NR | 1h 49m | Crime, Thriller, Mystery | 2024
Korean dramas and films have captured global audiences in recent years, thanks to their intricate storytelling, relatable characters, and an uncanny ability to balance happiness, sadness, and everything in between.
Life on the Edge
The film tells the story of down-on-his-luck Lee Man-jae (Cho Jin-woong), whose wife, Jeon Soo-hyeon (Jung Woon-sun), is pregnant. Desperate, he resorts to selling his identity to a shady operation for cash.
Man-jae’s transactions seem relatively harmless at first. His name is used as a front for illicit business dealings in exchange for payment. However, his life takes a sharp turn when his name becomes embroiled in a billion-to-one embezzlement scandal. With law enforcement and powerful adversaries closing in, Man-jae is forced to flee South Korea and seek refuge in Macau, China.
As the film progresses, Man-jae is forced to confront the overwhelming consequences of his choices and the circumstances that have trapped him. His dire situation illustrates the desperation of someone driven to extreme measures by societal and economic pressures.
As he works to clear his name and recover his identity, each decision entangles him further in a dangerous and deceptive conspiracy. His journey explores not just physical landscapes, but also his internal conflict with guilt, betrayal, and a fractured sense of self.
What Works
The film’s greatest strength lies in its commitment to realism. Ha Joon-won’s years of research into the world of identity fraud lend the story a chilling authenticity. From Man-jae’s initial agreement to sell his name to his harrowing escape, every twist feels disturbingly plausible, especially in this age of identity crimes.Cho Jin-woong delivers a powerful performance as Lee Man-jae, anchoring the film with his excellent performance of a man on the edge of collapse. His ability to convey vulnerability and innate humanity makes Man-jae relatable despite his irrational life choices. Through Cho’s nuanced acting, you can feel the crushing weight of Man-jae’s predicament, as well as the glimmers of hope sprinkled here and there.
Kim Hee-ae’s Ms. Shim provides a fascinating counterpoint to Man-jae. As a character who exudes power and confidence, Shim is a rarity in Korean cinema—a middle-aged woman with agency and an aura of mystery, as opposed to a helpless (and clueless) damsel. The ambiguity surrounding her true intentions creates some of the film’s most tense and memorable moments.
The film also excels in its cinematography, with striking visuals that highlight the bleakness of Man-jae’s world. The oppressive gray tones of Korea’s urban landscapes contrast with the uneasy, chaotic energy of his escape to Macau (which isn’t far from Hong Kong). These visual choices enhance the atmosphere of isolation and danger that runs throughout the story.
While this crime drama boasts strong performances and thought-provoking themes, it is not without its flaws. The pacing dragged in some scenes, and some plot points are underdeveloped. Ha Joon-won’s direction shows promise but occasionally falters in balancing the thriller elements with its introspective moments.
Despite these nitpicks, “Dead Man” is a solid entry into the realm of Korean cinema. Its exploration of identity, survival, and societal critique offers plenty to ponder. For fans of gritty, character-driven dramas, it’s worth a watch.
