Cold War universe. Despite the prevalence of Korea in the headlines, few people really seem to have a firm grasp on
Korea's long history, or upon any really salient characteristics of the Korean War itself, other than the very broadest of
outlines (things like Inchon or General Douglas Macarthur's famous pronouncements and problems with President
Truman). That may make some aspects of
The Front Line a bit hard to follow, especially as the film has a
somewhat convoluted timeline early in its structure which really isn't adequately clarified and which may prove to be at
least a temporary stumbling block, at least until the main arc of the storyline kicks in.
The Front Line plays out in the waning days of the Korean conflict, as long labored negotiations attempt to bring
hostilities to an end and define a mutually agreed upon border between the north and south (something
very
similar would happen two decades later with an equally protracted negotiation process in Vietnam). One particularly
advantageous and strategically important point in the Aerok Hills keeps changing hands, so often in fact that the
American negotiator at the "peace talks" table doesn't even know in whose hands the hill is as he attempts to draw a
boundary across the Korean Peninsula. Everyone's frustration, including both camps of Koreans, is well on display here,
leading to some impolitic words by a Lieutenant Kang (Shin Ha-kyun) who's in attendance. His "loose lips" lead to an
immediate transfer to the Eastern Front, the last real vestige of fierce fighting, where he is sent to investigate the killing
of a South Korean commander, evidently by one of his own troops, a killing that has been the subject of a surreptitious
letter sent by a North Korean "mole" who's evidently infiltrated the so-called Alligator Company.
One might think from that set up that the film was going to be a procedural where Kang would infiltrate the battalion
and try to uncover who the spy was and how the former commander came to be killed, but that really isn't the case.
After a potentially confusing brief flashback which quickly details Kang's relationship with another soldier, Soo-hyuk (Ko
Soo), whom Kang has long thought to be dead, the film moves to its exploration of Alligator Company, where Kang is
surprised not just to find Soo-hyuk alive, but thriving in his own peculiar way in the rigors of war. The two friends
reignite their comradeship as Kang is horrified by the general state of the troops in Alligator Company: the "grunts"
have taken to wearing North Korean uniforms since they are warmer than the South Korean ones, and the new unit
commander is addicted to morphine. And as news of a potential cease fire spreads, it becomes all the more important
that this chaotic Alligator Company somehow unites to take the all important Aerok Hills before hostilities end.
The main part of
The Front Line parlays a dual track, one which reveals the coping mechanisms of members of
Alligator Company with a strange sort of
détente the South Korean troops have reached with their North Korean
counterparts in the same region. Though the two sides continue to fight, they also share their booty with each via a
buried stash of treasures which they both frequent to procure things like cigarettes. While it can't be denied that many
of the characters in
The Front Line are cliché ridden stereotypes that are cardboard cutouts of similarly skewed
men from countless other films, the interaction between the troops, and between the North and South Koreans in
particular, give this film a decidedly philosophical and often quite visceral edge.
The Front Line is rather well
balanced between epic battle scenes and intimate private moments that may have one of the oldest messages on
Earth—namely that War is Hell—but which doesn't make the message any less impactful.
The Front Line is perhaps slightly overlong at a little over two hours, and it devolves into some needless
melodrama in its closing act (including a revelation about a North Korean sniper nicknamed Two Seconds that is played
for shock value but really isn't all that amazing) that partially undercuts the searing realism that has characterized the
bulk of what has
gone before. But it's a bracing experience to finally visit a "forgotten" war from the perspective of the nation that
actually was at the center of it all.