Marry My Husband: Japan

the perfect way to perfect a revenge story; amazing acting and an even better execution.

i read the manhwa when it first came out, i didn't know it would blow up enough to get a kdrama adaptation and now we have jdrama one, i didnt see the kr ver but this one? takes the cake

let me start off with everything i loved about it, this will be a lil comparison to the webtoon.

-the FL, they did an amazing job picking her out, fuka koshiba DELIVEREDDD, i loved how the first few episodes were her getting herself back, enjoying what she couldn't in her first life, before getting her revenge

-the ML, they gave him an actual personality in this remake, in the webtoon his character was flat, he only showed up when the fl needed his help and jst to be an eye candy, here? thanks to takeru Satao, not only was his character a treat to see but also genuinely enjoyable,he had his passions, hobbies and a sense of humour, i loved it.

-reina, the actress played her perfectly HELLO?!, she didn't annoy me one bit bcz she played her character so well, not as a green tea bitch but as genuinely mentally troubled character, they gave actual REASONS (not justification) for her behaviors,the last scene of her and misa in the last episode was beautiful as well

-tomoya, again, they didn't make him one dimensional, his character was more than an annoying ex.

-the revenge was carried out perfectly, not overbearing or too in your face, it was simple and felt natural and oh so satisfying.

-the ending, i was getting skeptical when it wasn't going the way it ended in the webtoon, only to realize they made it 100 times better.

what i didn't like:
-i already knew the story so the show except for the last 2 episodes were lackluster for me, except for misas ''makeover'' parts bcz fuka koshiba ATEEEE

solid 9/10, its way better if you want a genuinely good revenge story, this drama is like poetry to me, way better than any makjang childish revenge story, WATCH ITTTT

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Life is not a game.

The directing was lovely, the acting was nice. The creativity was really obvious in this version.
The writing wasn't mediocre, but I didnt really like it. I did appreciate how they adapt the story in the 10ep format.
I can definitely affirm this version is better than the korean one mainly because the execution was far more profound that the korean version who's attempt was really just about entertaining the audience using women sufferings as most of the time kdramas tend to do since many years now.

It was deeper (I liked the dialogues, especially in the first part), but also a bit childish. There was no real attempt to delve into the complexity of the characters. It was a little strange, because they portrayed the story on a superficial level, but the display of emotions was profound in my opinion. Psychology has been largely neglected in the writing. And that's the second thing that annoyed me the most.

Japanese dramas have this ability to present many stories as true journeys, but often tend to neglect or wash out what needs more detail and focus.
They always have the ability to hide what they know they can't portray well and so deliberately choose not to even try, pretending it wasn't necessary anyway (LOL). Kdramas, on the other hand, are more willing to try, but their arrogance and quest for western validation makes them so delusional when it comes to acknowledging their flaws to avoid repeating them, which leads them to repeat them over and over again while thinking they ate.


I didn't like the writing for one precise reason, there is, in my opinion, something morally questionable and uncomfortable about depicting life, especially the suffering of women, without attempting to grasp its seriousnee and impact on real life.
This whole time thing, where we see the fl going back in time and while living again, witnessing how her life used to be was filmed in a way that I find very insensitive.
They tried to film the whole thing as some sort of game, video game, or even some sort of virtual reality where the fl has to operate in a certain way in hit her goals ... With such strong themes as misogyny, womanhood, v'olences against women, m-rders, etc etc
I was disappointed by the way the series deviated from what should have been a more responsible narrative, where the priority was to portray the story with dignity and respect for the weight of its subjects.

I feel like most recent dramas no longer have the ambition to portray life as something sacred, where the dignity of everything that exists and happens is respected.
Not everything has to be portrayed in an entertaining way to keep the audience alert, especially when they are about very triggering themes ... I don't mind comedy in serious drama of course, that's not what I'm taking about. I'm talking about depictions in a larger sense.

There's no need to distort everything to avoid making the real effort to grasp the very essence of life and the lives that compose it... Life is not a game.

I'm a lowkey getting depressed to see that 97% of dramas now refuse to take life seriously.
Either we end up with dramas that are meant to be ultra-performative and dramatic, or ones where the tone is misplaced and insensitive or those who focus on demonstrating and preaching to an audience they believe to be stupid and incapable of critical thinking.
Where has the poetry, the contemplation, the questioning, the non-answers, the unsaid, the silence, the ambiguities, the gray areas, etc. gone?

SIGH.

ps : I invite you to try the Taiwanese drama "Imperfect Ones" (2024) if you are interested in watching the theme of female rivalry, the issue of personality and womanhood portrayed in a much more mature and fascinating way.

