Wherever you go, people are talking about The King and the Man. Director Jang Hang-jun’s film has surpassed 10 million admissions, injecting rare momentum into the local box office. As it approaches the all-time Top 5, attention is now turning to its final tally.
The King and the Man marks the 34th film in Korea to surpass 10 million admissions, and the 25th Korean production to reach that milestone. In Korea, the figure carries exceptional symbolic weight. While profitability is typically measured by whether a film breaks even, a “10-million film” signifies that roughly one in five citizens has seen it. With a production budget of approximately 10.5 billion won and a break-even point of 2.6 million admissions, surpassing 10 million represents an undeniable blockbuster success.
So where did the concept of a “10-million film” begin? Until the 1990s, Korean box office figures were calculated based only on Seoul admissions. The 1993 film Two Cops, starring Ahn Sung-ki and Park Joong-hoon, won the Most Viewed Korean Film award at the 15th Blue Dragon Film Awards with 750,000 admissions in Seoul alone. At the time, the film was a nationwide sensation, selling out theaters daily, though its true nationwide audience remains unknown.
The turning point came with the rise of multiplex cinemas. Prior to the late 1990s, audiences had to travel to specific theaters to watch popular films. The industry had already faced decline due to the spread of television in the 1970s and the boom of the home video market through the 1980s and 1990s.
In the early 2000s, multiplex theaters transformed the experience. Audiences could watch multiple films in one location while enjoying dining and entertainment options. This shift revitalized theater culture and gave rise to major hits such as Shiri (1999), Joint Security Area (JSA) (2000), and Friend (2001). At the time, before the Korean Film Council’s integrated ticketing system, nationwide figures were compiled individually by distributors. Under that system, Friend drew 8 million admissions and sparked a cultural phenomenon.
This momentum culminated in 2004 with Korea’s first official “10-million film.” Directed by Kang Woo-suk and starring Sol Kyung-gu, Silmido surpassed 10 million admissions just 58 days after its release on February 15, 2004, marking a historic milestone.
Only months later, Taegukgi: The Brotherhood of War, directed by Kang Je-gyu and starring Jang Dong-gun and Won Bin, also crossed the 10-million mark, ushering in what many describe as a renaissance for Korean cinema.
The Korean Film Council’s integrated ticketing system began operating in 2003 to provide accurate data and support the industry. However, the final figures for Silmido (11.08 million) and Taegukgi (11.74 million) are not recorded within that system due to timing.
As multiplex culture expanded and the “10-million film” benchmark took hold, the Korean film market grew rapidly. Domestic films achieved a market share exceeding 50 percent, surpassing Hollywood imports. The era also saw a rise in large-scale blockbuster productions with significantly higher budgets.
Still, a “10-million film” does not necessarily mean that 10 million individuals watched it. Box office figures are based on ticket sales, and repeat viewings have become increasingly common. In some cases, tickets are purchased without actual attendance, whether to support favorite actors or to attend events such as stage greetings and previews.
As The King and the Man climbs past the 10-million mark, public interest continues to intensify. Regardless of whether a film is considered good or bad, the label of “10 million admissions” has effectively turned it into a must-see for the Korean public. It is a clear indication of just how powerful that number has become.
Reported by News Culture M.J._mj94070777@nc.press
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