Tag: jang hanseo

The Vincenzo Villain Saga: Part II

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NOTE: This is Part 2 of a series on Studio Dragon’s Vincenzo. This article series has heavy spoilers for the entirety of the show, so please proceed with caution.

The series will be as follows:

1) Introduction + Acting

2) Writing – YOU ARE HERE

3) Other Character Interactions

4) Scene Analysis #1

5) Scene Analysis #2 + Conclusion

For those of you who haven’t watched the show, this is the last warning. I will be spoiling the entirety of Vincenzo in this character analysis.

Pronto? Andiamo.

PART II: The Writing

NOTE: I had to get screenshots from YouTube videos, so please support the following YouTube creators: “Hell is empty and all the devils are here” and sophie야.

The Mystery – 1, 2, 3, 4

When they revealed Jang Hanseok to us, the audience, at the end of Episode 4, I was surprised. However, what surprised me more was how much sense the reveal made. Beyond Ok Taecyeon’s acting, the writing of the show – but especially in the first four episodes – is absolutely stellar. Hanseok’s identity is presented in the early episodes of the show is a mystery to be solved by the leads – possibly the main mystery of the show. However, Vincenzo isn’t a mystery show. It’s more of a race – each episode presents new challenges, and whoever beats the other to the punch effectively wins.

In the case of Hanseok’s identity reveal, it actually shows how much of a leg up Hanseok has on Vincenzo – he’s literally ten episodes ahead of him. He has enough time to get a grip on Vincenzo’s process and take him by surprise – which is, of course exactly what he loves. In Hanseok’s mind, surprise is a form of power.

Hanseok having a head start on Vincenzo means that by the time Vincenzo does find out about him (in Episode 11) Hanseok has already mentally prepared to deal with a mafia consigliere. Whether or not Hanseok is actually physically prepared, though, is immaterial. He generally leaves it to the people around him to take care of business. It’s not about being literally prepared, but psychologically prepared. And he is very, very prepared to deal with a mobster.

It’s important to note that the show actually seeds the Junwoo/Hanseok reveal very early on, so that it doesn’t come out of nowhere. Hanseok carefully sizes up Vincenzo upon meeting him, and asks him his name without butchering it, showing a degree of competence. He compliments Chayoung’s watch, which is relevant to a later reveal about his heinous actions. And, of course, there’s Hanseok and Chayoung’s first meeting with Han Seo – which we’ll get to in the next article.

Charismaniacs

There are two words that describe Jang Hanseok better than all others: Magnificent Bastard.

The Magnificent Bastard is a trope referring to a character – usually a villain – who is supremely intelligent, charmingly charismatic, and steadfastly driven towards a specific aim. To quote the description on TV Tropes:

  • They are brilliant and utterly devious, a smooth operator. They are also savvy and do not fall for obvious traps; bringing them down is no easy feat.
  • They have a goal, and they’re not going to stop until they’ve completed it. Even when the goal is suicidally over-ambitious, they succeed with style.
  • They are charismatic, often charming, their personality is like a physical force. While they exist on the darker end of the moral spectrum, they never take disgusting actions that undermine their magnificence, leaving them diabolical but in a way the audience can’t help but enjoy. And they are definitively not cowards. Ever.

Overly Sarcastic Productions on YouTube expounded upon this definition, explaining that a Magnificent Bastard (or “Charismaniac”, as it were) cannot be impulsive. They can be petty, but they have to be calculated. Because if the character loses control regularly, or has none to begin with, it implies that the character is acting entirely on a whim and is less intelligent than they let on. Therefore, they can’t be a Charismaniac.

The Core – “God enjoys making people suffer.”

If this were a test, Jang Hanseok would pass with flying colors. Hanseok is the epitome of the Magnificent Bastard. He has a goal that he will accomplish no matter what, no matter who he steps on. He’s unnervingly charming – the moment he’s on screen, you can’t look away. And I have never – never – seen a character as convincingly sadistic as him. But what cements him as a true Magnificent Bastard is his intelligence – nearly every moment on he is on screen, he’s calculating the correct play. No matter the hand dealt to him, he knows how to maximize his advantage.

