LEE JOON
GI
ONE ACTOR
PORTRAYS
TWO LEGENDS
ARAMUN
AND SAYA
THE TWIN
BROTHERS
IN
THE SWORD
OF ARAMUN
A
MASTERCLASS
IN
DUALITY
ACTING
AND
A TOUR DE FORCE
IN
ACTING
ACTION
ALLURE
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   Somebody’s gotta say it. None
should ignore the exceptional geniuses responsible for the stellar and sensual mythological-fantasy-war-action
epic masterpiece, TVN’s 2023 The Sword of Aramun. It is sad for History when those
who shape it go unrewarded. The Sword of Aramun hinges on the divine story of
two identical twins, Aramun (Inaishingi) and Saya portrayed by the phenomenal
actor, Lee Joon Gi, whose iconic twin portrayal has become a celebrated
landmark in television history. Lee, who has demonstrated clear emotional and
physical contrasts, has given a dazzling tour de force performance of acting
range, action and allure. More importantly, he has carried the television
series on his shoulders. It is pretty safe to say that’s no small feat
considering the veteran actors who act alongside him. Lee Joon Gi redefines the
meaning of Best Actor-Global Daesang. Filmmakers, who have filmed identical
twins portrayed by a single actor have found it difficult to film scenes with the
twins in one frame or a sequence, but the geniuses of The Sword of Aramun, which
also include Director Kim Kwang Sik and Cinematographer Choi Chan Ming, have
not only done it but achieved it successfully and effectively. They have
seamlessly executed them with real class, not once but many times in the unique
masterpiece. The epic tale is written by brilliant screenwriters, Kim Young
Hyun and Park Sang Yeon.
  
Lee Joon Gi’s performance as Aramun and Saya, the identical
twins, has been widely praised for its depth, skill, and emotional range,
showcasing his versatility as an actor. His portrayal of the twin characters is
a masterclass in emotional depth, character complexity, physicality and sensuality,
making him stand out as a versatile actor who can capture the most subtle
nuances of his characters while maintaining an overwhelming alluring presence
on screen.
 The portrayal of the twin’s eye energy, their physicality or lack
of it, their appearance, body language and demeanour, make it clear which
character or characters are on the screen, even when they are together in one
frame. The television series have clearly highlighted the differences in the
amazing performance. It must be noted that both characters are sensual and
seductive in their own ways. The audience, who are awestruck by the aura of the
physically dynamic and majestic Aramun, are magnetically and irresistibly drawn
to him. Oh, they just love him. But, at the same, they are confused and
intrigued by the emotionally complex and vulnerable Saya, whom they either incomprehensibly
love or want to hate.
The actor’s commanding and magnetic presence shows us the stark contrasts between the twins’ personalities and internal conflicts in their meetings and confrontations. Five examples have been chosen to showcase such differences: the tent confrontation: their confrontation in a tent after the failure of the Ago-Bato negotiations, the confrontation on the battlefield, the meeting in the hut, the confrontation in the forest and the confrontation of the identical twins with Tagon, the evil king.     
Prior to the confrontation in the tent in the Bato camp between
Inaishingi and Saya in Episode 1, there are some amazing action scenes. Saya, having meticulously
planned to trap Inaishingi in the Ago-Bato negotiations, failed to capture
the elusive leader. Saya can be described as a turtle (which would retract into
its shell under pressure) who sit on the sidelines directing the military
operations that he had no practical knowledge of. Every war operation he knew
was derived from reading texts written by the Arthdal scribes. After the failure of the
talks, Inaishingi, a born-leader and man of action; displays his powerful and
impressive fighting skills. One cannot conceal one’s sheer delight with Aramun’s amazing
physicality, speed, flexibility and explosive power – his spectacular leap up
the tent wall, his somersaults, kicks, punches and weapon techniques which make
one breathless and awestruck. His physical performance is awesome. But that is
not all, Lee’s strength lies not only combining physical performance with
deep emotional expression during action scenes but also with a touch of
sensuality.
   https://www.instagram.com/p/CxDd1DBs0s4/?hl=en
Lee Joon Gi paints Saya as a weak, cowardly and vulnerable
character and Inaishingi as a strong, commanding leader.
