Review: As Korea's enlivened film industry has been churning out prestigious, large scale productions of every genre, its not surprising to see their country's early history explored on epic proportions. Enter Saulabi, a lush historical account of one of Korea's greatest kingdoms that fell into ruin.

Much like Musa (2001), which explored a latter period in Korean history dominated by the Koryo, Saulabi brings an earlier period to life with all the spectacle of a big budget Hollywood production. The story begins around 600 A.D. as the last vestiges of Paekje rulers succumb to their kingdom's demise. Warriors commit ritual suicide in the fashion of Japanese samurai while the ministers poison themselves. 450 years later, 17 warriors cross over to a Paekje settlement in Japan in order to restore the kingdom by creating a Heaven sword which will purportedly unite the people. They engage a contingent of samurai who kill all but two of the warriors. One of the two known as Ko Woo-Do is sent to meet with Kanemura, a fisherman and sword maker. But after an encounter with Ando, the region's Japanese warlord, Woo-Do falls in love with a Japanese courtesan named Osame. Unfortunately, her father has arranged for her to marry Ando. Once the affair is discovered by Osame's father and Ando, the Paekje village is attacked, Woo-Do is wounded in a duel with Ando, Osame becomes the warlord's wife, and the remaining Paekje withdraw for about fifteen years. Having completed the Heaven's Sword, Woo-Do returns to challenge Ando in order to regain his honor while Kim Jin-Woo, the only other surviving Paekje warrior sent to Japan fights desperately to save his people.

Without knowledge of Korea's early history, the film's opening minus any historical reference is somewhat confusing for the layman. But, once the story shifts to the warriors arriving in Japan where the majority of the movie was actually filmed, it becomes easier to follow. The action choreographed by longtime Akira Kurosawa collaborator Takakura Eizi (Samurai Fiction) eschews wirework and fanciful martial arts for more realistic swordplay and open handed fighting. There are many well played battles, mostly towards the end. While Choi Jae-Seong's dramatic role is small, he dominates the later fighting with one outstanding, although somewhat romanticized last stand against a force of samurai. Mortally wounded, his final moments fighting without a sword are fiercely poetic and dramatically brilliant. Enoki Takaaki's (Heaven and Earth) performance as the Japanese warlord contains subtle depth. His eyes alone are able to convey his character's determination and intensity. A silent moment where he comes to the realization that Osame has rejected him, presently one of the most powerful men in Japan is deliciously restrained, yet potent in its clarity. He practically steals the whole show and I'd love to see him in more classical samurai films.

A good portion of the story focuses on the romantic relationship between Ko Woo-Do, played by a stoic Lee Sang-Hun and Japanese actress, Umemiya Masako as Osame. Lee remains a bit detached, but Masako's frustration over the restrictive role she is forced to play, countered by her dangerously wild love for Woo-Do is poignant. Early on, their relationship is focused on their shared love for a Korean stringed instrument that only Woo-Do's kin may play. Though Osame's vow to make music with it is realized which only confirms her symbolic legitimacy as Woo-Do's mate, destiny proves unkind and the two are separated by the apparent brutality of Japanese dominance.

Saulabi boldly addresses the long standing problems of Japanese-Korean relations. The film has even generated a fair amount of controversy over the origins of the samurai code, something the film seems to indicate originates with the Paekje. In addition, the film's acknowledgement of Japanese intolerance towards Korean descendants living in Japan is a problem which persists to this day. If nothing else, the film's message is one of pride in a people and culture who have felt the sting of oppression for hundreds of years.

Without a doubt, Saulabi is a grand film that offers equal parts drama, action, and romance. A fitting musical score, memorable period costumes, and striking cinematography rounds out the film's already robust repertoire of entertaining features.