#i've fallen in the k-drama rabbit hole and I am not getting back up

[maxwell-grant]

Vincenzo: The Gentleman Villain Reborn

Long before there were loudmouth buff guys in spandex, there was the gentleman villain.

There once was a time when the gentleman villain, whether a gentleman thief in the Raffles or Lupin mold, or murderous arch-criminals like Fu Manchu and Fantomas, organizations like Les Vampires, and even in-between figures like Rocambole and Judex, was the coolest thing in the pop culture block. The figures right around the corner of Baker Street, when Nick Carter and Sexton Blake and any billion old serial detectives weren’t quite cutting it. Their time was not to last long in the spotlight, as the pulp heroes consolidated domain in the 30s and then the superheroes took over, but every now and then, they return in various forms, never fully gone. But I’d dare say I’d never seen a gentleman villain story quite so bold, so modern, so dynamic and so gloriously over-the-top in pride over it’s existence, until I began watching Vincenzo.

Vincenzo is BADASS and I don’t use the term lightly. Not just the titular character, but the show itself. It’s currently a couple episodes short of the finale and you should stop everything you’re doing or watching and go watch Vincenzo. It’s been an utterly glorious ride from beginning to end with no shortage of great characters, terrific writing, great relationships and jaw-dropping moments as every episode succeeds in topping each other in WOW HOLY SHIT factor. It’s a shot of adrenaline and storytelling excellence to the eyeballs and you don’t have anything better to be doing right now than watching this.

I mentioned a while ago that Black was a show that, besides being also terrific in quality, captured my interest as a Shadow fan specifically because I saw in Black what I believe is the heart of The Shadow as a character: an embodiment of evil, motivated and created and warped by social catastrophe and strife, set loose to punish true evil in order to protect humanity. In that regard, if Black is where I find the heart of The Shadow, Vincenzo is where I find the spirit of what I like about The Shadow as a series: Cathartic urban fairytales where an extraordinary agent of change, armed with incredible cunning, sleight-of-hand and combat skills, rises above a dark background to command a folk brigade of ordinary people who reveal themselves to be extraordinary through their newfound purpose, to right the wrongs of society’s predators, by being better at their tactics than they are and turning their tools against them. 

I’m gonna spoil it a bit under the cut but please go watch it. I cannot praise this show enough and I’ll do my best to try.

Vincenzo centers around the titular character, Vincenzo Cassano, an Italian lawyer who works for the mafia as a consigliere, adopted by it’s Don at the age of eight. After the death of the Don and an attempted betrayal by his son, Vincenzo flees to Seoul and ends up taking residence at a ramshackle building called Geumga Plaza. Geumga Plaza is the hiding place of a gigantic stash of gold hidden by one of Vincenzo’s former clients, and he intends to retrieve it to rebuild his life somewhere else. Naturally, not only is the hidden room completely impenetrable, but the building is occupied. by residents who are being forced out of it by criminals working for the Babel corporation, which intends to take possession of the building. And thus, Vincenzo has to put his skills into working out progressively bigger problems, as his efforts to uncover the gold turn into a fight against Babel and it’s lawyers, as the problems take on bigger and bigger proportions. 

Vincenzo’s got a lot of what you’d expect from a k-drama at first glance. The leading man is a dashing young man, the leading lady is headstrong and stubborn, you see their romance coming a mile away and they take their damn time getting there, there’s emotional backstories that take a long time to be revealed, lots of wacky side characters and comedy interspersed with the darkest moments, a focus on corporate corruption, and so on. But it’s got an intrusion of elements brought by Vincenzo’s inclusion, such as mob drama, tonal and cultural imbalance, and the gentleman villain tropes that Vincenzo brings, as the catalyst of change whose antics backflip through action hero, romantic hero, super hero and super villain, cunning puppetmaster and gun-toting warrior alike, and start to have an effect on the world around him. His allies become stronger, more determined and effective, and the villains grow smarter and more horrid as they desperately try to avoid their own downfalls.

On paper, Vincenzo is almost a textbook example of how to craft a villain protagonist. He’s a mysterious foreigner with a hidden past and incredible skills who shows up uninvited in “our” world, who starts terrorizing and manipulating people into doing his bidding. He’s got a hotheaded and foolish investigator chasing after his every move, and frequently employs misdirection and sleight-of-hand to fool the authorities. He commits crimes and employs underhanded methods in the service of stamping out people worse than himself. He never really makes any claim of being a hero and actively rejects the notion he’s fighting for justice, but instead states he’s doing it as a matter of principle. One of the characters early on even states he gives off the vibe of a movie villain, even Vincenzo himself tells Hong Cha-Young, the female lead, that he’s teaching her how to be a proper villain. In another series, Vincenzo would be the hypercompetent sidekick to the main villain, or secretly the main villain, the lone badass that the action hero would have a tough fight against before defeating and moving on. But Vincenzo does not allow himself to be dismissed so easily. 

On the first episode, when we’re introduced to him in Italy, he’s painted as the badass to end all badasses. But the minute he arrives in Seoul, he falls for a trick at the airport and is mugged by two cabbies, and has to walk around penniless and without dignity, shouting curses in Italian that nobody understands. He has to sleep in a broken down apartment, his “taking a steamy shower with classical music playing” fanservice scene keeps being interrupted because the shower doesn’t work, and a pigeon chattering outside his window keeps ruining his sleep. 