Jang Hanseok is the definition of a Charismaniac.

And his goal is power.

Hanseok being ominous.

Hanseok spends the majority of his time in the show leveraging his power as the secret owner of Babel and accumulating power via as many other means as he can. He started by removing familial threats – killing his father and abusing his brother Han Seo – to consolidate power in the most intimate social circle he had. Fortuitously for Hanseok, this social circle was the center of Babel leadership. Once Hanseok had his brother under his thumb and his father six feet under, Babel was effectively his.

Junwoo – The world’s most terrifying himbo

Let’s focus on Hanseok’s alter ego, Junwoo. “Junwoo” appears to be a manchild, an archetypical himbo. He has a number of juvenile-coded personality traits, like getting overemotional, fumbling when he’s doing simple tasks like parking his scooter, and trying to impress people. He’s presented to the audience as a comic relief character. Then, at the end of Episode Four, the showrunners pull the rug out completely from under us.

There is one scene that sells us on “Junwoo” being a comic relief character, thereby making the Hanseok reveal that much more insane. In Episode 2, Junwoo is cleaning up in Han Seunghyuk’s office when he overhears Seunghyuk talking about the demolition team coming to Geumga Plaza. He’s slightly more subdued than we’ve seen him before, but he still opens his mouth in shock when he realizes what’s being said. Since he is not being observed, he’s not as over the top as he could be. However, because he’s still in the office with Seunghyuk, he is still technically in character as Junwoo. We catch a glimpse of the real Hanseok here – actively calculating the correct move, not showing his hand to the characters but subtly cluing us in that there’s more to this character than meets the eye.

The way Hanseok is written after the reveal also has to be internally consistent for this story to work – and it is. I talked about this more in the previous article on Ok Taecyeon’s acting, but the traits that make Junwoo endearing are the traits that make Hanseok terrifying. Both personas are relaxed at best, lackadaisical at worst. But those lackadaisical traits that make Junwoo seem like a youthful, sweet soul are the exact same traits that indicate Hanseok’s complete and utter lack of fear or self-preservation.

His apathy is our fear.

Revisiting the importance of casting

Part of the reason this works is casting. Casting a K-Pop idol, particularly a K-Pop idol who has done a lot of comedy, was an incredible misdirection on the part of the production. K-Pop comes with its own associations, one of which is aegyo. To paraphrase, the term aegyo is basically just “acting cute,” but generally refers to a series of gestures like finger hearts that can often be construed as childish. So when we see Ok Taecyeon, a famous K-Pop idol, behaving in a stereotypically “cute” manner connects the audience with this concept of aegyo. So when “Junwoo” does a complete 180 and becomes Hanseok, we are floored because it subverts our understanding of the behaviors expected of an idol.

However, Ok Taecyeon wouldn’t be able to act the role as well as he did if it weren’t for the way Hanseok is written.

Acting out the role of the dense-but-kindhearted Junwoo, thereby putting himself in the place of an intern, is the ultimate power play. “Junwoo,” being a law intern, is privy to all of the strategies that the lawyers for Babel are putting together. He can see exactly which knife is sharpest, and which one cuts deepest.

But there’s more to the decision to be a lowly intern. “Junwoo” is practically invisible in the eyes of Wusang Law. He’s an intern, assigned to do menial tasks like paperwork and picking up after the partners. Based on his position and his overall childlike demeanor, they never think anything of him. They barely talk to him.

And whenever he is not talking, Hanseok is listening.

The bluff of the century

Hanseok holds all the cards without anyone knowing. People trust him because they think he’s a dense intern. But he’s always observing and taking in information – information that he is very good at using against people. As an example: Hanseok got kicked in the back by Han Seunghyuk (the managing partner at Wusang and Chayoung’s former boss) while masquerading as Junwoo. After revealing himself as Hanseok, he kicks the table while looking at Seunghyuk – which immediately sets Seunghyuk off. And, since Hanseok knows Seunghyuk is a habitual butt-kisser who hates making powerful people upset, leveraging the fact that Seunghyuk had kicked a powerful person in the back when that person was perceived as powerless pushes Seunghyuk into a corner that he can’t escape from.

