Kim Seung-hun: A HARD DAY (2014)

김성훈: 끝까지 간다

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A Hard Day:
A Masterclass in High-Stakes Chaos

Actually, writing a single word as a review would suffice: sensational.

However, if anyone were to take offense at me trying to get away with just that, then alright—I shall elaborate a bit further. That aforementioned adjective primarily refers to the entertainment value of this 2014 film, as I have encountered few movies as enjoyable in recent times. The work of director Kim Seong-hun is a brilliantly paced creation, rich in twists and turns. That said, it is no easy task to write about it without spoiling the surprises. "Surprises?" one might ask, "But isn't the genre a thriller?" Indeed, and yet, we experience a nerve-wracking two hours infused with a very unique flavor of black humor.

Utilizing the toolkit of film noir, the production immediately weaves a complex web of narrative threads in its opening minutes, only to begin unraveling them with meticulous care. Every movement feels like a conventional crime drama—until it doesn't. The scenes imperceptibly slide into parodies of themselves, yet they do so while maintaining the high-stakes tension of the underlying reality. Standing far above the rest is the dazzling array of ideas found in the protagonist’s utterly impossible struggle to dispose of a corpse. One only needs to observe the inadequate tools he employs and how he uses them: this heroic battle of "skillful bumbling" against the clock brilliantly evokes the spirits of the great classic comedians.

Lee Sun-kyun

Cho Jin-woong

The relentless twists in the story act with the force of constant surprise, consistently upending the established relationships we think we understand. The protagonist is a homicide detective, and the film wastes no time in shoving the reality of the police force in our faces: here, the slogan "Serve and Protect" is supplemented by the unvarnished truth of "working for our own pockets." The seemingly jovial world of these cops is dirty and corrupt; everyone knows everything, and mutual solidarity mostly means covering up for one another to avoid exposure—a task that never proves difficult given the easy bribability of internal affairs. We also see powerful imagery regarding the police force's entanglement with the underworld. Whether this is true social criticism or a playful subversion of the crime genre—where "darker-than-criminal" cops have long been a staple—is left to the viewer's discretion. Nonetheless, I wouldn't be surprised if the "authorities" themselves winced a bit upon seeing this portrayal.

The games played with genre conventions also serve as a source of morbid humor. Frequently, when our cinematic experience leads us to expect a tragic turn, nothing happens; conversely, mandatory tropes—such as the innocent elimination of a friend and colleague—are delivered with completely unexpected execution. While the first half of the film is the promise of a brilliant genre masterpiece, the second half unfortunately suffers a slight loss of momentum. This is perhaps because the story shifts from reality toward irreality, particularly by endowing the antagonist with a "nearly indestructible" quality, which leads the film away from its greatest strength: "realistic irrationality." It is a bit of a shame, even if the final struggle—preceded by a mystically toned entrance—remains masterful. Every gasp of ours is still accompanied by a bubbling bit of laughter, and while the ultimate resolution is predictable, it still contains the beauty of execution—if one may use such a term in this context.

We witness two superb performances in the lead roles. Lee Sun-kyun, as the blackmailed cop, powerfully portrays every stage of terror, nervousness, and determination, holding his own in the action scenes while remaining perfectly at home in the realm of situational comedy. His opponent is brought to life by Cho Jin-woong, and one of the striking interests of his performance is how his slightly pomaded, "soft" appearance conceals a fist of iron. He perfectly conveys the character's terrifying duality, remaining entirely credible as both a "friendly" cop and a ruthless blackmailer.

Director Kim Seong-hun worked from his own screenplay and did an outstanding job in both regards. This exceptional work is his second film as a director; we previously saw his debut in 2006 titled How the Lack of Love Affects Two Men.

The film’s journey is marked by a shower of accolades, including an invitation to the Cannes Film Festival and various awards bestowed upon nearly every member of the creative staff by the most prestigious festivals.