Film Review: Musa (The Warrior, 2001)

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Just like the Japanese economic miracle in the second half of the 20th century inspired similar processes in countries that would become known as the Four Asian Tigers, the international success of Hong Kong cinema gave a boost to other Asian cinema industries. This can be observed in South Korea and mainland China, two countries which, despite being bitter enemies during the Korean War, co-operated during the production of Musa, a.k.a. The Warrior, a 2001 period action epic written and directed by Kim Sung-su, known as the most expensive South Korean film to date.

The plot takes place during another period when the relationship between Korea and China was far from cordial. In 1368, the Chinese, under the leadership of the Ming Dynasty, liberated themselves from Mongol rule. Seven years later, Ming troops are chasing the last remnants of the Mongol Yuan Dynasty over the Great Wall, which creates a serious diplomatic headache for Goryeo, the state on the Korean Peninsula. The Ming Dynasty did not forget that the Koreans used to be loyal Mongol allies, and this is made clear to the Goryeo diplomatic mission sent to establish relations with the new rulers of China. Its members are captured and sent to the desert, where their escort is killed by a group of Yuan soldiers led by Rambulhwa (played by Yu Rongguang). The Korean survivors, led by young general Choi Jung (played by Joon Ji-mo), decide to return home, but an accidental encounter in a desert inn forces them to change their plans. There, they discover that Rambulhwa has captured Bu-yong (played by Zhang Ziyi), a Ming princess. Partly because he fancies her and partly because he wants to fulfil his mission, Choi Jung takes her from Mongol captivity. Rambulhwa is furious and sends his troops in pursuit of the Koreans, who, before they reach Chinese positions, experience a series of bloody encounters. For Choi Jung, another problem is the escalating rivalry with Yeo-sol (played by Jung Woo-sung), a former slave who turns out to be a martial arts master.

Although the Oscar success of Crouching Tiger, Hidden Dragon obviously boosted this production, the use of Northern Chinese locations and the presence of Zhang Ziyi make this film resemble earlier works. Musa owes less to Chinese wuxia films and more to westerns, and Sung Su-kim’s friend even borrows some plot elements from Hill’s The Warriors and The Road Warrior. What makes Musa original is its very specific and innovative way of depicting combat scenes to make them as realistic and convincing as possible. Kim Sung-su, like so many East Asian filmmakers, doesn’t pull punches when it comes to showing the ugliness of war, so more sensitive viewers should be warned to expect plenty of decapitations and people losing their limbs. Sum Su-kim also doesn’t share Hollywood’s reluctance to show women and children being killed, and this approach even extends to horses (which led to Musa being censored in the British market). Another Hollywood convention – the positioning of actors in the credits indicating which of the characters will survive – is also disregarded, and viewers simply won’t know which of the protagonists, if any, will be alive before the end credits.

Despite all that bloodshed, Kim Sung-su finds time to show the class differences of 14th-century Korea and how they are reflected even in the microcosmic setting of a diplomatic delegation. Another interesting aspect of this film is the lack of villains in the traditional sense. The closest thing to a villain is Rambulhwa, depicted as a deeply religious man motivated more by a desire to restore lost Mongol honour than by bloodlust and a desire for conquest. The acting in the film is very good, especially in the case of Ahn Sung-ki, who plays Dae-jung, a Korean sergeant from the lower classes who serves as the voice of reason in the film. The ending is slightly disappointing. It seems that Kim Sung-su ran out of inspiration, resulting in a final showdown where ultra-violence mixes with too much pathos in the style of John Woo’s films. Musa is nevertheless a very good film that would reward anyone willing to disregard scepticism towards non-Hollywood cinema, despite the impression that it could have been better.

RATING: 8/10 (+++)