Inaishingi, who instinctively senses that Saya is behind the Bato
betrayal, lunges at him but the latter retreats into the tent.
 In the artistically stunning light and shadow scene in the tent, Inaishingi stands majestically and sensually at the entrance against the light while Saya, who is rolling on the floor, is bathed in the shadows. Lee Joon Gi’s ability to shift from the physically dynamic and
determined Aramun to the physically helpless Saya is astonishing. Out of necessity and
self-preservation, the fearful and
cowardly Saya, with his shemagh covering part of his face, cowers for his life; he grabs a plank to hide himself. Lee’s portrayal of Saya’s fear and cowardice
is exciting yet he still manages to show glimpses of Saya’s curiosity and inner
turmoil, creating a character that is deeply conflicted and layered.
 The subtle emotional cracks in Saya’s cold exterior is conveyed
with minimalistic acting. When Inaishingi’s mask falls off during a scuffle
with an Arthdal soldier, Saya who is shielding himself with the wooden plank, is shocked to discover he has a double, a ‘doppleganger’
in his presence. Through the hole in the plank, he watches Inaishingi, whose eyes are
intense, curious but cautious. Inaishingi’s dominant presence is contrasted
with Saya’s cowardice. Saya is tense;
there is a brief flicker of hesitation, anxious fearful eye stares and the
tightening of the jaw. Lee Joon Gi’s Inaishingi is
subtle and psychologically immersive. There are micro-expressions both in
Inaishingi and Saya’s faces. The Ago leader’s eyes are intense and inquisitive as
he fixes his stare on the person behind the plank. He is about to pounce on Saya
when an Ago warrior interrupts him.
     
As the mighty Arthdal cavalry prepare to fight the Ago coalition infantry
and cavalry on the battlefield in Episode 2, Inaishingi, who possesses combat prowess,
stands tall and grounded, his straight and upright posture reflects a leader
who is confident, focused and determined. Lee demonstrates that Inaishingi, who
has a clear vision and drive, is a leader who is driven to succeed.
Inaishingi, a seasoned and battle-hardened war chief with
single-mindedness and resolve, is primed up and ready for action. Resolute.
Composed. Solemn. Bent on winning.
The Inaishingi that Lee portrays looks fearfully savage and
ferocious; his eyes are fierce, sharp, vibrant, animated and full of feral energy.
The warrior chief’s steely, bloodthirsty gaze and unwavering focus send thrills
and chills to the heart. The audience is shocked to see Inaishingi who appears
like a wild animal in a state of extreme aggression. It is his mission to win
and he is determinedly ready to butcher and slaughter. Lee Joon Gi’s athletic skills
are nothing short of amazing. Inaishingi
lunges forward, ahead of his foot soldiers and cavalry. He is swift and rushes
forward at breakneck speed. He is gone in a flash. Showing great leadership in
the harsh realities of war, the Ago chief is an inspiration to his confident warriors
who rush after him.
 How does Lee Joon Gi portray Saya? Saya is inexperienced, naïve, egoistic
and arrogant. His lacks awareness of the harsh realities of war. His only
experiences of war, as Taealha depreciatingly describes as, ‘reading about
wars from texts written by scribes’. He is unaware that war is not a child’s game. As the elevated
general of the Arthdal army, he shows no signs of fear or apprehension. Gleefully
childish, his eyes are thrilled and enthusiastic; they convey an excited state
of mind, heightened state of energy, undaunted in the face of a fearsome war
with savages. The silly Saya is not at the frontlines of the war. Instead, the
Arthdal general is seated on a horse on the sidelines, far from the actual
fighting or conflict in the battlefield. The cocksure, conceited and overbearing Arthdal general, who had
no actual experience in warfare, is too big for his boots. Cockily smirking, he
dismisses the idea of needing the help of Mubeck and his well-trained army, the
powerful and fearsome Daekan Force. Saya is clueless of the dangers and
sacrifices that lie waiting ahead, which includes the devastation of life and
psychological traumas.