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A script writer to follow

The story is well paced and with a solid development even with all the time leaps.There are no lags in the story line nor filler scenes . On the whole it is well crafted as were the old dramas of the golden era. I'll look up for other dramas by the script writer as i enjoyed his work .
Somewhat disappointed with Satoh Takeru 's acting here as i find him stiff . However the FL is convincing in her role and as the story progresses her acting becomes full of nuances. She's come a long way from Kanojo wa kirei datta. The other female actress was extremely annoying imo.
I particularly enjoyed some of the visual cues. Somebody else caught on the kimi no na wa stairs?

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A Remake that Revinvents and Outperforms the Original

Often remakes immediately suffer from lack of surprise but not so here. The premise is the same as the original and it starts off similarly but quickly it veers off—it is not the same story. Somehow, the changes to the story actually adds more tension, surpise and character development despite the shorter 10 episode format. The FL in particular shines brilliantly capturing the complexity and emotionaly transformation of her character, outperforming Park Min Young in the original. Additionally, her chemistry with the ML is more convincing and satisfying.

Perhaps, the one character from the original that can never be replaced in my heart is the FL’s best friend. Song Ha-Yoon performance of Soo-min was so compelling and delightfully sinister that no one can touch it. That being said, Sei Shiraishi does deserve praise for making the role her own. Her spot-on acting and the additional character development this new version affords her and the other main characters adds to the totally engrossing aura of this drama.

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A beautiful webtoon adaptation

I watched this for Takeru Satoh. Actually I had tried watching the Korean version but it didn't hold my interest and I dropped it so I wasn't expo much from this. But boy I was wrong. If I could rewatch it for the first time again I'll definitely choose that.

What I liked - where do i start? The acting was phenomenal, the chemistry was electrifying, the villains were so evil you couldn't help hating them. I'm sorry but Reina's past didn't make me sympathetic towards her present actions. She chose to be evil and you can't always blame your past.

What I disliked - I don't know i think the music wasn't very memorable for me.

Overall review - as I said if I could forget everything and rewatch it again I would love to. Also Takeru Satoh as Suzuki Wataru was very hot.

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first time to review a drama because I like this more..... hehe!

When I saw there is a Japanese version, I went to check who were the cast and its my fav Japanese actor/actress, I immediately added to my watchlist and didn't regret watching every episode.

FL: I love her in Yuokai Sharehouse. I see different side of her acting in taking up Misa, she embodied her, she "became her". Every emotions, she portrayed it very well. I can see her sadness, her frustrations and her happiness.

ML: I like him in Ruruoni Kenshin. I asked myself how will he portray his character in this genre, and it didn't disappoint me. He acted out his character very well. You can sense his coldness and warmth. His gestures are undeniably authentic.

I hope to see them act out together in other genres, action or comedy maybe.

SFL: Sei portrayed her villainous character perfectly. You can see her jealousy and hate. I love to see her more in movies or drama in another character.

SML: His character is complex and frustrating. Yokoyama, channeled his role in him. Sometimes I question, is his character that stupid?

Overall, I like this version more than the Korean because it centers on the 4 characters, there is no third party especially between Wataru and Misa that cause their relationship to fall off. The side characters also breathed life to their characters, I like the sister Miku, she is like Yoo Huiyeon, very supportive and lovable.

I only wished that they added more part where we can see the main leads' happy relationship and getting married. hehe!

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Tu es vivante, alors vis…

C'est ce qu'on qualifie de remake réussi. Pour moi, la version japonaise surpasse la version coréenne. Moins théâtrale et moins dramatique, elle s'ancre dans la réalité avec ce doux parfum propre au Japon.

Kanbe Misa (Koshiba Fuka) est tout ce qu'une femme meurtrie peut-être après avoir été traitée de la sorte. Elle est consciente du miracle qu'on lui offre avec sa seconde chance et elle sait la saisir au bon moment, abattant ses cartes avec minutie. Koshiba Fuka a brillé dans son rôle, délivrant des émotions intenses. Colère, tristesse, espoir, confusion… Tout y était avec, en plus, une garde robe très élégante. Suzuki Wataru (Sato Takeru) est son sauveur de l'ombre, la première vie de Misa hante toujours ses pensées. C'est un homme idéal qui s'est impliqué jusqu'au bout. Personnellement, j'adore Sato Takeru. C'est un acteur polyvalent qui sait comment mettre en avant ses personnages, même si le scénario est bizarre. Je pense qu'ici, il a signé l'un de ses meilleurs rôles.

