Talk:Duelist (2005 film)

Untitled
Please help me here. I can't either add or remove the Hanja entry. In addition, I am not at all sure of rr and mr spellings (I tried to use the Wik lists). I just saw this movie last night, and I might be wrong on some details. If any-one who has seen it has a better grasp of Korean (I know, there wasn't much dialogue, but enough to cause problems for some-one with very weak Korean), please correct any errors. By the way, I mentioned the location based on the dialect being spoken. Finally, Wik is supposed to be NPOV: If some-body thinks I gushed too much, maybe the comments should be toned down. Kdammers 08:11, 17 September 2005 (UTC)

Split
This needs a split - I followed a link that wass supposed to pointb to the 1977 Ridley Scott film...Osakadave 17:14, 16 September 2006 (UTC)

Fair use rationale for Image:Duelist movie poster.jpg
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BetacommandBot (talk) 21:33, 13 February 2008 (UTC)

Poster
I'm not sure what "original" means. I have a different poster that came out at the release of the film in Korea. maybe there were two or more different posters; or maybe the one in the Wik article is later. I don't know. Kdammers (talk) 09:35, 6 February 2011 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20160304092301/http://www.boxofficemojo.com/movies/intl/?page=&wk=2006W20&id=_fHYEONGSA(DUELIST01 to http://boxofficemojo.com/movies/intl/?page=&wk=2006W20&id=_fHYEONGSA%28DUELIST01
 * Added tag to http://www.koreapictures.co.kr/duelist/default.htm

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Comic-based??
At some point, someone added the film to the category

Films based on manhwa. Is this correct? What is the justification of such categorization? Kdammers (talk) 05:05, 15 January 2018 (UTC)

FYI: Removed material
Characerization:

Although set in a historical era, the movie uses a very modern style of storytelling. Although the film is rich in historic details, it contains many intentional historical inaccuracies as well as modern cultural elements.

The movie is nevertheless impressionistic, with extensive use of slow motion, freeze frames, multiple images, and varying perspectives. The film is shot in brilliant, saturated hues, with strong reds perhaps predominating. Black, white, blue and a smaller amount of yellow are all present in concentrated form. The scenes are cut, often abruptly, and multiple shots are often used in the same screen.

The movie uses mainly modern Western music with Korean elements. The opening scene uses a theme from the generic circus music Entrance of the Gladiators. The romantic leitmotif is played with piano, accordion, and violin during the middle scenes and electric guitar in the denouement. A version of Dies Irae is used. Even the undercover scene use a modern tango, drummings, and psychedelic rock typical of action/detective movies in modern urban setting.

Although the movie is about a duelist, its sword-fight scenes are highly stylized and choreographed more as dance than conflict. Little blood is shown in spite of the obvious killings in some scenes. There are long stretches in the movie where there is no talking—only action, suspense, dance, or humor. Sometimes the characters' lines of thoughts are spoken while they are not speaking. Much of the movie involves the duelist and the female protagonist in stylized combat, evocative of violent mating rituals of some animals. At times, they come within inches of a kiss, but it seems their lips never touch.

The story also shows some element of polarity. Both sides have a father-figure and a protégé, all of which are masters of martial arts. Detective Ahn and Namsoon continuously exhibit silly, uncultivated behaviours, while minister Song and duelist Sad Eyes are sophisticated aristocrats. Namsoon's interactions with Ahn are comical and crude, while Sad Eyes and Song speak in a very refined language, often communicating without speaking. The lovers also show contrast, with Namsoon being boisterous and overacting, while Sad Eyes is very somber and silent.

While the movie is a love story involving an outlaw and a woman on the side of the police, humor is continually brought in. Namsoon's encounters with Sad Eyes proved her to be just about his match in combat, but not in matters of love. The duelist is always cool and calm, whereas her love for him, abetted by her raucous character, makes her a mouse that his cat-like character and moves can toy with. Thus, even the police's plan for her to go undercover in the minister's palace go humorously awry, as she literally tumbles for him.Kdammers (talk) 23:22, 31 December 2021 (UTC)