 Lee Joon Gi’s action skills and
scenes are spectacular. The way the action scenes of Inaishingi are
choreographed, directed and photographed is amazing. Lee’s performance is a
stunning demonstration of great physical prowess as he moves fluidly with
inhuman grace like a ballerino. It is the meeting of artistry and combat
skills. His athleticism, flexibility, motion and martial arts ability which
display a high degree of strength and endurance are perfectly showcased in this
war scene. Rapid high kicks. Swift jumps. Powerful leaps. Explosive movements.         https://www.instagram.com/p/CxEywT1tgUo/?hl=en After all, we cannot expect
less from The Reincarnation of Inaishingi, who conjures up in their
minds of the audience as the God of War, and a sensual one at that. The audience is even more
astonished to realise that the captivating physical performance is blended with
intriguing emotion. Lee has brought to life two completely different
personalities by infusing them with a layer of psychological complexity.
 When the tide turns against
Arthdal, the haughty Saya is shocked and embarrassed; he has to accept the fact
that he needs Mubeck and his Daekan Force after all.  But, he is childishly elated again
when Mubeck and his fearsome horsemen appear in a cloud of dust. A magnificent scene of grey and black.
 Inaishingi is forced to command
his warriors to retreat in the face of such a terrifying army, all attired in
black.
  However, the courageous and determined Ago leader wants a parting shot at Saya, the Arthdal general.
Lee Joon Gi’s amazing physical
skills and sensuality cannot be denied. Inaishingi not only rides on a rearing
horse but he also majestically leaps from his horse to fire a shot at Saya, it is unfortunately deflected by Mubeck. He finally fires another shot at Saya,
making him fall disgracefully from his horse.
    
Shocked and terrified, Saya’s
gaze wavers and his face wobbles. The fall is not only embarrassing but also traumatic for the Arthdal general.   
The identical twin brothers are shown again in the same frame
using double bodies in their meeting in a hut in Episode 2. Clever camera angles and editing techniques are used to create
the illusion that the brothers are interacting with each other in the same
space and to visually represent the complex relationship between the twins. Lee commands the screen with his emotional transformative acting
in this scene.
 
Saya, who is in a vulnerable
situation, requests Mubeck to arrange for reconciliatory peace talks with his
twin brother after his humiliating and shameful defeat on the battlefield.
Saya’s eyes reveal the
spine-chilling truth; his intention is evil; he wants to take advantage of the
meeting to kill his twin brother. If looks could kill, he would have killed
anyone in his path.
 
Huffing from his
psychologically traumatic experience, he slyly plans for one of his bodyguards
to do the dirty work for him, ‘When I give the signal tonight, kill
Inaishingi!’
 Lee Joon Gi’s Saya is Machiavellian.
His eyes are hard and unflinching. In front of Mubeck, he masks
his emotions – his insincerity, egoism and deceitfulness. He navigates
relationships through strategy and calculates his every move with emotional
detachment. Self-preservation and pragmatism are foremost in his life. He is
willing to betray Mubeck and kill his very own twin brother since it benefits
him. Inaishingi, the leader of the
Ago Union, if dead, is the very trophy that he can boast of. The ends justify
the means. Moral concerns are secondary to results. This is classic
Machiavellian thinking. But the Saya that Lee
portrays is a complex person who believes emotions equal weakness. Saya is not
a purely villainous person; he is emotionally detached because he had been
raised in the ruthless world of Arthdal. He lived a solitary life in the tower
in the Fortress of Fire for 20 years. Moreover, the corrupting influence of
power, of being the heir to the Arthdal throne and his struggles within make
him the most emotionally complex figure in the mythological epic.
