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The Face Reader
The Face Reader
The Face Reader
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The Face Reader
Hangul
관상
Hanja
觀相
RRGwansang
MRKwansang
Directed byHan Jae-rim
Written byKim Dong-hyuk
Produced byKim Woo-jae
Yu Jeong-hun
Ju Pil-ho
StarringSong Kang-ho
Lee Jung-jae
Baek Yoon-sik
Jo Jung-suk
Lee Jong-suk
Kim Hye-soo
CinematographyGo Nak-seon
Edited byKim Chang-ju
Music byLee Byung-woo
Distributed byShowbox Mediaplex
Release date
  • September 11, 2013 (2013-09-11)
Running time
139 minutes
CountrySouth Korea
LanguageKorean
Box officeUS$61 million [1]

The Face Reader (Korean: 관상; RR: Gwansang; lit. 'Physiognomy') is a 2013 South Korean period action drama film starring Song Kang-ho as the son of a disgraced noble family who goes around Joseon and a gwansang[2] expert. He is able to assess the personality, mental state and habits of a person by looking at his or her face. His talents bring him to the royal courts where he becomes involved in a power struggle between Grand Prince Suyang and general Kim Jong-seo, a high-ranking loyalist to King Munjong.[3][4][5] It is the first installment of the Jupiter Film's three-part film project on the Korean fortune-telling traditions and was followed by two sequels, The Princess and the Matchmaker and Feng Shui in 2018.[6]

The Face Reader became one of the highest-grossing films in South Korea in 2013, with 9.1 million admissions. It won six awards at the 50th Grand Bell Awards, including Best Film, Best Director for Han Jae-rim, and Best Actor for Song Kang-ho.[7][8] This film is Lee Jong-suk's only historical project to date.

Plot

[edit]

Nae-gyeong, the most skillful face reader in the Joseon dynasty, was living in seclusion when he was offered a lucrative partnership by Yeon-hong, a gisaeng. Nae-gyeong accepts the proposal to read the faces of Yeon-hong's guests only to get involved in a murder case. With his face reading skills, Nae-gyeong successfully identifies the murderer and his skills are soon acknowledged by King Munjong who orders him to identify the potential traitors who threaten his reign. However, after the unexpected death of Munjong, Nae-gyeong is courted by Grand Prince Suyang who yearns to become King himself by killing the young successor Danjong. Nae-gyeong decides to keep his loyalty to the late King and help Kim Jong-seo protect the young King which forces him into the biggest power struggle in the history of the Joseon dynasty.

Cast

[edit]

Production

[edit]

Kim Dong-hyuk's screenplay won the grand prize at the 2010 Korean Scenario Contest held by the Korean Film Council.[9]

Awards and nominations

[edit]
Year Award Category Recipient Result
2013 50th Grand Bell Awards Best Film The Face Reader Won
Best Director Han Jae-rim Won
Best Actor Song Kang-ho Won
Lee Jung-jae Nominated
Popularity Award Won
Best Supporting Actor Jo Jung-suk Won
Baek Yoon-sik Nominated
Best Screenplay Kim Dong-hyuk Nominated
Best Cinematography Go Nak-seon Nominated
Best Editing Kim Chang-ju Nominated
Best Art Direction Lee Ha-jun Nominated
Best Lighting Shin Kyung-man, Lee Cheol-oh Nominated
Best Music Lee Byung-woo Nominated
Best Costume Design Shim Hyun-sub Won
Technical Award Kwak Tae-yong, Hwang Hyo-kyun (Special Make-up) Nominated
Im Dae-ji, Choi Tae-young (Sound) Nominated
34th Blue Dragon Film Awards Best Film The Face Reader Nominated
Best Director Han Jae-rim Nominated
Best Actor Song Kang-ho Nominated
Best Supporting Actor Lee Jung-jae Won
Jo Jung-suk Nominated
Best Supporting Actress Kim Hye-soo Nominated
Best Screenplay Kim Dong-hyuk Nominated
Best Cinematography Go Nak-seon Nominated
Best Art Direction Lee Ha-jun Nominated
Best Lighting Shin Kyung-man, Lee Cheol-oh Nominated
33rd Korean Association of Film Critics Awards Best Actor Song Kang-ho Won
Lee Jung-jae Nominated
Best Supporting Actor Jo Jung-suk Won
Best Music Lee Byung-woo Won
CJ CGV Star Award Lee Jung-jae Won
2014 5th KOFRA Film Awards Best Supporting Actor Won
9th Max Movie Awards Best Actress Kim Hye-soo Nominated
Best Supporting Actor Lee Jung-jae Nominated
Jo Jung-suk Nominated
Best Supporting Actress Kim Hye-soo Nominated
Best Poster The Face Reader Won
Best Preview Nominated
19th Chunsa Film Art Awards Best Director Han Jae-rim Nominated
Best Actor Lee Jung-jae Nominated
Best Screenplay Kim Dong-hyuk Nominated
8th Asian Film Awards Best Costume Design Shim Hyun-sub Nominated
50th Baeksang Arts Awards Best Film The Face Reader Nominated
Best Supporting Actor Lee Jung-jae Won
Kim Eui-sung Nominated
23rd Buil Film Awards Lee Jung-jae Nominated
Best Art Direction Lee Ha-jun Nominated

