Netflix / 2021 / 6 episodes
Genre: drama
Written by Han Jun-hee, Kim Bo-tong
Directed by Han Jun-hee
More information: Wikipedia / HanCinema
The Military's Hidden Scars:
A Review of "D.P." Season 1
The Netflix original series is based on the webtoon D.P. Dog’s Day. Its author, Kim Bo-tong, participated in writing the screenplay alongside Han Jun-hee, who also directed the series.
The abbreviation "D.P." in the title stands for "Deserter Pursuit." The drama focuses on violence within the military and the work of a specialized unit dedicated to capturing deserters. Since South Korea mandates military service for all men, the creators have truly touched a nerve with this topic. While neither the abuse nor the fact of desertion is a secret—and we have seen glimpses of them in films before—it is a bold undertaking for a series to focus exclusively on these issues. This is a sensitive subject for the Ministry of Defense, which protects the "honor of the uniform," but it is even more vital for every Korean man, as many have already experienced the reality of military life, while others will soon have to face it. It is no surprise, then, that the series immediately shot to the top of domestic viewership and reached the Top 10 in most countries across Asia.
With this series, Netflix has generated a unique situation: the sensitive topic of conscription and military internal relations are considered strictly domestic South Korean affairs, the open discussion of which remains a flashpoint even within the country. Now, not only has this difficult theme been brought into focus by a foreign producer, but through its global release, it has been placed at the center of worldwide attention. This could arguably be considered a milestone in media history.
At the center of the drama stands a newly enlisted soldier, Ahn Joon-ho (Jung Hae-in), who is assigned to the D.P. unit following five weeks of basic training. We get a taste of the miseries of training, but the real hell begins afterward, as recruits face constant harassment from those above them in the internal hierarchy. This is expected to last until the end of their mandatory service, and eighteen to twenty-four months feels like an eternity. The unit includes a particularly aggressive figure, Hwang Jang-soo (Shin Seung-ho), who feels that under the aegis of the military, he can act with impunity. He keeps the recruits, including Ahn, under constant psychological terror. He also practices physical abuse of such refined cruelty that it directly endangers the lives of the young soldiers. This cold reality stands in sharp contrast to the text of the unit’s oath, which speaks of justice and the protection of soldiers' rights.
We also learn several important things about Ahn’s civilian personality. He is not the timid type; he is capable of standing up for what is right and taking creative revenge if someone tries to cheat him. He supports his family financially, though he is emotionally distant from them. His violent father has abused his mother for a long time, and she is unable to escape him. Ahn gave up boxing specifically because he did not want to become like his father.
Desertions occur regularly in the army, and soldiers from the unit, working in pairs, are sent to capture them. A vacancy opens in one of these positions, which Ahn wins with a bit of luck. This assignment comes with the extraordinary advantage of being allowed to leave the barracks in civilian clothes during investigations.
From this point on, the drama presents various cases in which Ahn and his partner participate. In each instance, we learn the motives behind the soldiers' flight. We see the methods used to track them down. Meanwhile, power struggles among military leaders and positional battles between different units are revealed. We witness that even among the leadership, it is not uncommon for higher-ranking officers to slap their subordinates, and we encounter fanatics who wish to wage war even in times of peace. Often, the leaders themselves struggle with their own consciences, which is also portrayed.
Since the fact of desertion does not reflect well on the army’s reputation, the unit tries to resolve the capture of deserters within its own jurisdiction, excluding the possibility of the civilian police and the media becoming aware of the cases. At the same time, they are all aware that the fugitives themselves are often victims of the army’s internal conditions. Therefore, by capturing them, they must also prevent them from harming themselves or others in their desperation.
Ahn’s first partner is an unscrupulous and irresponsible character who interprets "leave" as an opportunity to throw himself into the pleasures of partying. Because of this, however, he fails to find a deserting soldier in time, who then commits suicide. Ahn is deeply shaken by the incident and blames himself for his fellow soldier’s death.
Fortunately, for the next mission, he receives a new partner (played by Koo Kyo-hwan), with whom he finds a mutual understanding, forming a great duo. Their work requires not only intuition and creativity but also courage, as the missions are not without danger. The reasons for soldiers deserting are varied, and accordingly, it is sometimes easier and sometimes harder to "rush to their aid"—even if the situation gives a peculiar meaning to that phrase. The cases in the drama range from lighter to heavier, until the sixth episode reaches an escalation of the problem through the story of a soldier who completely snaps.
The atmosphere and pace of the series are extremely interesting. It is restrained, even a bit slow at first, but never boring. Rather, it very skillfully creates the feeling that all these things are present almost imperceptibly in our everyday lives.
The short first season, consisting of only six episodes, ends with a shocking cliffhanger: as a result of the events, Ahn reaches a terminal resolution, while another abused soldier takes the retribution for his grievances into his own hands.
The continuation of this recently released series depends on viewer interest, which will hopefully not be an obstacle to the production of a further season. We eagerly await the sequel.
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