  At the meeting, each twin brother has to sniff the other one out; they measure each other from head to toe. Lee Joon Gi’s Inaishingi cautiously attempts to connect with his
long-lost twin brother who had been ripped away from him by Tagon and they had been
raised apart since birth. The reunion evokes a complex mix of emotions,
nervousness and anxiety. Saya is emotionally distant and he feels uncomfortable because of
his ill-intentions. Lee gives him an undercurrent of melancholy. Though his eyes are
hard, and his voice is cynical and guarded, he is wrapped in sadness. Lee’s Inaishingi is different. Though apprehensive, excitement, and
anticipation are apparent in Inaishingi’s face and eyes. Inaishingi, yearning
to bond with his brother reminisces about his growing up years. Past hurt and resentment in Saya resurface. Inaishingi’s life has
been free and happy as none looks down on his purple blood while Saya had been
trapped in the tower until he became an adult. His detested purple blood has made him
vulnerable in Arthdal.
Both also speak of dreams about each other.
When Inaishingi invites Saya to join the Ago Union to destroy
Tagon, Saya refuses. He is unceremoniously told that he is now a defeated general. Embarrassed by the insult, Saya smirks and laughs.
 
Saya only let his guard down when Inaishingi conveys to him about
their deceased mother’s sorrow and despondency; she had not only cried a river of tears for him but also called out his name every now and
then. Though it stunned him emotionally to learn that he, Saya, was precious to
someone, the idea also confuses him. Subtle emotional cracks in Saya’s cold
exterior can be seen.  A fire that razed the hut to the ground ended their meeting.
   One of the key scenes in the television series is the forest confrontation scene in
Episode 7 where the twins, whose roles having been switched after the fire, are
wearing the war attire of the other twin. Inaishingi had, by then, realised his destiny as the
Reincarnation of Aramun Haesulla, the God of Arthdal and God of Harmony and
Unification. His emotional journey begins upon realization that he is part of a
prophecy and legacy and it weighs heavily on him.
When Aramun and Saya meet in the forest, a storm of emotions
makes the twin brothers realize that they, being part of the Sword, Mirror
and Bell prophecy, have to work together for the good of Arthdal and the
Arth continent. This is the most significant scene in which they are
continuously filmed in a single frame and sequence. The major point in this scene is, the versatile Lee Joon Gi,
unlike other actors, doesn’t need a specific attire or hairstyle to
differentiate one twin brother from the other. In fact, the twins have been
switched, with Aramun being sent to Arthdal and Saya being brought to the Ago
camp, so they wear the war attire of the enemy camp. Lee Joon Gi allow his eye and facial expression, body language
and demeanour to tell the twins apart.  Lee Joon Gi, on his part, has infused a different energy into the
two characters in the confrontation scene in the forest.
Lee Joon Gi’s Saya, the fake Inashingi, proves himself to have been a careless leader of the Ago Union. Some of the Ago warriors have died because of his misguided strategy to rob Arthdal’s cargo of weapons. He is clueless about his own lack of leadership skills. Lee imbues Saya with a sneering ‘I am better than you’ sense,
when talking down at Aramun. It’s a claim of superiority. Wearing Inaishingi’s war attire, Saya is lured into a certain
part of the forest for a meeting with Inaishingi. He runs and falls on the
forest floor. Then the twist in the story. Aramun’s back is facing Saya. The
real Ago leader turns ever so slowly and sensually to face Saya. He lifts his
helmet and his glorious hair cascades down his shoulders. Hearts beat rapidly. Saya realises that he is in the presence of Aramun. It is easy to distinguish between the two despite the fact that
they are wearing each other’s warrior attire.
    Aramun is in command of the situation. His lips are are firmly
closed. He has a look of disapproval on his face. It is a deliberate attempt to
suppress his feelings and thoughts. A natural leader with a majestic posture, he is confident and in
control. Saya, who has enjoyed a spell of having lived the life of Inaishingi, the highly respected leader of the Ago Union camp, has learnt about the problems that the Ago warriors face, including the repercussions of war.