Junwoo’s modus operandi is incredibly effective.

Character flaws

One of the hardest lessons to learn in scriptwriting is that characters need to be flawed. Sometimes, the writer will get so invested in a character that the narrative as a whole will treat a singular character as the most important human being alive. Even if they’re the villain, they’ll seem to know absolutely everything, and get away with absolutely everything without much more than a handwave.

Vincenzo, luckily, doesn’t have this problem. Every character feels like a person. And that’s because they all have flaws. Vincenzo Cassano avoids letting people get close as guilt for everything he’s done, and his self-isolation is a driving force in his character arc. Hong Chayoung puts the assignment above her own feelings, which is great for taking down Babel and Wusang, but also means she has to compromise her own morals to do so.

However, it’s important to note that neither of these character flaws are inherently negative traits. Vincenzo’s private nature is part of what leads him to be so good at getting the job done – he is very good at bluffing and not showing his hand. Chayoung’s pragmatism lets her think of outside-the-box solutions (or, frankly, out-of-pocket solutions) that are almost always successful. These character traits are not flaws because they make them bad people – in fact, they’re generally good qualities. They become flaws when put in the wrong circumstances.

And Jang Hanseok’s drive for power, while being what makes him most compelling, is his character flaw. But, it’s not for the reason you think.

hanseok’s Fatal Flaw

Greed – and being singularly focused on it – would theoretically beget the flaw of being blind to anything else. However, Hanseok is a calculated individual. Hanseok is not emotionally adept in the way Vincenzo and Chayoung are, but he is adept at figuring out exactly what makes people afraid. Han Seunghyuk is afraid of offending authority – Hanseok leverages that. Choi Myeonghee is afraid of endangering herself – Hanseok leverages that too. Han Seo is afraid of Hanseok himself – and yet again, Hanseok leverages that.

What makes Hanseok’s greed his flaw is not blindness to anything else.

No. It’s the circumstance.

How can you leverage fear on someone who has nothing to lose?

In the case of Hanseok, the only way to make him feel fear is to make him as powerless as his own victims. While power is what drives Hanseok as a character, it is also the source of his fear.

The language of fear

Hanseok talks about a nightmare he had in Episode 12, in which he is being buried in an unmarked grave, dying in obscurity, without anyone knowing who he is. On the surface, this reads like a fear of dying without fame, but in context, this is a dream of dying without power. Hanseok has, up until this point, gained power by selectively revealing himself – his true self, his sadistic self – to a few people with a lot of who he can manipulate for influence. Han Seo obviously knows who he is by default, but he reveals himself to Myeonghee and Seunghyuk with intent.

Hanseok confiding his fears in Myeonghee.

There is a correlation for Hanseok between power and the security of his identity. In the same scene, Myeonghee tells him that his greatest weakness, in fact, is his anonymity. If people don’t know who he is, they don’t know he has power. This comment is what prompts the decision to reveal himself to the Babel board.

The board

When Hanseok reveals himself to the Babel board, he doesn’t reveal his sadism outright. Rather, he triggers Han Seo and the chief prosecutor by revealing his sadism to them specifically. To Han Seo, he lets him know that the pain of being shot was excruciating. To the chief prosecutor, all he has to say is “It’s ME!” and that’s enough to scare him. The triggering of these memories strikes fear into onlookers, as their normally relaxed colleagues are acting like they just saw their worst fears come to life – because, in fact, they did.

(Left) Hanseok approaching the chief prosecutor to scare him. (Right) Hanseok saying “It’s ME!”

Hansoek’s revealing of his identity is, theoretically, a way to control his circumstance and turn his flaw into his asset. However, his both figurative and literal bloodlust is what leads him to make mistakes. He assumes that everyone who fears him is loyal to him because of fear.

