The Sword With No Name is both a historic reenactment, and a romantic narrative, regarding a dark time in Korea's past, the love story being the driving force that makes this feature so enjoyable. Despite sporting costumes that are as attractive as they are vividly colorful, several of the small settings, alongside the depiction of events, where obviously significantly more people would be attending (as an example, during ceremonies and upon the battlefield), suggest the budget of the film, which is heightened by the use of computer generated effects for at least half of the fight scenes. In so doing, although entertaining, the addendum these are not executed with wires or other like real-world mechanics, forbids these particular encounters from being realistic. The soundtrack during these moments however, is quite immersive, though it is the score accompanying the film's emotional segments that strongly deserves kudos.
The occasionally humorous, and more light-hearted moments, do not take away from the seriousness of the feature, instead strengthening the relationship between the two lead characters, though at the same time, there are certain exchanges that seem to contain little pertinence. During one scene, the Queen is presented with the skin of a tiger, however, never does this make a reappearance, despite the suggested importance conveyed during an exchange of dialogue.
Moving on, Cho Seung-Woo is especially enjoyable in his portrayal of Mu-Myeong, the mysterious, expertly trained fighter, who develops an infatuation for the Queen. His unwavering dedication, and willingness to sacrifice his own existence is well articulated, his feelings being realistically portrayed, furthering the believability of his character. The magnificently beautiful Soo-Ae as Queen Myeongsong exhibits intellect, compassion and professionalism in her role, heightening the courage and confidence she reveals in the depiction of this historic figure. Due to my lacking knowledge on the historical period, I may question the Queen's willingness to spend time with (no offense intended) a lowly commoner like Myeong, though the feelings she demonstrates for his character appear very legitimate, which ultimately build upon her character's ability to proudly serve.
This however is potentially hindered by the intensity of the sex scene. It is by no means explicit, though the screams of raucous passion, the fierceness of the bodily thrusts, and the vision of intertwined limbs, has a way of stealing the focus of the film. Despite serving a purpose, which is well executed (though at the same time highly exaggerated), the belief viewers may have held prior to the scene might be diminished, or perhaps compromised, and I personally found myself questioning the necessity of such a scene.
Moving on, the King's father, the influential Dae Won Kun (Cheon Ho-Jin) largely appears indecisive and spontaneous over the course of the feature, this especially due to the lack of exploration or presence his character receives in contrast with the two leads, an argument that can be potentially made about other characters. Noe Jeon (Choi Jae-Woong) as the expert swordsman, exhibits multiple agendas that audiences may have difficulty placing, while King Gojong (Kim Young-Min) appears as a jealous coward on more than one occasion, with potentially nefarious motives up his sleeve, the few scenes he is given being barely enough to reveal him as a leader. Such characters needed extra screen time in order to make their personalities and intentions more comprehensible.
Similar remarks can be made about the interpretation regarding the invading Japanese, who are presented as arrogant, selfish and violent offenders, the solely Korean perspective prohibiting viewers from accurately gauging a complete awareness of their intentions. This lacking information is furthered by the addendum that several sub-plots are unresolved by the conclusion, though those familiar with the period may be privy to such knowledge.
Despite the occasional lack of context, and a couple, potentially unnecessary moments, The Sword With No Name tells a very well developed story of unrequited love that may be quite relatable to viewers who have experienced similar emotional strife. The acting by the leads is one of the feature's most powerful qualities, further strengthening the film's most dramatic moments, while keeping us vested until the final poignant sequence.
The occasionally humorous, and more light-hearted moments, do not take away from the seriousness of the feature, instead strengthening the relationship between the two lead characters, though at the same time, there are certain exchanges that seem to contain little pertinence. During one scene, the Queen is presented with the skin of a tiger, however, never does this make a reappearance, despite the suggested importance conveyed during an exchange of dialogue.
Moving on, Cho Seung-Woo is especially enjoyable in his portrayal of Mu-Myeong, the mysterious, expertly trained fighter, who develops an infatuation for the Queen. His unwavering dedication, and willingness to sacrifice his own existence is well articulated, his feelings being realistically portrayed, furthering the believability of his character. The magnificently beautiful Soo-Ae as Queen Myeongsong exhibits intellect, compassion and professionalism in her role, heightening the courage and confidence she reveals in the depiction of this historic figure. Due to my lacking knowledge on the historical period, I may question the Queen's willingness to spend time with (no offense intended) a lowly commoner like Myeong, though the feelings she demonstrates for his character appear very legitimate, which ultimately build upon her character's ability to proudly serve.
This however is potentially hindered by the intensity of the sex scene. It is by no means explicit, though the screams of raucous passion, the fierceness of the bodily thrusts, and the vision of intertwined limbs, has a way of stealing the focus of the film. Despite serving a purpose, which is well executed (though at the same time highly exaggerated), the belief viewers may have held prior to the scene might be diminished, or perhaps compromised, and I personally found myself questioning the necessity of such a scene.
Moving on, the King's father, the influential Dae Won Kun (Cheon Ho-Jin) largely appears indecisive and spontaneous over the course of the feature, this especially due to the lack of exploration or presence his character receives in contrast with the two leads, an argument that can be potentially made about other characters. Noe Jeon (Choi Jae-Woong) as the expert swordsman, exhibits multiple agendas that audiences may have difficulty placing, while King Gojong (Kim Young-Min) appears as a jealous coward on more than one occasion, with potentially nefarious motives up his sleeve, the few scenes he is given being barely enough to reveal him as a leader. Such characters needed extra screen time in order to make their personalities and intentions more comprehensible.
Similar remarks can be made about the interpretation regarding the invading Japanese, who are presented as arrogant, selfish and violent offenders, the solely Korean perspective prohibiting viewers from accurately gauging a complete awareness of their intentions. This lacking information is furthered by the addendum that several sub-plots are unresolved by the conclusion, though those familiar with the period may be privy to such knowledge.
Despite the occasional lack of context, and a couple, potentially unnecessary moments, The Sword With No Name tells a very well developed story of unrequited love that may be quite relatable to viewers who have experienced similar emotional strife. The acting by the leads is one of the feature's most powerful qualities, further strengthening the film's most dramatic moments, while keeping us vested until the final poignant sequence.