Closing the Most Beautiful Chapter of Korean Cinema [Limelight]

"National Actor" Ahn Sung-ki Passes Away... 170-Film Filmography
Ahn Sung-ki's Realism: Infusing Roles with His Character
The Eternal Anchor of Chungmuro, Embodying Anguish and Change

National actor Ahn Sung-ki passed away on the 5th at the age of 74. Yonhap News

The obituary of actor Ahn Sung-ki is not simply a farewell notice. It marks the closing of a monumental chapter in the history of Korean cinema. From his debut in the 1950s through the 2020s, he was the only living witness who experienced firsthand the birth, rise, and renaissance of Korean film. His presence on screen was never just acting. It embodied the anger of an oppressed era, the desires of a changing society, and, ultimately, offered us comfort and solace.

From Child Prodigy to “Face of an Era”: The Birth of Korean Realism

Ahn Sung-ki’s acting career can be divided into two major periods. The first act was his time as a child actor, debuting in Kim Ki-young’s “Twilight Train” in 1957 and appearing in films like “The Housemaid” (1960). The second act began after his return as an adult in the 1980s. Notably, there was nearly a decade-long hiatus from the late 1960s, during which he lived as a university student majoring in Vietnamese, an ROTC officer, and an ordinary office worker. These experiences later became a crucial source of inspiration for his acting.

When he made his comeback in 1980 with Lee Jang-ho’s “Good Windy Day,” Ahn Sung-ki brought a fresh shock to Chungmuro. At the time, Korean cinema was dominated by “handsome stars” like Shin Sung-il, whose exaggerated vocal delivery (characteristic of post-dubbed voice acting) and unrealistic characters were the norm. The character Deok-bae, a Chinese restaurant deliveryman played by Ahn Sung-ki, was different. With his stammering speech, awkward expressions, and gestures steeped in everyday life, he portrayed a “real person.”

A scene from the movie "Whale Hunting" featuring actor Ahn Sung-ki (left). Photo by Yonhap News

This new atmosphere marked the beginning of the 1980s “Korean New Wave.” Film critic Jung Sung-il has described it as “a turning point that transplanted everyday realism into Korean cinema and changed the history of acting.”

From then on, Ahn Sung-ki’s face became a mirror reflecting the contradictions of the times. In Bae Chang-ho’s “Whale Hunting” (1984) and “Deep Blue Night” (1985), he was a poor underclassman and a disillusioned romantic. In Im Kwon-taek’s “Mandala” (1981), he was an intellectual tormented between the secular world and spiritual pursuit. During the military regime, audiences found comfort for their repressed anger not in glamorous heroes, but in the clear and sorrowful eyes of Ahn Sung-ki.

From Breaking Boundaries to Becoming a Legend: An Actor Who Spanned Genres and Generations

After democratization in the 1990s, when restrictions on subject matter were lifted, Ahn Sung-ki’s acting spectrum expanded explosively. His most dramatic transformation came in Kang Woo-suk’s “Two Cops” (1993). Known for his serious and upright image, he played a veteran detective steeped in corruption, delivering a sly and comedic performance. This film shattered the stereotype that “Ahn Sung-ki can’t do comedy,” and became the archetype of the Korean-style buddy movie.

Around the same time, in Jung Ji-young’s “White War” (1992), he portrayed a novelist tormented by the trauma of the Vietnam War, depicting the madness and futility of war with harrowing realism. In this way, he was the only actor of his era who moved freely between auteur films and commercial entertainment movies.

Even in the 2000s, when the film industry was reorganized around major corporate capital and many veteran actors lost their place, Ahn Sung-ki remained steadfast. In particular, in 2003, he played the training commander in the film “Silmido,” delivering the iconic line “Shoot me and go,” and ushered in the era of 10 million moviegoers for the first time in Korean film history. Film journalist Kim Hyung-seok likened him to “the anchor of Korean cinema, who firmly held the center of gravity even as young stars flooded Chungmuro.”

His acting philosophy was unique. Instead of “method acting,” which erases oneself and becomes the character, he embraced the role within his own personality-essentially “Ahn Sung-ki-fication.” During his lifetime, he said, “An actor is only complete when their character and fragrance are reflected in the role.” Even when playing villains, he instilled a sense of empathy or human anguish, giving his characters depth and dimension. That was the essence of Ahn Sung-ki’s style of acting.

Actor Ahn Sung-ki who appeared in the movie 'Whale Hunting' Photo by Yonhap News

In 2017, the Korean Film Archive organized a special exhibition to mark the 60th anniversary of Ahn Sung-ki’s debut and introduced him as follows: “He was always present, whether Korean cinema was at its most humble or its most splendid. Simply listing his filmography is enough to describe the history of Korean film.” With over 170 films to his name, his filmography is not just a list of movies. Today, we close one of the most beautiful chapters in the history of Korean cinema.