The Foul King (Film Review)

A playful blend of Shall We Dansu? and Nacho Libre, Kim Jee-woon's second film might not seem as sophisticated as his later work, but there is a personal touch to it that makes it effortlessly likeable.  Released for the first time in the UK, The Foul King is a much more measured, thoughtful film than it initially appears, with a winning lead performance from Song Kang-ho. 

Im Dae-ho (Song) is a daydreaming bank teller who is regularly humiliated by his despotic, sadistic boss (Song Young-chang) and belittled by his irascible father (Shin Goo). Seeking out a wrestling gym in order to find a way to defend himself, he is initially thrown out, but when the gym owner needs to find a cheating wrestler, Dae-ho eagerly agrees, reinventing himself as The Foul King.

Song Kang-ho has always been one of Korea's most effortlessly funny actors, with an almost instinctive sense of comic timing that transcends any language barriers. He might be best known now for his role in Parasite, but equally amazing in The Host, The Good The Bad The Weird, and Sympathy For Mr Vengeance. Even in this early screen appearance he brings a natural charisma and infectious charm to his role. He literally throws himself into the physical aspects of his role, approaching both the slapstick and the wrestling scenes with the same enthusiasm, and the fact he performs his own stunts is nothing short of astounding.

Away from the slapstick and comedy of manners, The Foul King is a beautifully made film. There are seamless edits, breath-taking slow motion stunts and vivid dream sequences that demonstrate Kim's undoubted skill behind the camera. He directs with a lightness of touch, that allows the actors room to breathe, and creates some genuinely touching character moments.

There's an ambiguity to the film that makes it more interesting than just a straight comedy, as we are immersed into the world of wrestling. While it's obvious that most of the “cheating” is staged, the line between planned stunts and real-life aggression becomes increasingly blurred, culminating in the breath-taking climactic wrestling match. This ambiguity helps with the veracity of the fight scenes though, putting us entirely in the shoes of the unwitting wrestling audience.

The Foul King is a genuine feelgood film while remaining resolutely pessimistic. Kim contrasts sweet, heartfelt romance scenes with moments of excruciating awkwardness. Crucially though, the pathos never dilutes the comedy, and the jokes don't come at the expense of the strong characterization. Whatever confidence Dae-ho gains through wrestling, whatever rousing feelings the film creates, is gleefully undercut by the films conclusion. And yet it's not a depressing film by any means. The scene where he successfully completes his back flip in the ring is a genuinely triumphant moment, and empowers the character to the point where he doesn't even need to win the final fight. The hilarious coda though, shows that there are some fights you can never win.

The Foul King offers a refreshing departure from the thrillers and darker cinema synonymous with South Korean cinema. It might seem a bit of an outlier among Kim Jee-woon's filmography, and it's true that compared to the sumptuous production values of I Saw The Devil and A Tale Of Two Sisters, it looks a little rough and ready.  Beneath the slapstick and flashy costumes though, The Foul King is a deeply touching, heartfelt film, and the result is a winning combination of irreverence and pathos that never outstays its welcome.

The Foul King is available on digital platforms from 8 April