Aramun, fresh from his awakening as Aramun Haesulla and his
divine lightning strike experience, understands the importance of his
brother in the divine prophecy. He extends his hand of reconciliation to Saya.
    
Saya looks vulnerable; his eyes are cold, suspicious and antagonistic.
Aramun’s eyes are intense as he gazed at his older brother. He is
confident as he has the upperhand over his weak brother. And, he is at home
with the forest surroundings. Although wrapped in a constant air of vulnerability around him, Saya wears a mask of arrogance and pride. Showing a natural confidence in his words and demeanour, Lee’s Aramun
eloquently expresses thoughts that resonate with the audience. 
Lee’s Saya is emotionally charged and expressive. Saya is
haunting and psychologically complex. Raw and convincing. Saya lashes out at Aramun’s naivety that he could win the war against Arthdal. He rages about Aramun’s disregard for human life. It will be catastrophic for Ago as the Ago Union does not have the powerful and sharp iron swords that were being made by the thousands in Arthdal.
Saya stirred himself into such a rage that he accused Aramun of being a gosal, a vengeful spirit, who would lead his people to their helpless deaths. He sneered at Aramun for being so full of himself, feeling smug and complacent with the endless praises of his people. The bitterness, animosity and violence in his voice could not be denied. His face puckered up.
His brows furrow. His eyes narrow. His jaw clenches. The down-turn corners of his mouth were signs of
his contempt and disgust. His eyes glowered in fury and then well up with
tears. His words are deeply unsettling to the audience.
Throughout the face-to-face confrontation, the leader of the Ago
Union remains cool, calm, collected and unflappable. Though he does reflect momentarily
on Saya’s thoughts, he is unaffected by Saya’s insults. Aramun’s eyes are, in fact, smiling; he is thoroughly humoured by Saya’s fiery speech. He denies mocking Saya. He is touched that his emotionally-cold Machiavellian brother is sympathetic towards the plight of the Ago people. After all, they have the same DNA. Aramun is happy because there is a ray of hope that Saya could really be part of the legacy; they are similar as they both love the people of the Arth continent. Saya seems to have changed his tune. He had become Inaishingi after impersonating him.
Lee Joon Gi transitions the
character from self-centredness to moral confidence. His ability to portray
Saya’s inner growth is one of the epic’s emotional highlights.
               
However, Aramun would not take the insults lying down. The shrewd
Ago leader uses provocative words to rile up Saya’s feelings.  Circling Saya, he maintains an upright posture while he ridicules
his twin who has never known adulation or praise. Speaking with a contemptuous,
goading and sarcastic tone, he argued that Saya, who having impersonated
Inaishingi and experienced adulation and respect from the Ago people, thinks he
is now in the position to preach to him. His scornful words,
contemptuous tone and dismissive manner enrage Saya.  Momentarily stunned by Inashingi’s
response, the painfully vulnerable Saya snarls and yells. After thrashing out
their differences, the two brothers ended their verbal fight. In a conciliatory
move, Saya offers to collaborate with Aramun to destroy Tagon.
    Lee Joon Gi manages to
distinguish the two roles through distinct vocal delivery, movement and
emotional tone. His Saya is raw while Aramun is mature.   By the end of the series, Saya even had the courage to revolt against Tagon, to kidnap Arok and confront Tagon to save Tanya. Finally, it leads us to the reunion of the identical twin brothers when they meet at the Great Shrine where Tanya is brought there by Tagon. The king wants to lure Aramun to the place for a final duel to death. This scene is the most challenging
to stage because both identical twins, Aramun and Saya, are wearing the same
war clothing, the war attire of the Ago tribe. It is difficult to play identical twin characters wearing similar clothing with a similar hairstyle in the same scene but, Lee Joon Gi expertly showcases the different characteristics and physical abilities of the twins. Lee shares the screen
with Jang Dong Gun, who plays Tagon. This scene shows us the good, the morally
ambiguous and the evil. In the momentous finale, it
was Saya, the competitive twin, who goes to the rescue of Tanya first. Saya
told Mungtae to inform Aramun, ‘Tell
him that I went to save her first.’ His intention, though good, is not that noble.  Through his trials and
tribulations, Saya has matured and knows exactly what he has to do to force
Tagon’s hand. He kidnaps Arok, Tagon’s son, and bundles him in a sack. Bringing the sleeping Arok
there, he hopes to win the fight against Tagon through manipulation using Arok
as the bait. The physically weak Saya, who
fears direct or face-to-face confrontations, demanded for an exchange of
captives from a safe distance. He is no match for his enemy. Tagon does not know that Saya is masquerading as Aramun.
