“Along with the Gods”

Summary

When firefighter Kim Ja-hong (Cha Tae-hyun, still best-known for My Sassy Girl) dies in the

line of duty, he’s greeted by a trio of guardians — Deok-choon (Kim Hyang-gi, Thread of Lies),

Hewonmak (Ju Ji-hoon, Asura) and their reaper boss Gang-lim (Ha) — who are also his escorts

through the afterlife. He is informed that because he was a paragon of virtue in life, he’s eligible

for reincarnation within 49 days, as long as he’s acquitted in seven trials on seven different levels

of “hell.” The trials are designed to judge whether or not Ja-hong is guilty of any betrayal,

indolence, violence, deceit and so on. As a bonus, his guardians/de facto defense lawyers Deok-

choon and Hewonmak can earn their own reincarnation if they’re successful in their arguments

on his behalf. They’ve been stuck in limbo a while and really, really want to get out, but when a

vengeful spirit starts to stalk the group, it puts all their plans in jeopardy. The spirit’s interference

compels Gang-lim to investigate, even though he’s not technically allowed to intervene in earthly

affairs, and soon a complicated family history surrounding Ja-hong’s mute mother, his aspiring

lawyer brother Su-hong (Kim Dong-wook) and a life of poverty emerges.

 “Along with the Gods”

Reaction Paper

A fireman named Kim Ja-hong (Cha Tae-hyun) died a heroic death in the line of his duty. A

head guardian of the afterlife, Gang-rim (Ha Jung-woo), and his two assistants Haewonmak (Ju

Ji-hoon) and Deok-choon (Kim Hyang-gi) escort the soul of Ja-hong in the world beyond. They

will have to defend Ja-hong in front of the gods heading the seven hells, namely Murder,

Indolence, Deceit, Injustice, Betrayal, Violence and Filial Impiety. Only if he can pass these

trials in all these courts can his soul be reincarnated.

I had seen the lead actors in at least one previous film before. Ha Jung-woo also played the lead

in "Tunnel" and "The Handmaiden." His portrayal of Gang-rim was noble, fair and willing to go

against the rules. Cha Tae-hyun was most famous for "My Sassy Girl." His portrayal of Ja-hong

never gave away how the story was going to go. Ju Ji-hoon was in "Asura: The City of

Darkness." His character here had a gangster-like vibe to him. Kim Hyang-gi is only 17 years

old, but she held her own as Ja-hong's kind and empathetic guardian.

As far as tear-jerking drama is concerned, Korean filmmakers really know how to hit that

sensitive spot. Whenever Ye Soo-jung (as Ja-hong's mute Mother) was on the screen, get your

hankies ready. Do Kyung -soo, who was so good in "My Annoying Brother," also had dramatic
moments as the guilt-tormented soldier Won Il-byung. There is also a touch of humor in the

characters of two persistent prosecutors against Ja-hong, played by veteran actors Oh Dal-su and

Lim Won-hee.

The whole film was a visual effects extravaganza, though some effects were better than others.

The various courts of hell were set in various fantastical landscapes which presented a particular

challenge for Kim. Murder was in a volcano. Indolence was in a waterfall, Deceit was in a forest.

Injustice was on a glacier. Betrayal was in a heavenly passage. Violence was in a sink hole. Filial

impiety was in a desert. Kim and the guardians also had to fight with "hell ghouls" unleashed by

a vengeful spirit which crossed over in both reality and the afterlife. There were really a lot of

exciting action sequences worthy of a 4DX platform (though I only watched in regular 2D).

I found the concept of the afterlife presented by this film to be very interesting. I do not know

how much of this was based on actual Korean folklore and how much was just from the

imagination of Joo Ho-min who created the webcomic upon which writer-director Kim Yong-

hwa based his script. It says that we have committed some variation of all of these seven crimes

in different levels of severity, and we have guardians to help us argue our cases before the gods

of the underworld. It was an idea that was as innovative as it was also quite thought-provoking.

On the debit side, the film tried to squeeze in too many subplots in its 140 minutes such that

there are parts that may feel confusing and long. Nevertheless, I'm still looking forward to its

coming sequel to be subtitled "The Last 49 Days."

Along With the Gods is loaded up with greenscreen and CGI, some of it extremely messy, but by

the same token it shows off some vivid environmental set pieces, like the soft rolling dunes of

the desert of Ja-hong filial impiety trial, or the snowy, blue-tinged mountains of injustice. In

general, the film is strong technically, but appropriate though it may be, Bang Jun-suk’s syrupy,

string-heavy score in the last act is likely to cause cavities. It’s too long by at least 20 minutes

(yes, we get to see all seven trials), the otherworldly “chases” over the city’s rooftops are just

wasted space and a subplot pivoting on Gang-lim’s ancient past adds so little to the bigger

picture it could have been excised completely with zero narrative consequences.

But all that is just window dressing, as the film really rests on the shoulders of its cast and the

sentimental (sometimes maudlin) story. In fairness, this is unapologetically emotional stuff (call

your mother), and Kim harbors no ambitions to anything else.

In the lead role, Cha turns in the same hang-dog, misty-eyed performance he has been delivering

for most of his career. He’s innocuous enough here, but he’s also a touch too unperturbed by his

whole ordeal (at least until the final waterworks). Fortunately, Ha is on hand to bring some of the

same suave authority he did to The Handmaiden, though this time around he gets to be a bit

funnier, as does Lee Jung-jae as King Yeomra, the all-powerful God of Death. Veterans Oh Dal-

su and Lim Won-hee as a pair of afterlife prosecutors, and Kim Su-an as the juvenile, lollipop-

sucking goddess of deceit, all leave indelible impressions by bringing the right balance of drama

and levity to their scenes, and all make Cha — and the entire film — look good.
Still, the film serves its purpose in teaching a lesson, even if it is a little obvious - that one should

lead a full life or stand to regret it later.