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Face Reader

View on Grokipedia
from Grokipedia
The Face Reader (Korean: Gwan-sang) is a 2013 South Korean historical action drama film directed by . Starring as the protagonist Nae-kyung, a skilled physiognomist from a disgraced noble family, the film depicts his entanglement in a royal power struggle during the Dynasty in 1455, when Suyang (later King Sejo) seizes the from his young nephew, King Danjong. The story centers on Nae-kyung's ability to discern character and predict fortunes through facial features, which draws him into the intrigue surrounding the of a and the prince's ambitions. Co-starring as Suyang and Baek Yoon-shik, the film blends elements of mystery, action, and , highlighting themes of loyalty, betrayal, and the perils of insight in a treacherous court. Released on , 2013, The Face Reader achieved significant commercial success, topping the South Korean box office upon debut with over 1.8 million admissions in its opening weekend and ultimately grossing approximately $61.5 million worldwide, including $61 million internationally. It received widespread recognition at domestic awards, winning Best Film, Best Director for , and Best Actor for at the 50th , among six total victories. The film's strong performance underscored its appeal in portraying historical events through the lens of traditional Korean practices.

Background and Development

Historical Context

The practice of , referred to as gwansang (觀相) in Korean, traces its origins to ancient East Asian philosophies, including Chinese influences, and gained significant traction in Korea during the Dynasty (1392–1897). This pseudoscientific art involved interpreting facial features—such as the shape of the , eyes, , and —to assess an individual's character, fortune, longevity, and destiny. During , physiognomy reached a peak of popularity, with scholars producing numerous treatises detailing correlations between bone structure, skin texture, and life outcomes; for instance, a broad was often linked to and prosperity, while prominent cheekbones signified resilience. Court officials and commoners alike consulted gwansang practitioners for decisions on marriages, career paths, and even political alliances, reflecting the era's blend of Confucian rationalism with folk superstitions. In the mid-15th century, the period depicted in The Face Reader, intersected with 's intense political intrigues, particularly during the turbulent succession following King Sejong's death in 1450. Suyang (later King Sejo, r. 1455–1468) navigated a power struggle that culminated in his coup against his nephew, King Danjong, involving purges of rivals and reliance on advisors skilled in arts. Historical records indicate that rulers and elites employed face readers to evaluate loyalty and potential , as traits were believed to reveal innate dispositions unmaskable by outward . This practice underscored the dynasty's hierarchical society, where noble birth and perceived physiognomic favor could elevate or doom individuals amid factional conflicts between factions like the Hungu and rival scholarly groups. While gwansang lacked empirical validation and was rooted in pre-modern cosmology rather than verifiable causation, its cultural persistence influenced social judgments, from hiring officials to selecting heirs, persisting into later despite periodic Neo-Confucian critiques of superstition. The film's portrayal draws on these real historical currents, amplifying the role of a fictional physiognomist in Sejo's rise to highlight tensions between fate-reading and raw ambition in a rife with plots and throne seizures.