Esaka Reina (Shiraishi Sei) et Hirano Tomoya (Yokoyama Yu) sont des ordures qu'on ne peut tout simplement pas jeter dans une poubelle. Au Japon, le tri des ordures est strict. Il faut s'en débarrasser minutieusement et soigneusement. Selon moi, Reina et Tomoya ne sont pas aussi dérangés que dans la version coréenne et c'est ce qui les rend plus redoutables. Ils apparaissent davantage comme monsieur et madame Tout-le-monde. Tomoya est un fils à maman égoïste, aidé par sa mère tout au long de sa vie. Même à la fin, il rejetait la faute sur tout et tout le monde, prétextant avoir été trahi. Tomoya n'a jamais rien compris parce qu'il n'a jamais eu besoin d'assumer quoi que ce soit. Yokoyama Yu a délivré un personnage détestable et parfaitement dosé. Reina a été une véritable garce manipulatrice qui s'est retrouvée prise dans son propre piège. Chacune de ses actions était motivée par la jalousie et le contrôle, tout en s'appropriant la réussite et le dur labeur de Misa. Shiraishi Sei était incroyable dans la peau d'un vampire qui aspire le bonheur d'autrui, sombrant lentement dans la psychose.

Ce quatuor a été d'une grande puissance tout au long des épisodes. Chacun avait son propre développement, amenant diverses émotions. D'une certaine façon, cette version a humanisé les antagonistes, mais n'a pas enlevé le plaisir de les punir. Ils ont récolté ce qu'ils ont semé. Tandis que les protagonistes ont embrassé cette nouvelle vie qui leur a été offerte. Le reste du casting était tout aussi remarquable, à commencer par Shimekake Ryuya (que j'aimais voir sur mon écran chaque seconde), puis Kurosaki Reina (qui était une collègue pétillante) et Tabata Tomoko (qui incarnait le courage et le travail réunis).

Plus serrée en raison de son format, l'histoire adopte un rythme soutenu, mais efficace qui jongle entre la tension, les révélations, l'effet papillon et les relations entre les personnages (tant professionnelles que personnelles). On ne croule pas sous le poids des épisodes, la narration est fluide, généreuse et mesurée. Ce n'est pas un copié-collé, il se dégage de l'original et tisse sa propre intrigue. Si les grandes lignes sont les mêmes, les directions sont différentes et entraînantes.

En bref, fort dans ses messages et sa narration, magnifique dans sa photographie et excellent dans sa bande-son, Watashi no Otto to Kekkon Shite rappelle qu'être vivant, c'est profiter de vivre l'instant présent en jetant les ordures qui incommodent notre vie.

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interessante

sempre fico receosa de assistir adaptações e ramake de histórias que li ou já assisti.

confesso que essa versão tem me surpreendido, iniciei por conta do elenco, mas estou gostando da história, está diferente da versão original (novel) mas está sendo muito bem desenvolvida.
os personagens, são um pouco diferentes da proposta da novel original, acredito que seja pela cultura.
estou sentindo falta dos plots de alguns personagens que foram muito importantes na novel, mas não está afetando a história do rameke.
edt: terminei e gostei muito do desenvolvimento.
gostei mais desta versão do que a coreana.
eles enxugaram muita coisa da história original, mas sem afetar o desenvolvimento da história.
gostei muito

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Um Remake que consegue inovar

Eu confesso que a ideia de fazer um remake de um drama ainda recente na memória de todo mundo foi um risco e, no mínimo, estranha. Pensei que não houvesse nada de novo que pudéssemos ver dessa história, que já tinha cumprido seu objetivo na obra original coreana há apenas um ano. Mas, para minha surpresa, a versão japonesa ainda tinha muita coisa para contar. Coisas ainda melhores, eu posso dizer.

Se eu tivesse que apontar a maior diferença entre as duas versões, é o tom adotado para a obra. Enquanto a versão coreana mantém o tom leve do webtoon original que, embora fale de temas pesados — abandono de mulheres durante o tratamento de câncer, relacionamentos tóxicos e segundas chances — ainda assim mantinha o tom cômico e tinha vários personagens destinados apenas a serem um alívio da trama principal.

Porém, a versão japonesa, mais enxuta e dramática, parece deixar claro que o seu foco está em não romantizar a vida e reconhecer que, sim, todos temos uma história que pode explicar quem nos tornamos, mas nunca justificar o que decidimos continuar sendo. E, dessa análise, nem mesmo a protagonista escapa. Logo nos primeiros episódios, conseguimos ver críticas dela e de outros personagens por sua atitude passiva durante a vida.

E tenho que dar os parabéns para a atuação desse elenco. Tanto a atriz escolhida para viver a vilã Reina Sei, Shiraishi, como a dupla de atores protagonistas, Fuka Koshiba e Takeru Satoh, deram mais profundidade para os personagens que eu achei que já conhecia. E tenho que admitir que, para mim, Takeru Satoh se sai até melhor que o ator original, Na In Woo, que às vezes parecia apático no papel.

Se já assistiu à original, recomendo que veja essa nova visão do enredo, que respeita outras tramas do webtoon original e que não vemos na versão coreana. Mas também recomendo, para quem ainda não teve contato com nenhuma, começar pela versão coreana. Tenho a impressão de que, por ser mais enxuta, alguns pontos importantes da história podem ficar confusos na versão japonesa para quem não teve nenhum contato com a história.

Para mim, foi uma ótima descoberta. Eu amei acompanhar.

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