When “Welcome to Dongmakgol” came out in 2005, it was a sensation. Based on the long-running play by Jang Jin, more than eight million South Koreans flocked to the cinemas to see the film, making it the most successful movie of that year. “Welcome to Dongmakgol” didn’t win any awards outside of Korea, but within South Korea, it was definitely a critical success as well.

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Dongmakgol is a magical place. Not because of actual magic, but because it is somehow completely removed from the rest of civilization. Citizens have no clue about the ongoing war between North and South Korea, know nothing about guns or any kind of modern technology, and have never before stumbled upon outsiders. However, within the span of a few days, everything changes. First, American navy pilot Neil Smith (played by Steve Taschler) crashes his plane near Dongmakgol. Later, South Korean as well as North Korean troops stumble upon the town almost simultaneously, causing conflict within the town. Its message is well explained by a paraphrased quote in the film. “In different circumstances, we would’ve had the greatest fun together”. Said by one North Korean soldier, towards a South Korean soldier. The production portrays this sentiment incredibly well, with two parties slowly warming up to each other, realizing that they’re not quite as different as they once thought they were. War has two sides, and both often think they’re on the right side of history. Turns out, it isn’t all that black and white.

The directorial debut by Park Kwang-hyun, the film is jarring, filled with interesting characters, each more exceptional than the last, yet tonally all over the place. The experience was fun, made to evoke emotions, but it was confusing, and it wasn’t quite clear how the director wanted the audience to feel.

From a technical standpoint, the film is quite opposing. Beautiful shots by cinematographer Choi Sang-ho are mixed in with some amateurish effects, even for 2005’s South Korea. The use of the greenscreens and CGI is too excessive, especially because the plot and setting really didn’t call for any of it. It might give the film too much credit, but the CGI has its charm, and it’s worthy of a smile, which begs the question if it was meant to be a bit goofy and over the top, giving the cheesy nature of the special effects a bit of color. The production has a lot going for it, and includes some wonderful scenes. Its iconic popcorn scene isn’t just fun, it incites a feeling of wonder, and not often will you be as excited to see someone kill a boar.

The performances in “Welcome to Dongmakgol” are what really bring that extra bit of heart to the film. They’re all earnest and enjoyable. It takes quite a lot to make the stoic and serious nature of a character real, but still fun, and engaging. Jung Jae-young (Sympathy for Mr. Vengeance, Castaway on the Moon), playing the always serious leader of the North Korean party and Shin Ha-kyun (Thirst, J.S.A), the South Korean deserter, both do so convincingly. The physical embodiment of the film, however, is played by Kang Hye-jung (Oldboy, Lady Vengeance) who plays the wondering, innocent, and always grinning village idiot. She carries the role incredibly well, adding to the wonder of the film.

Im Ha-ryong, Seo Jae-kyeong, Ryu Deok-hwan and Steve Taschler, the other supporting cast, do well, but fall into the movies’ main theme of overdoing it, and in this case, over-acting. Whether this was purposefully chosen by director Park Kwang-hyun to keep in line with the films’ roots in theatre is unclear, but it would make a lot of sense. Even though the movie has awakened many opposing opinions, the score is one thing everyone can agree on, it’s genuinely really good. Composed by the Japanese Joe Hisaishi, most well-known for his work on most Miyazaki films, it gives us the right amount of magic and wonder to add to the project, without distracting from it.

If you’re not familiar with Korean cinema, “Welcome to Dongmakgol” is a clear example of what makes it so refreshing. Its tone, humor, setting, and script are all very specifically sculptured to Korean audience, making it a great look at something culturally significant. No pandering, no rules, just a good film.