But, as Vincenzo reveals again and again, there’s always something or someone scarier than you.

The Psychology of Hanseok

As with any character who is purportedly insane, we do have to ask the question about the nature of Hanseok’s mental state.

In Episode 15, we learn that Hanseok has a psychopathy diagnosis. I, as a rule, don’t like the word “psychopath”. Technically speaking, there is no true diagnosis of a psychopath. What a psychopath is Hanseok does give the impression of being narcissistic, but since they just gave him a general categorization of “psychopath” we can’t fully analyze his narcissism as an actual disorder, merely a personality trait.

There is a very real concern about ascribing a character with a mental disorder, because it can perpetuate stigma against people with such disorders – especially if the person writing them isn’t writing from a place of copious research or personal experience. Neurodivergent people are not inherently violent, just as neurotypical people are not inherently violent.

The sadism of hanseok

The only saving grace with Hanseok’s character in the psychological diagnosis is that he actually has to have someone explain to him things that “normal people” understand more innately. Specifically, Choi Myeonghee has to explain to him that yes, normal people do care about their families. His actual confusion at the concept (and the way Myeonghee handles it by explaining) is one thing I can say is probably him having some sort of personality disorder, though we don’t definitively know what disorder he has. He clearly doesn’t care about “normal” people the same way he does about power.

I do think that the show does a good job of establishing Hanseok’s sadism as separate from his disorder. His disorder isn’t revealed until episode fifteen, after we’ve gotten to know him as a person and a villain. At that point, the framing is such that this isn’t the reason for his sadism – or even really an explanation for his behavior – but instead a new piece of backstory we have to understand as a part of him. So he’s not a sadist because of his disorder, but because that’s who he is. It narrowly – narrowly – avoids the pitfall of most “psycho stalker” movies, wherein the character’s diagnosis is a scapegoat for fundamental problems with the story logic.

Hanseok sees people as toys, regardless of what diagnosis he might have.

(Left) A young Hanseok examining the watch of one of his victims. (Right) An adult Hanseok wearing the watch of presumably the same victim.

A Toy Playing God

I find it interesting that a lot of people ship Hanseok and Chayoung. To me, that relationship always seemed like cold manipulation on his part. Hanseok never sees people as more than pawns. It’s part of his goal of being a God on Earth. To assume Hanseok sees Chayoung as anything but a tool implies he has more emotional acuity than stated. Furthermore, when he confesses his love to her in the second to last episode, it’s a fairly flat confession. He literally is holding her hostage in the scene.

And then he shoots her.

This scene doesn’t read as someone who is genuinely in love. In the localized version he describes himself as “madly in love” with Chayoung, but he does so without emotion. These aren’t the actions of someone who actually cares about a person. This is someone who thinks this may win over another person. It reads at someone who, backed into a corner, is saying what he calculated as the appropriate response. Actually, it’s the response he thinks will get him the right reaction – loyalty.

Notably, Chayoung is completely at odds with Hanseok. Chayoung has no respect for Hanseok, though he demands it of her. Regardless of his status or potential power, she doesn’t care about how he might see her. That’s on brand for her, considering how she’s willing to make a fool of herself for her own satisfaction. Hanseok, on the other hand, focuses way too much on his on image. Chayoung’s joke about his new hairstyle looking like an idol’s is more than a joke about Ok Taecyeon’s other job. She’s actively criticizing his emphasis on trying to seem approachable.

Vincenzo and Hanseok – more different than YOU’d think

But what about Vincenzo? He’s always talking about the suits and the mafia. He’s focusing on his image too, right? 

Well, not quite.

Unlike Hanseok, Vincenzo is honest to a fault. He can pull off a plan where he has to play a character – we all love the Episode 8 seduction. However, when he’s himself, he can barely stop himself from saying he’s in the mafia in polite company. Vincenzo wears the suits because he was practically born to wear them. Vincenzo doesn’t care if he’s approachable, and frankly he doesn’t care if you respect him. He always gives the most honest answer he feels he can. He doesn’t even really care if people find out he’s in the mafia – he taunts people with this.