Pre-Production and Script Development

The screenplay for The Face Reader was primarily written by Kim Dong-hyuk, with contributions from director . Kim's script originated as the grand prize winner at the 2010 Korean Scenario Contest organized by the Korean Film Council, focusing on a fictional physiognomist entangled in -era intrigue. This accolade facilitated the project's advancement, blending historical events like Suyang's 1455 usurpation of the throne—with its documented purges and political machinations—with the pseudoscientific practice of physiognomy, which held cultural sway in society for assessing character and fate. Han Jae-rim, whose prior feature (2007) had established his reputation for character-driven narratives, joined the scripting process to refine the story's philosophical undertones, particularly the tension between predestination via facial features and human agency amid power struggles. Pre-production, spanning roughly 2010 to early 2013 under producers Kim Woo-jae and Joo Pil-ho, involved securing financing from Showbox and Jupiter Film, alongside historical consultations to ensure fidelity to customs, palace architecture, and the era's documented reliance on arts, though the central face reader character remains a narrative invention. Key pre-production decisions included assembling a cast anchored by in the lead role of Nae-kyung, marking their second collaboration with Han after , to leverage the actor's ability to portray nuanced everymen thrust into historical tumult. Budget allocations prioritized period authenticity, with early scouting for locations evoking 15th-century and preparatory work on costumes and sets to depict the era's stratified society, from royal courts to itinerant performers.

Production

Filming and Locations

for The Face Reader commenced on September 15, 2012, and concluded on December 12, 2012, spanning approximately three months of on-location shooting in . The production team scouted and filmed at diverse sites nationwide to authentically recreate the Joseon-era atmosphere, avoiding modern intrusions and leveraging natural and historical landscapes for period authenticity; this approach was highlighted as covering "everywhere except " in scope. A centerpiece location was Saejae Provincial Park in Gyeongsangbuk-do Province, selected after extensive effort for its suitability in depicting Prince Suyang's opulent banquet hall, where large-scale crowd scenes and sets were constructed to simulate royal intrigue. Rural sequences, including the Yeon-gam's family exile and countryside pursuits, were captured at Setmaejae in , Gyeonggi-do Province, utilizing expansive reed fields and hills for visually striking, windswept exteriors that enhanced the film's dramatic tension. Traditional architecture scenes, such as noble residences and village settings, were filmed in Andong's Gunja Village in Gyeongsangbuk-do Province, where preserved Joseon-style buildings provided interiors and exteriors that grounded the narrative in historical realism.

Technical Achievements and Design

The film's , led by Go Rak-sun, employs exquisite framing and to capture the opulent textures of Joseon-era Korea, contributing to its reputation as a visually sumptuous period drama. Production design by Lee Ha-jun features richly appointed interiors and exteriors, meticulously recreating historical and environments such as royal courts and bustling markets to immerse viewers in the 15th-century setting. Costume design by Shim Hyun-seop emphasizes authentic variations reflecting social hierarchies and daily life, earning the Best award at the 50th in 2013. These elements, combined with period-appropriate props and minimal focused on practical enhancements rather than digital augmentation, underscore the production's commitment to historical realism over spectacle. The overall technical execution aligns with standards of contemporary Korean historical , prioritizing tangible craftsmanship in sets, attire, and composition to support the narrative's exploration of and court intrigue.

Synopsis

Plot Summary

is set during the Dynasty in the mid-15th century, following the death of King Munjong in 1452 and the ascension of his young son, Danjong, to the throne. The narrative centers on (), a highly skilled physiognomist renowned for discerning personality, fate, and intentions through facial features, who has withdrawn to a secluded life with his son and brother-in-law after personal losses. His expertise draws the attention of (), a cunning gisaeng operating an establishment in Hanyang (modern ), who recruits him to read the faces of her influential patrons, propelling him into encounters with political elites. This involvement escalates when Nae-kyung is summoned to the royal court amid power struggles, particularly the ambitions of Suyang (Lee Jung-jae), Danjong's uncle, who seeks to consolidate influence and ultimately usurp the throne. Employed as an advisor, Nae-kyung applies his physiognomic talents to assess loyalties, predict betrayals, and navigate treacherous intrigues, including conspiracies within the and challenges to his predictive accuracy. The story explores themes of ambition, deception, and the perils of insight into human nature, as Nae-kyung grapples with the consequences of his readings in a volatile environment of courtly machinations.

Cast and Characters

Principal Cast

Song Kang-ho stars as Nae-kyung, a skilled physiognomist from a fallen noble family who navigates Joseon-era politics through his ability to read faces and predict fortunes. portrays Grand Prince Suyang, the ambitious royal figure whose rise to power involves intrigue and manipulation, drawing on the actor's established presence in Korean cinema. Baek Yoon-shik plays Kim Jong-seo, a high-ranking entangled in court conspiracies. Jo Jung-suk appears as Paeng-heon, Nae-kyung's brother-in-law and a key ally in his personal and professional endeavors. takes the role of Jin-hyeong, contributing to the ensemble's depiction of loyalty and betrayal within the narrative. is cast as Yeon-hong, a cunning gisaeng who influences Nae-kyung's entry into elite society.
ActorRole
Nae-kyung
Grand Prince Suyang
Baek Yoon-shikKim Jong-seo
Paeng-heon
Jin-hyeong
Yeon-hong

