is a film about power: the power that comes with money, the lust for political power, the power of those who can control the media, and the dull power of brute force. Opening in South Korea in an age when many ordinary citizens feel frustrated by their own lack of power, and angry about the power games played by the elite,
Inside Men struck a chord. Despite its 19+ rating, the film soared to the top of the charts and accumulated a massive 7 million admissions. In the wake of the film’s success, distributor Showbox then released a 3-hour director’s cut, which went on to sell another 2 million tickets.
The complex plot is broadly centered around three characters. Lee Kang-hee, portrayed with a menacing elegance by Baek Yun-shick (The President’s Last Bang), is Editor-in-Chief of leading conservative newspaper Nation Daily (in Korean, this is an obvious reference to the Chosun Ilbo newspaper).
Editor Lee is something of a kingmaker in Korean politics, not only through his scathing newspaper columns but also in behind-the-scenes maneuvering and dealmaking. At the moment he is backing a presidential candidate played by Lee Gyeong-young (Venus Talk).
Ahn Sang-gu (played by mega-star Lee Byung-hun) is a ruined gangster. At one time, he was a player in multiple businesses including star management, and he also enjoyed a close relationship with Editor Lee. But he miscalculates after acquiring a bombshell piece of information, and powerful figures decide to punish him. Now he is disabled and under constant surveillance, but out of sight he is hatching a plan to get revenge.
Finally Woo Jang-hoon (Cho Seung-woo, Tazza: The High Rollers) is a former policeman, who after feeling frustrated at his inability to put criminals behind bars, takes a different course and becomes a prosecutor. Hugely motivated, with an almost obsessive thirst for justice,
Prosecutor Woo starts hearing tips about a massive slush fund that may be connected with the leading presidential candidate. His covert investigation will lead him to the abovementioned two men, but his lack of connections among the power elite means he constantly works at a disadvantage.
These three well-drawn characters form the center of the film’s appeal, although there are many memorable supporting characters as well. Not only are they vivid, well-developed and brilliantly portrayed by their respective actors, but together they paint a picture of how the levers of power work in contemporary Korean society.
Prosecutor Woo, who comes from a disadvantaged background in the countryside, represents most directly the frustrations of ordinary Koreans. But he also learns how to make use of a different kind of power: that which comes from knowledge.
Inside Men is based on a web comic by Yoon Tae-ho that ran on the Hankyoreh newspaper’s website from 2010 to 2012, and then discontinued before reaching a conclusion. Writer-director Woo Min-ho took these incomplete plot threads, themes, settings, and characters, and managed to create a gripping and highly effective drama. (Not only did he come up with an ending to the story, but he also introduced the character of Prosecutor Woo, who is not in the original comic).
It’s not surprising that Inside Men was so successful, because the world it creates is so detailed, sordid and engaging. Whether or not these sort of events actually take place in real life may be beside the point. This is a film that brings to life ordinary people’s suspicions about the way their country is run.