 Lee Joon Gi portrays the
physically helpless Saya as brave but morally ambiguous. Saya’s eyes seem
malevolent; there is a glint of wickedness in them when he threatens Tagon and
gives him the evil eye. He hopes for victory by manipulation. It seems, if
needed, he would be violent enough to kill the innocent child. The end is more
important than the means. The end justifies the means. That is Machiavellian.
Aramun, a symbol of
righteousness, would never do that.
It is inevitable that Saya would
be the loser in the light of Tagon’s ferocity, brutality and desperation. The king has lost the war; he is not going to surrender his beloved kingdom to Aramun. The fiendish,
demented king wants to destroy his beloved Arthdal, poison his people and bring the kingdom to its knees
rather than allow Aramun to inherit it.  But, the real Aramun arrives in the nick of time to save his brother from death. Fierce, courageous,
majestic and determined, he leaps across the huge cave to confront Tagon.
  Saya, the Mirror, reflected
Aramun, The Sword. Saya’s gleaming Icomahis medallion reflected the
arrival of Aramun, a powerful fighter.
A fierce, prolonged duel
followed. Both Aramun and Tagon are Igutus who are stronger than Sarams. But,
the vicious Tagon, the embodiment of evil, is desperate to win his last battle.
Like a possessed animal, his rage knows no bounds. Aramun is thrown around like
a rag doll.
In the end, destiny prevails.
Aramun may be savage but he does not possess the malevolent spirit of Saya. A fearless
and heroic warrior, he fights with courage, not anger but motivated by his
divine duty.
Destiny dictates the fate of
the two Igutus. Aramun shrewdly stabs Tagon with his shorter sword and swirls
around swiftly to seize his Aramun Sword from the Zelkova stump to slash Tagon
in the neck.
After all, the victorious Inaishingi-Eun Seom is the Reincarnation of Aramun Haesulla, the God of Arthdal. Victory and defeat have nothing to do with right or wrong. Aramun is victorious but Saya has been defeated. Saya has become a bold and confident person who could decide on his future while Aramun carries the role of the King of Arthdal and the Reincarnation of Aramun Haesulla, the God of Harmony and Unification. A righteous leader, Aramun, who has high hopes not for himself, but for Arthdal and the Arth Continent, is prepared to fight to death to achieve his destiny. As a spiritual leader, he adopts a soft and forgiving attitude towards the people who oppose him. That makes Aramun the hero in this ancient mythology-war-action epic, The Sword of Aramun. In the end, the emotionally engaging twins win the audience’s sympathy, respect and love.  Lee Joon Gi is in full command of his craft playing twin roles in
The Sword of Aramun epic. In his nuanced, immersive, emotional transformative acting
performance which is accompanied by spectacular high-octane action scenes
infused with epic sensual magnetism, he fully inhabits two completely different
characters. Acting as the heroic Aramun and the Machiavellian prince Saya, requires
Lee Joon Gi to deliver performances that are emotionally nuanced with shifts,
sometimes subtle, in body language, tone and facial expression, which he does
impressively. Lee’s Oscar worthy acting-blockbuster action-spellbinding seduction of the senses performance has redefined the genre.
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