In comparison, the long Japanese vessels constructed of cedar and fir were far lighter. Korean naval vessels at the time had an advantage over the Japanese warships thanks to their stout oak and pine wood hulls that yielded incredibly durable vessels. Yi was no stranger to facing overwhelming odds, and wisely capitalized on the technological superiority his Navy possessed. The film begins with the Admiral making his plans and consolidating his troops for the oncoming battle, but many of the Korean soldiers are demoralized by the previous crushing defeat at the Battle of Chilchonryang, now terrified by the sheer numbers and ruthlessness of the Japanese. However, as the second invasion campaign began and the Korean fleets were decimated by superior numbers and inept leadership, King Seonjo quickly reinstates Admiral Yi so that he might somehow stop the advance.

At one point thanks to the manipulations of a Japanese double agent, Yi was arrested, stripped of rank, and tortured nearly to the point of death. Yi-Sun Sin was a brilliant tactician and fierce warrior, but even he could not fully defeat the infighting, treachery, and incompetence of his country’s own squabbling politicians and fellow high ranking military officials. Standing in their way was the was naval forces of the Joseon dynasty, led by the legendary commander Admiral Yi-Sun Sin. The second campaign was initiated in 1597, with Japanese forces bent on capturing the capital that is now known as Seoul. The first Invasion campaign years earlier led to a shaky truce, but much of Korea was occupied and put under harsh subjugation. Japanese forces under the rule of the great Daimyo/Samurai warlord Toyotomi Hideyoshi were bent on domination of China and Korea. Roaring Currents is an account of the Battle of Myeongnyang that took place in October of 1597. One of my recent favorites is the historical drama The Admiral: Roaring Currents, which recounts one of the most spectacular victories in the history of naval warfare. I have a particular fondness for Korean cinema, with their mix of existential dread, high visceral action, and cultural idiosyncrasies woven into their narratives that yield stories unlike anything else in the world.

I’ve long had a love affair with foreign film, from my days of watching old bootleg VHS Kung-Fu movies to my explorations into European and Asian art house cinema during my travels abroad in the service.

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