Marry My Husband: from Korea to Japan, from (post)makjang to thriller
Truly another masterpiece and award-winning work from director Ahn Gil Ho, following Stranger (Secret Forest) and The Glory.The Korean version of Marry My Husband leans toward a post-makjang revenge story. Meanwhile, the Japanese version has a suspense/thriller undertone. It perfectly fits my taste and matches my expectations of director Ahn Gil Ho.
I think this is the first East Asian drama (K-drama, C-drama, or J-drama) in 2025 that, as it reached its final episodes, I watched with such intensity that I reflexively clapped—and even empathized with the villain.
The character design for each figure is excellent; every character has a clear motive and logic. The cinematography is both beautiful and thrilling, especially in the final episode.
Why did I sympathize with the villain? Because Marry My Husband (Japan) portrays so well the story of a "neglected" child.
Just like in Stranger, director Ahn Gil Ho explicitly shows the cycle of violence and crime. Reina, who was neglected; Tomoya, who was overly pampered within a patriarchal culture; and Wataru, whose opinions were constantly dismissed by his grandfather—all are roots of destructive traits in adulthood: being manipulative, narcissistic, and lacking courage. Only Misa was raised with love & kindness.
Unlike the Korean version which focuses on revenge & punishment, Marry My Husband (Japan) is about how humans “powerplay” with fate—including the fate of which family one is born into—so that we can still live as mature adults, living well & by virtue as human being. Or we just want to blame the situation how we live, then weaponize it to justify our bad & evil behaviour. We become similar toward someone we hate: the bad family. We become reflection of bad parents/grandparents. We dont fight, we dont change, & just maintain the evil cycle. And in that situation, we lose completely to fate powerplay.
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If I cant have it, I will destroy it
I'm a fan of Kim Kyu Tae director's dramas. I followed his dramas since A love to kill. I especially love his collaborations with Noh Hee Kyung writer, like on Its Okay Thats Love & Our Blues. Their collaboration drama show excellency on potraying human fragility & raw emotion within beautiful yet bitter atmosphere. Paradoxically, this "bitter & ugly truth" tendency become a healing drama.When I watched The Trunk trailer, I wondered why Kim Kyu Tae become director for thriller/crime drama. I know that it is not impossible, because he had directed Iris, one of the memorable action-conspiration drama.
After finished watching The Trunk, I feel like this drama is remind me to A love to kill, also seems like dark version of Its okay thats love.
The trunk depicts dark and depresive side of human mundane life. Love has destructive side, that as powerful as, its ability to empower and heal human scar. From someone who give up in life & powerless in relationship, then our hero & heroine become someone who protect their partner bravely. Allso finally they have clarity about the problem, & their own flaws.
The acting, directing, cinematograhy, & editing are top notch. But the script would be better if it can give audience more layer for Um Tae Seong character. The chemistry between Gong Yoo & Seo Hyun Jin is beautiful. I want to praise Kim Dong Won (Um Tae Seong), & especially Jung Yung Ha (Lee seo yeon) for their great performance.
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Hong Sisters' old dramas are better!
As someone who watched Hong sisters' drama since Sassy Girl Chunhyang era, watching CTLBT feels nostalgic: the signature character set up & plot of the writers.CTLBT feels like The Greatest Love + Master Sun.
On eps 2, I was teary because of this nostalgic vibes. I also love "dark" vibes on A Quite Woman filming /scene. I am so happy for first 6eps.
But unfortanely after watched 12 eps, I feel something off. My Girl, The Greatest Love, You're Beautiful left long lasting after taste for me. I was also very emotional when I watched those dramas. I still listen to those OST till now, & I always recall the emotion back then.
But unfortunately I didnt really feel something emotional around eps 9-12. Why did suddenly I loose my empathy for the protagonist? Why all the problems seems like only decoration, that definitely would having happy ending? The OST is also forgettable compare to Hong Sisters old dramas.
My mind actively analyze why. I think the problems come from script structure & dialogue. The script failed to build depthness of the trauma of each character. The triangle love suddenly became main couple part + second couple part + Hiro part. The narative logic like: the manager moved to JHJ's house, but he never met CMH. Etc.
Now I am going to sleep. Seems my mind will still busy to analyze after that.
Edit:
I've just woke up LOL
Now I realize another factor. The title imply about human translation & interpretation: from missunderstanding become understanding & empathy; from hate become love; from stranger become lover.
But the script itself didnt really do that. Only missunderstanding. The main couple barely having deep & meaningful conversation. Dorami only tell FL secret, & ML do sacrifice in silent. Until last eps, FL didnt know that SFL is her manager's fiancee. Etc.
In example, the growth of FL rely on scenes when "she closed her eyes", suddenly everything come to resolution. The problems-resolution & characters development in this drama rely on editing!
I can compare this drama with Run On (a drama who also potray translator life) who really do great job about human communication: light, funny, but also deep & meaningful. Audience can see the growth of the character.
The charms that are absent from CTLBT.
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