The tenants of the building are all introduced as varying levels of unsympathetic and useless, or downright creepy. The tailor screws up his favorite suit, the chef who claims to have studied in Italy is a total fraud, there’s tenants who scare us by passing as ghosts and zombies, and Hong Cha-Young is introduced as an unlikable stooge for Babel. Vincenzo is a villain protagonist who is forced out of his grand mafia epic film, where he conducts business around lavish manors while classical music plays, and stumbles onto a korean drama, a world that operates by different rules and where no one has any reason to take him seriously at first, and gradually finds out that the difference between both worlds is not as big as he’d imagined.

It’s only at the very end of the first episode, when the neighborhood gangsters show up to terrorize the tenants, that Vincenzo starts to kick ass again, and he has not stopped so far. In fact, not just him, ALL of the tenants have gradually started kicking ass with him. Hong Cha-Young severs all connections to Babel and proves to be, as his main partner in crime, just as cunning, twice as driven, and three times as batshit and kooky. The tailor who ruined his suit turns out to be an ex-gang member capable of fending off groups of thugs with only his scissors. The creepy piano girl reveals herself a hacking genius, the zombie impersonators become incredible actors, the failed wrestler and badass wannabe becomes his most active field agent along with his equally strong wife, the chef improves his cooking and lends his restaurant as a meeting center, all of the characters, EVERY SINGLE ONE OF THEM gradually become incredible, competent, resourceful people, really no different than they were before, it just took a little courage and pushing. 

The headstrong and foolish agent pursuing Vincenzo becomes 100% smitten with him and quickly becomes one of his greatest allies. Even the neighborhood gangsters, after being left to die by Babel and forced to start anew, quickly become some of his most loyal allies, and gradually redeem themselves in the eyes of the tenants to the point they become friends. In departing from his old family, Vincenzo forms a new one, even if never by his intention. They even all get matching suits.

This incredibly potent, human core surrounding the antics of an extraordinary figure of action is part of what used to make the Agents of The Shadow such a special, meaningful and beloved part of the series, and something every adaptation since then has been 100% poorer for neglecting. But Vincenzo does it, and does it right. I could watch a billion adventures with these people and never get sick of them. 

Vincenzo is a slick, modern take on the gentleman villain that takes many of it’s oldest conventions and provides blueprints for making them work in modern times. His plans often take a performance art-edge as he employs tactics both old-fashioned and modern, like using social media to stage an event in front of the Plaza so the bulldozers set to demolish it won’t be able to pass, or copying files and passing them to his police contact while keeping the real ones when said police contact inevitably betrays him. The tenants put all of their skills to use, no matter how unusual or seemingly useless. Every episode lays the groundwork for a smashing finale where all of the threads come together and we bare witness to a grand tapestry of karmic retribution.

The villains themselves are no slouch, and also have that modern edge that gradually ramps up. They stage discreet assassinations involving gas leaks and watches meant to burst into flames. They stack the deck impossibly against all characters. They employ masked goons by the dozens, armies of lawyers to smudge any connections between themselves and their actions, and every sector of society in covering them, from journalists publishing pro-Babel propaganda to police commissioners. The assistant of the main villain does zumba classes amidst ordering assassinations, and is often likened to a snake and a witch with her "Crystal Ball” (the name she uses for ordering assassin contacts by the phone), complete with a cowardly, scheming assistant she bullies at every turn. The CEO of Babel has a dual nature not out of place in a Jekyll & Hyde/Dorian Grey kind of story. 

The main villain is often painted as a slasher villain backed by massive corporate power, murdering people with hockey equipments and even outright named “Jason” at one point, with a tense string theme song accompanying his deeds. The show hides the villain at plain sight by using one of the most familiar set-ups of romantic dramas and the tension never stops even after he’s revealed. 

Mobster films tend to paint an idealized version of it’s protagonists, not necessarily because of a genuine love or interest with mobsters (I mean, it really goes without saying that real life mobsters are obviously not admirable figures), but out of a sense of displaying a “this is what it could be” fantasy, a fantasy where the mafioso is a dark hero who will still ultimately do the right thing and stick up for the little guy, in a similar way to how superheroes often function as police officers except, y’know, actually dedicated to protecting people. 

Vincenzo does go to great lengths to address the imbalance of putting such a dark figure as it’s hero, through showing how the situation can only be addressed by the intrusion of a figure such as Vincenzo. There’s a scene where Vincenzo and Hong proceed to explain extremely succintly to their cop ally why the “bad apples” argument is horseshit.  One of the show’s characters, someone who’s spent his entire life being the best person he could, and dedicating himself 110% percent to fighting evil even at the expense of connecting with his own family, someone who absolutely should be the hero to take down Babel, admits shortly before dying that it wasn’t enough, that it was never going to be enough, and that what the situation calls for isn’t a hero, but a monster. That monster being Vincenzo, who is not only powerful and monstrous, but commands the loyalty of people high and low class alike, criminals and law enforcement agents, to fight Babel. In his words, “the ultimate monster”, something even the world’s biggest badass cannot defeat by himself. 

On most other set-ups, Vincenzo would be pretty unmistakably the villain. But here, when he’s set up against a starkly realistic depiction of how corporations actually function in our world, depicts that Vincenzo’s ability to clear his way through goons John Wick-style is nowhere near enough, and to that end, he’s gonna have to fight impossible battles using his brains and his allies. And in the end, he defeats them, time and time again, and proves that they were not that impossible after all. 

One can only hope he’s on to something.

Oh yeah and THE PIGEON BY HIS WINDOW ALSO KICKS ASS and I will not explain how, just watch the show, I can’t do it justice no matter how much I talk about it.