Knowing that Believer is the remake of the Hong Kong film Drug War, the desire to compare the two could cross our minds. This may not be a very good idea because, apart from a few details, the story, the interpretation, the atmosphere, turn out to be completely different. Most remakes are limited to presenting us with a true copy. Either they are shot in the same country but at different times, or it is the countries that buy the rights from the country of the original film. When it changes countries, there are these basic elements which are the mores and the culture that crumple. An offbeat aspect settles from the beginning, like a painting that does not correspond to its frame. But…
History
In an effort to stop Asia's largest drug trade, Inspector Won-ho is determined to arrest his mysterious boss, who is only known as "Mr. Lee." He joins forces with Rak, a small member of the cartel who wants revenge on Mr. Lee. (Wikipedia)
Technical data sheet
Director: Lee Hae-young Screenplay: Chung Seo-kyung, Lee Hae-young Hangeul title: 독전; RR: Dokjeon; literally, "Seizure" Genre: Policeman, action Duration: 123 minutes Release date: May 22, 2018 Distribution Jo Jin-woong, Ryu Jun-yeol, Cha Seung-won, Kim Ju-Hyeok It would be useless to compare Believer to anything, even damaging. He is honest, clean, cared for down to the smallest detail. Watching it while thinking about Drug War, directed by Johnnie To, would be a waste of time. Because if the Hong Kong film suffers from this cacophony caused by identity exchanges, Believer untangles any confusion, without any undesirable element disturbing the understanding of the film.
Actors and impressions: inseparable
The story outlined above puts us directly at the heart of the matter. The real story is magnified by the charisma and character that each character attributes to the script.
Ryu Jun-yeol
Ryu Jun-yeol takes advantage of his physique without playing or parading. He colors "Rak" visibly, this character from elsewhere. He integrates it, identifies himself and without us noticing, he makes it grow, gain confidence and stand out discreetly. Indeed, if at first he is one with Inspector Won-ho, their forced symbiosis slowly ends up dividing, tacitly and without their knowledge.
Jo Jin-woong
But it is Inspector Won-ho, played by Jo Jin-woong, who first arrives on the scene. It's not as if this actor has already shown us great feats. Always equal to himself, he has trouble getting wet or changing register. His characters are mostly tinged with his personality and even if he has already graced us with a great diversity of roles, he keeps this side "himself" that could end up boring us. (Him again?). Believer gives him the opportunity to camp a character with 1000 faces. A cop who will use his back and forth between good and evil to pursue a ghost. And he assures. It is extraordinary to notice the way he changes his gaze every time he has a different person in front of him. It is precisely his way of looking at Rak that should have made us tick on the title of the film.
Kim Ju-Hyeok
And then we come to the late Kim Ju-Hyeok or, rather, it is he who runs towards us without any consideration. It is not recognized. We still have a feeling of déjà vu. This isn't the first time we've seen this actor, "I've heard that voice before." Impossible to put a name on it when he was one of the best Korean actors. Completely disturbed, uninhibited, so much the opposite of what he had accustomed us to that, when we finally understand who it is, we are overwhelmed by surprise and sadness. It is as if he has decided to play his last role without any restraint. The director later said that Kim Ju-Hyeok wanted to interpret this character perfectly and that he had worked on every detail. Died before the end of the shooting following a car accident (still unexplained), he will have offered us a swan song of beauty. Before the closing credits, a line "In memory of Ju-hyuk Kim" is displayed.
Cha Seung-won
Cha Seung-won knows how to play the cynic. Out of nowhere, dressed in white like the guru of a cult or an Italian groom, with this characteristic voice, he reminds us that we are all still looking for Mr. Lee. Finally, is this the case? His white suit stands out from other colors. This may not be the first time that white appears on the screen (it is also very present), but on Cha Seung-won, it takes shape. He makes us realize that Ryu Jun-yeol evolves in the blues. That Jo Jin-woong is rather in black colors without falling into dark and that Ju-hyuk Kim is surrounded by shades of earth. As if there was frozen dust around him.
Final impressions
This impressive cast creates the story, the model, manipulates it. The work of the production is confirmed. The very clever desire to make the external views immense. The composition of indoor sockets. The colors, the actors, and even their clothes that evolve in perfect harmony. With the photography of Kim Tae-kyung (The Throne, Hit and run) and the soundtrack of Dalpalan, ("A Bittersweet Life", "The Good, the Bad and the Crazy ", "The Strangers"…), the suspense, the tension, become acidic, peck at us. These static moments that only have weight by their paralysis. Emotions, mixed feelings, relationships, this evidence that ends up crystallizing … Believer consolidates to his advantage all these elements making him delicate and sharp at the same time.
End
Open ending? Not really. The Korean projection is complete, with a very precise ending. For the international version, you have to rack your brains. An ending as clean and clear as the film itself, in a snowy landscape (scenes shot in Norway) that moves away like something we want to forget. Or that would already be part of a memory. If this ending does not suit you, tell yourself that the solution, the answer is in the film and, at least, we were not entitled to the agonizing end (sinister, awful, excessive … appalling) by Johnnie To. No, but, frankly, what went through his head? Because if it's propaganda, we don't do without it. Not to mention this ridiculous scene where Louis Koo tries to escape while he has the inspector handcuffed to his ankle. 
This remake of Lee Hae-young borrows only some bases of Drug War. He swallows up his flaws, unravels his mess. He explores emotions without falling into that sentimentalism in which Koreans often fish. It is not a carbon copy but rather the exploration of an idea already given with a desire that aims for quality and fulfillment.