Vincenzo also allows himself to play the fool when he has to. In Episode 15 he plays a shaman that channels the spirit of an antagonist’s dead brother, among others. This is the last thing Vincenzo wants to do – he wanted Chayoung to play the shaman. But, he gives it 1000%, as always. His shaman persona Yeo Rim is melodramatic, sassy, and wearing a white poppy in his hair. When “channeling” the spirit of the man’s dead brother, Vincenzo/Yeo Rim not only shivers and whimpers in his trance, but stands up and drags the man across the floor.

Vincenzo being an absolute icon as the shaman Yeo Rim.

Not exactly the move of a dignified mafia member, but by God does it work.

Acknowledging counterarguments

The counterargument to this being unique to Vincenzo’s character is that Hanseok performs as the foolish Junwoo, up until he can’t anymore. He even tries to fool Chayoung after the reveal. Theoretically this would mean Hanseok is as comfortable as Vincenzo in putting on a charade for others.

However, there’s no way this is true. If we are to believe that Hanseok’s greatest fear is dying powerless and in obscurity, then this betrays an intense insecurity on his part. As we’ve seen time and time again, he has to be in control of every interaction. He has to be liked or respected by others. When Hanseok playing Junwoo, he’s using that role as a means to get the respect of others by subverting his own likeability. However, once he stops playing Junwoo, Hanseok preoccupies himself with his image and his respectability, as well as hiding his own illegal acts.

Wrapping up part II

Once we understand Hanseok as an insecure character, the name of his company begins to make sense. Babel. The tower of Babel – the tower of mortals who fancied themselves as powerful as God. It might as well have had an Icarus Division, if they wanted to make it clearer. Hanseok wants nothing more than to be a god, playing with people like they’re toys, building towers out of Legos and knocking them down as he pleases.

But it’s the man Hanseok fancies as a mortal who is able to play him.

Hanseok is the toy.

Vincenzo is the god.

Part 3 Arriving Soon

The Vincenzo Villain Saga – Part I

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NOTE FROM THE AUTHOR: Yes, I know I have been inactive for a very long time. I was finishing my schooling at NYU and starting a new job, and it was impossible to work on this blog. Personal reasons also kept me away for a while, which I may talk about at some point. Now that I have graduated and am gainfully employed, I can dedicate more time to this, and I fully intend to do so. Some projects that are on the horizon include a video essay series and a podcast, which will see updates in the near future.

If you told me that my favorite show of the last five years would have been a mafia drama where people used parties, bees, pigeons, shamans, and zombies to stop a capitalist overlord from tearing down an apartment building, I would have told you to stop reading fanfiction.

But, here we are.

Studio Dragon’s Vincenzo (2021) has been out for a few months, and it was an absolutely wild ride beginning to end. There’s something about it that keeps you watching, and it somehow delivers on both a satisfying conclusion and making you want the show to never end. It is honestly the most surprising show I’ve watched in a long time. I was here for typical K-Drama shenanigans in mafia framing, but what I got was much, much more. The acting was great, the cinematography was incredible, and the writing – oh my god the writing.

However, what gives the show a special place in my heart is the villain. I have to say, I can’t remember the last time I was this compelled by a villain. Even Orphan Black, my favorite show of all time, took its extremely compelling Season 1 antagonist and redeemed them – the character stayed compelling, but the reasons completely changed over time. I have not seen a show in a long time where the focal point is a character who is genuinely irredeemable.

And, to be honest, I love Vincenzo’s pure-evil reprobate with all my heart.

Villains who lack good qualities are hard to write. They often turn out like omnipotent superpowers or emotionless cardboard cutouts (or caricatures of real people with real issues.) There is also a weird trend in popular discourse that if you like a character, you must like everything they stand for. To avoid this problem, the trend has been to make villainous characters sympathetic, or have something about them that offset their evil.

But, let’s be honest, “old school” Disney villains like Ursula, Scar, and Maleficent are more fun.

