The king and the clown

The film ‘The king and the clown’ is more than just a period film, it is a performative piece wherein
theatre and drama are not just peripheral but permeate each scene, making the film come alive. Set in
Joseon Society, it takes a sympathetic look at every level of the society without making the film seem
dragging or epic. it is a touching story of the untouched bond between the two street clowns,
charismatic Jansaeng and his effeminate show partner Gong il. Their relationship juxtaposed with the
King’s attraction with Gong il and the other jesters reflects a larger metaphor on life in which there is no
bar between the rich and the poor as all men are merely actors on a stage.

Performances by the jesters in the film are not merely used for entertainment purposes. In fact, it is
these raucous shows performed by the street artists that drive the story and creates movement in the
film. Moreover, these performances also throw light on the characteristics of each individual within the
film. the first scene itself is a performance by Jansaeng, a tightrope walker and Gong il. the music and
the satire used by the two clowns in their shows is extremely raw and strident, providing us with an
insight on the sense of humour of people of that time. Also, the harsh and bold nature of their acts
strike a contrast with the sensitive nature of the relationship shared by the two clowns. Jansaeng
automatically takes the position of the older, protective one while Gong il, with his strikingly beautiful
face and melancholic charm becomes the younger, more sensitive one. it is impossible however to
clearly make this distinction as Gong il’s character seems to be more complex than just of a ‘damsel in
distress’. There are times when it is difficult to reason his reactions to the events of the film. to give an
example, in the beginning of the film, when manager is trying to pimp gong il to the noblemen, Jansaeng
relentlessly fights for the modesty of his partner. Even when he is pounded by the men, covered by
blood he does not let gong il sell his body and tries harder than ever to prevent the men from taking him
away. Though it is established that Gong il’s character is of an effeminate, sensitive one it is still hard to
understand why he is so submissive and helpless when it comes to supporting Jansaeng in his struggle to
stop the injustice. It is ofcourse important to mention the social strata and the financial position of the
clowns in this case wherein it is understandable that the decisions of the rich and the powerful govern
the fates of these jesters. Having said that, the film very gracefully throws light on the humanness of
each character, whether rich or poor, every individual is portrayed in a realistic, flawed manner.

The nature of the performances in the film keeps evolving as the storyline progresses. Initially, the tone
and the vibe of the shows are happy, satirical and sarcastic but as the King’s ruthlessness and madness
unravel, the intensity of the performances increase while awkwardness ensues when the King himself
insists to be a part of the acts. The grace and the flow with which each performance changes according
to the situation in the film is commendable.

The constrained storyline of the film is just enough to throw light on each character and the complex
relationship shared between them. Janseang and Gong il share a rare chemistry which comes out not
only through their togetherness but also in each other’s absence. When the King becomes enchanted by
the sad and beautiful Gong il, Jansaeng, though helpless is deeply disturbed by the this emerging
connection. The emotion felt by Jansaeng at this point is potent yet so difficult to understand as it is not
just jealousy felt by a lover but concern felt by a father and unhappiness felt by a friend. This whirlpool
of emotions is created because of the graceful and tactful manner in which the subject of homosexuality
is dealt with in the film. It is so easily accepted by the characters within the film that any judgment
regarding the sexuality of the characters is unwelcome and uncalled for.

The complexity of the king’s character and the complexity of the relationship between Jansaeng and
Gong il intertwine to create a larger, more intricate web of love and betrayal. the king Yeonsan’s
character is extremely powerful and impactful in the film. with the beginning titles, it is known to us that
the king is the most tyrannical of all Joseon kings so to expect a caricature of evil is not surprising. What
is surprising though is the actual portrayal of the king which is most human and nuanced as a young man
who never had the chance to truly display his emotions. even though he is the king, his privileges as a
ruler are limited because of the constant comparison with his well respected father by the court
ministers. As much as he wants to, he is unable to escape the shadow of his ancestors and earn respect
of his ministers the way they respect his father. It is slowly but beautifully revealed how broken the king
truly is and how much he is suffering. Again, through a powerful performance by the jesters, it is
revealed that the king witnessed his own mother’s forced suicide as a result of the betrayal of the other
concubines. At this stage, the king’s character is completely unraveled as a man who is crippled with his
tormented emotions. the merciless manner with which he deals with his corrupt ministers and the
jealous concubines confirms his madness that prevailed throughout the film. In contrast to his
monstrous side, there is another side of him that he shows to Gong il during their nightly meetings.
While the king’s concubine and Jansaeng are both under the impression that the king’s fascination is a
result of his sexual desires, only Gong il is privy to his childlike amusement with the puppets and the play
acts. Gong il sympathizes with the king as he suffers tremendously by complying with his every whim
and fancy and in the process loses his true friend Jansaeng. Before he realizes the ruthless nature of King
Yeonsan, it is too late for him to get out of it. The distortion of the king’s character from an unruly,
helpless man to a cruel, merciless monster is gradual and is rather delicately intermingled with the
performances of the jesters. With the growing relationship between the king and Gong il, it is easy to fall
under the impression that the sensitive nature of Gong il may eventually heal the king’s wounds but the
hope comes crashing down when out of rage he takes away the sight of gong il’s beloved Jansaeng.
Jansaeng who often used to pretend to be blind in his earlier shows for entertainment purposes now
suffers from actual unsightedness. The irony of his situation goes beyond the personal and reaches out
to a larger metaphor in which it is unknown when the king becomes the clown and the clown becomes
the king. Even with his lost sight, Jansaeng is able to perform tight rope as well as he could with his eyes
but the king, crumbling under the his own suffering and the torture he inflicted upon his people is
unable to retain his position and respect as a ruler.

The film, with its unbounded reach is able to shine light on each member of the society with a sense of
sympathy and understanding. It goes beyond the narrative style of storytelling to unwind the different
characters and the complex emotions beneath each individual using performance and drama. It is a
lustrous description of the close association of art and life and gives multiple examples where art
imitates life and vice versa.