NR | 1h 59m | Action, Crime, Drama | 2022
Crime dramas that expose systemic corruption remain some of the most gripping stories in cinema. They dissect institutional decay and the challenges faced by those who strive to uphold justice. These films examine the conflict between duty and self-interest, as well as the murky underbelly of law enforcement and the judicial system.
Lumet’s influence is evident in contemporary crime drama, particularly those from South Korea, a country that has developed its own distinctive take on police corruption and institutionalized crime.
A Murky Underworld
It opens with a well-worn but engaging premise: Choi Min-jae (Choi Woo-shik), a young and idealistic recruit, is tasked by his police precinct’s Internal Affairs division with shadowing and reporting on Park Gang-yoon (Cho Jin-woong), the powerful and enigmatic leader of an elite drug task force. The suspicion? Park’s ruthless methods and shadowy financial dealings have muddied the line between law enforcers and dastardly criminals.
Min-jae’s inner conflict is established early on. A flashback reveals that his father was a police officer who died under shady circumstances, which sets him on his righteous path of battling crime. Now embedded within Park’s team, Min-jae quickly realizes he’s in over his head.
Corruption and Justice
What begins as a simple infiltration mission spirals into complex moral dilemmas. Min-jae, once steadfast in his black-and-white view of justice, starts to see the gray areas, the murky ponds that Park frequently swims within, in order to get close to his wealthy targets. He also learns of Park’s relentless war against Na Young-bin (Kwon Yul), a wealthy and untouchable drug kingpin who is flooding Seoul with a brand-new (and utterly addictive) drug.
Park’s pursuit of Na has made him enemies at the highest levels, but Internal Affairs suspects a deeper motive. A damning photograph surfaces—showing an exchange of a briefcase full of cash between crime boss Cha Dong-cheol (Park Myeong-hoon) and a shadowed figure, who they think may be Park. The implications are very serious: Park may be financing his operations with dirty money, or worse, playing both sides.
Like Lumet’s films, “The Policeman’s Lineage” exposes some of the uncomfortable truths about the systems that govern society. They highlight the fragility of ethical boundaries and how power can corrupt some individuals within these institutions.
Corruption doesn’t emerge in a vacuum. It is cultivated within the very institutions meant to safeguard against it. By immersing viewers in these complex narratives, these films challenge us to reflect on justice, morality, accountability, and the clear line between right and wrong.
Strong performances and a complex story keep it engaging, even when familiar tropes eventually emerge. While some twists feel rather predictable and the pacing lags at times, its deft direction and engaging narrative make up for these shortcomings. The cinematography and atmosphere also effectively capture the dark and deadly environs the characters often find themselves in.
It may not reinvent the genre, but “The Policeman’s Lineage” is a thought-provoking crime thriller that balances action with deeper themes.