The other alternative to making a completely reproachable villain is the twist villain – a character who we have come to know in one capacity, and then is revealed to be someone completely different. Whether it’s a secret identity or an aspect of their personality they’re hiding, there’s some sort of reversal. The main issue that arises is that the villain might be more compelling if it’s not a twist. If the villain is going to be secretly evil, without a shred of good, why bother making them pretend to be a good person?

The fact that Vincenzo is able to pull this off so well is a testament to how good the writing is. A twist villain who also falls into the “pure evil” category, but manages to be compelling without compromising the integrity of the earlier parts of the story – that’s really hard to do. But it works. That’s what throws me so hard. It works. It takes these tropes and it doesn’t subvert them (a trope isn’t always a bad thing) but instead executes them perfectly.

So, while everyone else on the planet is talking about Squid Game, I’m going to take some time to talk about my favorite antagonist on all of television. This will be a five-part series on why the villain of Vincenzo is one of the best villains – if not the best villain – on television this year. The series will spoil the entire show, so I strongly encourage you to watch the show first before reading it. However, if you’re not sure whether or not to watch the show yet and are looking for more in depth reasons to watch, then this series might help you come to a decision.

The series will be as follows:

  1. Introduction + Acting – YOU ARE HERE
  2. Writing
  3. Other Character Interactions
  4. Scene Analysis #1
  5. Scene Analysis #2 + Conclusion

For those of you who haven’t watched the show, this is the last warning. I will be spoiling the entirety of Vincenzo in this character analysis.

Pronto? Andiamo.

Source: dramabeans.com

Introduction: Episode 4

At the end of Episode 4 of Vincenzo, Vincenzo Cassano (Song Joong Ki) and Hong Chayoung (Jeon Yeo Bin) have decided to burn down the tyrannical Babel Pharmaceuticals – literally. Disguised as a cleanup crew, they evacuated the building, sprayed it with gasoline, and disabled the sprinkler system. While safely tucked away in a van, Vincenzo flicks his signature Cassano Family lighter and drops it into a trail of gasoline, blowing the building sky high.

Source: zoomerscorner.com

The chairman of Babel Group, Jang Han Seo (Kwak Dong Yeon) gets out of his car and panics upon seeing the damage. As we come to realize, however, he’s not scared because of the loss of revenue. The building blowing up is a problem for his safety…from another source.

A black car pulls up.

The door opens.

A pair of black Oxfords hit the ground.

Jang Han Seo stares, horrified.

Stepping into focus, wearing a scowl that could kill – and probably has – is…

Source: zoomerscorner.com

…Chayoung’s former law intern.

Jang Junwoo, the plucky himbo we’d come to love for his awkward English interjections, was secretly Jang Hanseok (italics intentional) Han Seo’s half-brother and the true owner of Babel Group.

Source: tumblr.com
Source: tumblr.com

Han Seo panics and tries to salvage the situation. He starts screaming at the wreck about how he’ll get the people who did this, Hanseok silences him. He doesn’t have to shout back at him, he doesn’t have to physically overpower Han Seo. All he has to do is quietly tell his brother to be quiet, and his brother complies in abject fear.

We have barely encountered Hanseok’s true nature.

And yet.

We already know.

Jang Hanseok is a force to be reckoned with.

I swear to god, when this twist happened, I was jubilant. This isn’t a new trope – on tvtropes.org, it’s called “Beware the Silly Ones”. But this is the best execution I have seen of this trope yet. And I am not exaggerating. Every time I watch the show, I get chills when I encounter the true Jang Hanseok again. My friends who’ve watched the show at my suggestion have been just as impressed as myself, and we join forces on the regular to analyze our favorite villain.

Perhaps motivated in part by my love of villains, perhaps also motivated by my love of 2PM’s Ok Taecyeon, this will be a very, very deep dive into Jang Hanseok, to help us understand how to write villains – and how to direct them, as filmmakers.

