Since the very first film in human history, the train has appeared as a central cinematic icon. Its movement, presence, and dynamism were closely intertwined with the emerging identity of the new medium of film itself.
In the case of Korean cinema, however, trains have often appeared as negative or dangerous entities, unlike in the films of the Lumière brothers or other western genres (especially the Western), where trains frequently symbolize progress or adventure.
In The Rose That Swallowed the Thorn, the train’s modernist symbolism functions as a fatal and perilous device, closely linked to the female protagonist’s sexuality: a means that can take her anywhere, yet also represents danger and loss of control.
In March of Fools, the military conscription train becomes a symbol of political criticism and a metaphor for generational disillusionment. In both cases, the train represents an entity born out of “forced modernization”, prior to its widespread normalization and before technology became fully integrated into everyday life.
In contrast, contemporary Korean films—such as Peppermint Candy (Lee Chang-dong, 2000) and Miracle: Letters to the President (Lee Jang-hoon, 2021)—tend to depict trains not as threatening or dangerous, but rather as symbols of nostalgia. Overall, these modern portrayals reflect different meanings, contexts, and historical circumstances compared to earlier generations of Korean cinema.