When you see this scene for the first time, would you think it is from a war movie?

Probably not.

Its true that the fantastical scenes, characters, and music arent the grit that has come to be

expected from a modern war film, but Park Kwang-hyuns Welcome to DongMakGol weaves

these elements of magical realism into a story that packs an impressive punch. What is the

audience missing? Lets delve into the music of the film, and how it helps to tell a story.

INTRO

What sort of music is normal for a war film? Before viewing this for the first time, my answer

would have been twofold, following the arcs of most war films: somber when the war is going

poorly, and uplifting when on the up and up. Most follow a classic plot of overcoming

insurmountable oddsaudiences love rooting for an underdog. When viewing this movie,

however, we often forget that we are within the midst of a warPark Kwang-hyun centers the

plot around a small, fantastical village which never sees any major bloodshed. Joe Hisaishi, the

composer for the film, draws on his experience creating soundscapes of magical animated

movies to heighten the magic of DongMakGol. But, this is immediately juxtaposed with the grit

involved in the off color, gory and dirty music of warnotably, the death scenes of all main

characters of the film. (sorry for the spoilers) These are vastly different styles and moods of

musicwe have the dark, somber tones of war almost intruding on the upbeat, otherworldly

tunes of the village scenes. Just as the protagonists attempt to fend off the intrusion of the outside

world, the music is at odds throughout the film. The composition alternates the telling trumpet of

wartime with the lilting strings of DongMakGol. This only adds to the tension that Kwang-hyun

lays out before us, enhancing its anti-war message to a volume which cannot be ignored.