Source: zoomerscorner.com

PART 1: Ok Taecyeon’s Acting

We can’t analyze Vincenzo as a whole without addressing the acting. I was thoroughly impressed by the acting of everyone in the show – some roles were definitely played more for comedy, but I was never taken out of the immersion. Song Joong Ki and Jeon Yeo Bin have amazing chemistry together, and there isn’t a Geumga tenant I didn’t like.

However, the show rides on Taecyeon’s acting more than Song Joong Ki’s. Since we know that Vincenzo is a consigliere from the first minute of the movie, there are no twists in regards to his character or what he’s capable of. So yes, Song Joong Ki’s acting is brilliant, especially with how he subtly shows emotion and throws himself completely into any and every disguise.

But if Ok Taecyeon didn’t sell us on Jang Junwoo, Jang Hanseok wouldn’t be nearly as shocking or compelling as he is.

Taecyeon has to make sure that we’re just as caught off guard as the other characters when we find out who Junwoo really is. However, there has to be at least some consistency between the role of Junwoo and the role of Hanseok, otherwise it’s not believably the same person. Taecyeon’s acting is literally the hinge on which the plot swings.

SPEAKING ENGLISH

Source: zoomerscorner.com

The use of English is probably one of the more interesting traits that’s shared between Hanseok and Junwoo. As Junwoo, it comes across as a quirk, almost to establish a childishness. It also implies that Junwoo has a problem assimilating in Korean culture, since he defaults to English constantly. He even states a lack of understanding by asking questions in an almost joking manner – “Koreans forgive you when you beg, right?” It implies that Junwoo is a “safe” character, because he is (allegedly) more focused on not causing a faux pas in this new space. People feel comfortable sharing sensitive information in front of him because they think he’s a fish-out-of-water American. (Without getting into spoilers for Burning, it’s like Steven Yeun’s character in that.)

However, when Hanseok is himself, he is able to fully articulate himself in both languages – using English is a choice as opposed to a default. He will talk business in Korean with a degree of fluency his brother doesn’t have. However, if he needs to, he’ll use English in negotiations – and since his lawyer accomplice Choi Myunghee (Kim Yeo Jin) struggles to do the same, this implies his reach is broader than any of his minions.

Hanseok uses English as a scare tactic as well. Since it is a language he grew up speaking, he expresses himself in anger with English. The angrier he is, the more English he tends to use. Take the car scene, where he screams “STAY. IN. THE CAR.” After beating the car to a pulp, he says, “Am I dreaming? I’ve never lost twice in a row in my life.” Then, to Choi Myunghee and CEO of Wusang Law Firm Han Seunghyuk (Jo Han Chul) he says, “This isn’t real. What is this?!” He does these things in English to establish the severity of the situation. Han Seunghyuk tries speaking English with him, but he’s not nearly as fluent and goes back to speaking Korean. In this scene, speaking English is a form of power that Hanseok wields.

The use of English also establishes a closeness in stature to Vincenzo. There are only three characters who speak more than one language fluently – Hanseok, Vincenzo, and the manager of Geumga Plaza, Cho Youngwoon (Choi Young Joon). These characters all have one up on the rest of the cast in some capacity (though Cho’s actual role in the story isn’t revealed until much later.) And, since the main conflict is between Hanseok and Vincenzo, the fact that both are fluent in another language establishes them as relatively evenly matched, making for a fantastic rivalry.

RELAXED POSTURE

Source: pinkvila.com

Posture is important for an actor because it’s one of the primary ways we observe tension in a scene. If characters are standing at attention, it implies that there is a need to assert oneself, whether as subordinate or superior. Alternately, a character who appears relaxed portrays a disinterest with appearing inferior or superior. A shift in posture implies a shift in the dynamics.

Hanseok’s posture throughout the show is very relaxed, which implies a disinterest in exercising prowess over another. This plays a major factor when Hanseok is Junwoo. Appearing relaxed at all times implies that he’s willing to let other characters step all over him (which, as we find out when we learn his identity, is a power play.) It also makes him seem more lackadaisical and awkward, which means people look over him like he’s not even there.

Which, of course, is exactly what he wants.

