Frères de sang

Regarding pathos, Taegukgi: The Brotherhood of War is not as good as Saving Private Ryan and other poster productions made in the USA - all those contrived sentences, naive slow-motion retrospectives... yet there's a fundamental difference. Pathos is not aimed at promoting the flag, but at portraying the relationship between two brothers, which is brutally marked by war. The almost sadomasochistically entangled epic may sometimes abound in an unnecessary amount of pastel colors and the garishness of emotions, but in its essence this is not a problem. This is not an ideology, but a clear humanistic message about the power of love and the price of sacrifice. In Kang's film, the parties to the Korean conflict look just as ugly, propagandistically dull and dark. The big world simply creates a monstrous backdrop to a small human story, which is very sympathetically surrounded by adrenaline fighting sequences. The handheld camera, awkward jerks, the confusion of man-to-man combat and occasionally evident CGI additions. Take it or leave it, I was engulfed by both the human story and the war story, although I would welcome a little less calculation and effect on both levels. However, unlike American melodramas, Taegukgi: The Brotherhood of War represents a very good picture of war and man. (20/04/2007)

Since I've only been getting acquainted with war movies for a short time, absolutely every one of them knocks me on my ass. It's just that this story threw me right into the plot due to its believability and realism. The script may sound like a hackneyed cliché, but in this case, the delivery is simply the deciding factor. It is at times gritty, at times touching, but most importantly always close to the viewer. Of course, I have to praise the beautiful music and the above-average performances of both brothers. (03/12/2013)

Brotherhood is among the best things you can see in the war drama genre. Unfortunately, this does not apply to all aspects of the film, but mainly to its formal side, which is absolutely phenomenal. We are treated to a perfect combination of dynamics and speed, as in Black Hawk Down, and strength and intensity, as in Saving Private Ryan. (27/07/2005)

A surprising war blast that impresses with its epic battle scenes and the gritty story of two brothers, whom the script doesn't make into heroes and terminator henchmen, but rather shows them as ordinary people for 140 minutes. The whole thing felt like a cross between Saving Private Ryan, Full Metal Jacket, Platoon and Letters from Iwo Jima (which are even better), but I didn't feel like I was watching a film ripping off its more famous brethren. (11/02/2011)

Technically and formally, it's an absolute blast; the opening battle scene, for instance, almost trumps even the best sequences of Ryan with its authenticity and emotion. The central musical motif also works perfectly despite frequent repetition, the main cast is extremely likeable and talented, and the strong emotional interjections in the middle of the action passages are very tastefully and unobtrusively dosed. Unfortunately, the story is surprisingly so Hollywood cookie-cutter and so unoriginal and unrealistic with all the pathetic flashbacks and family motifs that it knocks down a star of that formal great potential. But I'd probably be happy to overlook all that if it weren't for the final "deserter" twist, which was completely unwarranted. Otherwise, a very proper 4*. (22/02/2014)

The Koreans have decided to make a film à la "Saving Private Ryan." The inspiration from Spielberg is more than apparent. It's not just about the authentic depiction of war scenes, but also about emotions. And so, a story of two brothers who can't live without each other was created, and the older brother tries to prevent the younger one from being drafted, so that they don't both end up in war. They fight side by side, but their relationship changes in war. War changes both of them. It can't be said that it only changes one of them, others are both. From a beautiful brotherly love, a complicated relationship is created, which can only be resolved with time. The war continues and we watch as the brothers fall deeper and try to find an escape from the atrocities that are being committed. In the beginning, we see the younger brother hesitate when killing an enemy soldier and almost die himself. The next time, he hesitates much less. Are they becoming animals? Is it them or the war? I think these themes are developed much better in this film than in the competing "Ryan," but the film is still too similar. Especially when it comes to battle scenes. The war is depicted with almost mechanical precision. When a bullet hits, it hurts. When a mine explodes, damn it hurts. And it hurts badly. Additionally, the film only reminds us that the war didn't only affect Americans, but also other nations. Just like everywhere else, it is incredibly senseless and destroys human lives. No, this actually isn't that groundbreaking, but it is presented in a way that offends you much less than other films. Perhaps it will be difficult for the film to not include pathos, but I have a feeling it's not that nourishing. More: http://www.filmovy-denik.cz/2012/09/navzdy-spolu-marketa-lazarova-pouta.html (28/02/2013)