Release and Commercial Performance

Theatrical Release

The Face Reader premiered theatrically in on September 11, 2013, distributed by . The release followed an announcement by distributor Media Flex on August 9, 2013, positioning the film as a major fall season offering amid competition from other local productions. Rated for audiences aged 15 and older by the , the film opened on approximately 1,500 screens nationwide, capitalizing on its star-studded cast including and . Internationally, a limited theatrical rollout began in on October 4, 2013, screening in 13 cities through subtitled prints. Subsequent releases occurred in markets such as on February 28, 2014, and on June 28, 2014, where it received an R18+ rating.) The film's marketing emphasized its elements and theme, with promotional materials highlighting director Han Jae-rim's prior success with The King (though released later, building on his reputation). No major festival premieres preceded the commercial debut, aligning with its strategy as a domestic blockbuster rather than an awards-circuit entry.

Box Office Success

The Face Reader premiered in on September 11, 2013, and quickly dominated the domestic box office, drawing 373,615 viewers on its opening day to claim the top spot. By its third day, it surpassed 1 million admissions, and within 13 days, it reached 7.5 million, maintaining the number one position without interruption during this period. The film ultimately recorded 9,134,586 total admissions, generating a gross of 66,005,451,500 (approximately $60 million USD at contemporary exchange rates), securing third place among the year's highest-grossing films in the market. Internationally, its performance was more modest, with a limited U.S. release on October 4, 2013, yielding a gross of $515,876, including an opening weekend of $159,720. Worldwide totals reached about $61.5 million, predominantly from , underscoring the film's strong local appeal amid competition from other domestic blockbusters. This success highlighted audience interest in period dramas featuring themes, contributing to its status as a commercial hit in a year marked by high attendance for Korean productions.

Reception

Critical Reviews

The Face Reader received mixed reviews from international critics, holding a 57% approval rating on based on 14 reviews, reflecting its limited Western distribution despite domestic acclaim. Variety's Maggie Lee praised the film as a "stately but not overwrought Korean production," highlighting its role as an elegant showcase for a strong , including as the titular face reader Yeon-gil, as the ambitious Prince Suyang, and Baek Yun-shik as the reformist Kim Jong-seo. She commended director Han Jae-rim's technically polished handling of court intrigue and philosophical undertones on self-fulfilling prophecies in , along with meticulous period decor and rich production values that evoked Joseon-era opulence. However, Lee critiqued the narrative's sluggish start, which lingered over 30 minutes on rustic humor and bawdy banter before escalating to palace machinations, and noted that 's lead performance felt overshadowed by more vivid supporting turns, potentially limiting appeal beyond Korean audiences familiar with the historical context. Screen Anarchy's review lauded the film as a "terrific period yarn," emphasizing its lively pacing, lavish visuals, and strong ensemble dynamics that effectively wove historical power struggles with the of face reading. The outlet appreciated Han's direction for balancing elements like and thriller tropes without overwhelming the core theme of fate versus agency, though it acknowledged the story's predictable rise-and-fall arc for the entangled in royal betrayal. Critics generally recognized the film's strengths in acting and technical execution—evident in its six Grand Bell Award wins for categories including for —but some viewed its dense reliance on 15th-century politics and superstition as a niche barrier, contributing to modest international buzz compared to its $61 million domestic gross.

Audience and Cultural Impact

The Face Reader garnered significant domestic audience enthusiasm in , drawing 9.1 million admissions and securing the fourth spot among the year's top-grossing films, a feat that outperformed the Hollywood release at the local box office. This turnout, representing a substantial portion of the national population, underscored viewers' affinity for the film's fusion of -era political intrigue, practices, and star-driven performances led by . Early screenings alone attracted over 6 million viewers within 12 days of its September 2013 debut, signaling rapid word-of-mouth momentum amid a competitive slate of period dramas. Audience metrics beyond attendance revealed a more tempered international response, with aggregate viewer ratings on settling at 57% based on over 250 evaluations, often citing appreciation for technical polish and historical spectacle alongside critiques of pacing and predictability. In Korea, the film's resonance stemmed from its accessible exploration of superstition's role in power dynamics, aligning with public fascination for genres that dramatize verifiable dynastic events like King Sejo's ascension. On a cultural level, The Face Reader amplified awareness of —or gwansang—as a historical lens for interpreting fate and character, embedding it into modern discourse on versus agency in Korean historical narratives. Its success fueled academic examinations of fortune-telling motifs in cinema, positioning the practice not merely as folklore but as a causal factor in political realism during the period, with ripple effects in analyses of films grappling with predestination themes. The narrative's prominence also indirectly influenced derivative media, such as the 2014 TV series , which borrowed structural elements and prompted plagiarism disputes, illustrating the film's catalytic role in expanding Joseon-era storytelling across formats.