However, the relaxed posture creates an interesting dynamic when Hanseok is his normal identity. Hanseok rarely stiffens or stands to attention – instead, his body remains relaxed, even when threatening another character. This communicates to the audience that Hanseok’s prowess doesn’t need to be stated by the character himself. If Hanseok were consciously standing upright the whole show, it would mean that he has to assert his power. But people are afraid of him no matter what he does. He has no need to appeal to show how powerful he is.

Source: pintrest.com

In fact, most of the posture shifts come from Hanseok bending down to someone shorter. It’s an interesting way of establishing dominance because rather than staying above you, he makes it a chore to come down to your level. He’s subconsciously always above you. The only other time that Hanseok shifts his posture is when the shift in power is disrupted – usually towards Vincenzo and Chayoung, but also towards Han Seo. These are the only times in which he stiffens, usually because he’s trying to calculate the next move. It is rarely, if ever, out of fear. I would argue that Hanseok never telegraphs feeling fear. (In fact, I will argue that, but in a later article.)

EVIL EYES

Source: twitter.com

Ok Taecyeon’s ability to express emotion with his eyes is actually incredible. Most of Hanseok’s character is expressed through his facial expressions, often very subtly – which is interesting considering that the character is very over the top. However, it’s Taecyeon’s eyes that I want to talk about here, because so much of the character is wrapped up in them.

Hanseok and “Junwoo” both artificially widen their eyes – by which I mean, holding them open wider. I really hope that Ok Taecyeon invested in eye drops for the role because he does this so often. But what’s interesting is that Taecyeon communicates something completely different for both Hanseok and Junwoo by using the same tactic. For Junwoo, he portrays a childish quality; for Hanseok, he portrays a deranged quality.

Junwoo’s eyes communicate innocence, especially because they’re often held open for comedic effect. When Junwoo messes up, his eyes are wide. When he acts exaggeratedly, his eyes are wide. It gives him the illusion of a babyface, despite having a jaw that cuts you by looking at it. This is key for the misdirection of the first four episodes, because his face literally telegraphs his manchild status among the other characters.

However, Hanseok’s eyes.

Hoo boy.

Every time Hanseok’s eyes are wide you know something is wrong. He most often does it to get under the skin of another character – like he does with his minions constantly. He pierces Han Seo with his gaze constantly, to the point that Han Seo rarely looks him in the eye. After the reveal, when he does his typical Junwoo-isms like acting childish, he’s almost always doing it to catch another character off guard, and his eyes being open helps with that.

Source: netizen-kore.com
Source: twitter.com

Where it most freaks me out is in the scene where Hanseok beats someone to death with a hockey stick. His eyes are wide the entire time, in a sadistic glee. As he’s threatening Chairman Jang in the same scene, he uses his eyes to completely disarm him. This gets under my skin like nobody’s business, especially paired with the high-pitched cooing he does. Which, of course, is the intent – to make you feel his gaze in your bones.

(Bringing another actor into this, Jake Gylenhaal achieves a similar effect in the movie Nightcrawler. No spoilers. Please watch that movie.)

WRAPPING UP…FOR NOW

It’s amazing how Ok Taecyeon is able to portray the character of Jang Hanseok so perfectly. Taecyeon mentioned that playing Hanseok allowed him to show “a different side” to himself, and while the pretense worries me a bit, I can see that he threw himself into that character. I don’t know what Taecyeon’s process is as an actor, but I would love to find out what he used to get into character.

That said, we can learn a lot from how Ok Taecyeon plays the role of Hanseok about how to portray both comic relief characters and villains. The shared traits not only keep the character consistent, so that he’s recognizable both as Hanseok and Junwoo, but they completely subvert our understanding of the archetypes these characters belong to. The consistency also makes it easier to see what is uniquely Hanseok – that being violence and power.

There is, of course, much more about Ok Taecyeon’s acting that could be unpacked. However, to avoid turning this into a dissertation, I am going to cap it here. We’ll come back to this when I do scene breakdowns later on, but I want to make sure there are at least some surprises!

For now, I say: ci vediamo!

Read part 2 Here