Awards and Recognition

Major Awards

The Face Reader secured six awards at the 50th on November 1, 2013, including Best Film, Best Director for , and Best Actor for . The film also received Best Supporting Actor for at the same ceremony. Additional wins included Best Supporting Actor for at the 34th on November 22, 2013. The Korean Film Critics Association honored with Best Supporting Actor and the film with Best Music in 2013. These accolades underscored the film's strong reception in technical and performance categories within South Korea's premier film industry events.

Historical Accuracy and Analysis

Fidelity to Historical Events

The film The Face Reader adheres closely to the historical timeline of Grand Prince Suyang's (later King Sejo) bid for power in the Joseon dynasty, set primarily between 1452 and 1455 following the death of King Munjong, during which Suyang served as regent for his nephew, King Danjong. It portrays Suyang's strategic alliances with military figures and the elimination of political rivals, including the 1453 assassination of Kim Jong-seo, the chief state councillor and leader of the reformist faction advocating merit-based bureaucracy over aristocratic privilege. These events align with records of the Gyeyu Jeongnan (己酉靖難), a coup initiated by Suyang's partisans to purge opponents and consolidate control, culminating in Suyang's deposition of Danjong and self-coronation on June 25, 1455. Key historical figures are rendered with fidelity to their documented roles: Suyang as an ambitious prince leveraging factional loyalties against the elite, and Kim Jong-seo as a progressive administrator whose death marked a pivotal shift toward Sejo's authoritarian rule, which emphasized royal absolutism and Neo-Confucian . The film's depiction of court intrigue, including and purges, reflects the documented tensions in annals, where Suyang's actions preserved the dynasty but at the cost of fraternal betrayal and the execution of over 70 officials. Deviations arise primarily through the fictional , Nae-kyung, a disgraced noble turned itinerant physiognomist whose readings purportedly influence royal decisions and expose conspiracies; no such individual or physiognomy-driven interventions appear in historical sources like the Joseon Wangjo Sillok (Veritable Records). While , imported from Chinese traditions, was a genuine cultural tool in for assessing character in contexts like official selection or , its dramatized centrality here serves purposes rather than evidential reality, introducing speculative "what-ifs" into the power struggle.

Portrayal of Physiognomy and Superstition

In The Face Reader, is depicted as a sophisticated interpretive central to the Nae-kyung's expertise, enabling him to discern traits, predict fortunes, and uncover hidden ambitions through meticulous analysis of facial features such as bone structure, eye , and skin texture. The film presents these readings as eerily prescient within the narrative, driving plot progression as Nae-kyung applies them to court figures, including Suyang, to expose treachery and manipulate alliances during Joseon-era intrigues. This portrayal elevates from mere folklore to a strategic tool akin to deduction, with Nae-kyung's observations yielding actionable insights that propel his rise from itinerant reader to influential advisor. Superstitious elements underpin the film's treatment of , framing it as intertwined with beliefs in predestined fate (myeong or unmyeong), where facial contours are seen as omens of inevitable outcomes, including , , or downfall. Characters exhibit toward such practices, with Nae-kyung's son viewing face reading as a degrading unfit for scholars, highlighting internal tensions between rational Confucian ideals and folk traditions rooted in . The narrative employs irony in showing how reliance on these readings fosters self-fulfilling prophecies, as attempts to defy predicted destinies—such as altering appearances or behaviors—exacerbate the foretold tragedies, underscoring the perils of superstitious over empirical agency. While the film dramatizes physiognomy's efficacy for storytelling, the practice itself lacks scientific validation, relying on anecdotal correlations rather than causal mechanisms linking morphology to character or future events, as critiqued in analyses dismissing it as prone to and cultural projection. This portrayal reflects historical reliance on such methods for personnel selection and , yet amplifies their dramatic potency without endorsing literal truth.

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