3
3
This review may contain spoilers
The Princess’s Gumboot more like…
NB. Unlike the majority of my reviews this one contains mild spoilers.
To be honest, this drama suffered even more from the comparison to Nirvana in Fire which I’ve just finished watching. I described that as “sophisticated and intelligent” but unfortunately this one is lame, painful and naive. In reality it is a romance in the enemies to lovers trope wrapped up in an intrigue/mystery plot that has about as much twist and tension as a scrunchy. Because whatever happens, you know beforehand that it won’t cause much of a problem to our dashing, devilish hero who will emerge shining bright like a TRESemmé ad with his wig still immaculate.
How do I know that? Because a good plot is one where the odds have real bite and there is both winning and losing, so that the audience is left insecure. But when death is the only stake from the get go, two things become obvious: firstly there will be no gradual increasing of tension and anticipation, only more of the same; and secondly, the hero/heroine can never lose, whatever the circumstances; come hell fire, explosions, high water, incompetent assassins, miracle survivals, impossible escapes and of course, the compulsory memory loss.
Another consequence is a stupid, one dimensional villain, who has to mess it up every time. The character of Prince Wu You was bafflingly extreme and contradictory but not to worry, he was just the aperitif and was soon replaced by another one. Unfortunately, Prince Wu Yin was cut from the same cookie dough but had an added creepily erotic nanny fetish over the linchpin villain of the piece, whose most notable feature was her absence from the majority of the drama. The loss of the only credible villain, Meng Hui Jin about a third of the way through was a sad day for the plot. One wonders if having an opponent equal to the task was something the writer was not skilled enough to handle.
I wasn’t convinced by the love story either. In fact the writer’s level of emotional literacy throughout, especially in the characters of the villains, hovered around zero. If on first encountering someone they try to kill you, just believe me when I say, you really are never going to trust that person again. Then heap on top of that a huge number of dodgy scenarios and a great deal of warranted mistrust and you have an unredeemable situation. So to think that these psychological obstacles could in some way be cast aside (however much two people lust after each other) is totally naive and snuggled-up-safe-in-bed fantasy-land imagining. And there you have it, I suppose I’m just too old and grounded in reality to appreciate this style of storytelling. I assume that this is a known fact to people who choose to read my reviews (and I’m genuinely grateful to you for being one of them), so no surprises here, lol.
This wasn’t a low budget love story. There was a cast of thousands, a big costuming budget and all the trimmings which were on constant display (they’d got them, so they might as well use them type of attitude). Which might go some way to explaining why our intrepid heroine felt it necessary to still wear a barnet full of ornaments and a silk gown whilst rough travelling hundreds of miles on horseback to rescue her brother. But despite all that jingling finery, the drama still didn’t make the cut because the script and the plot was sooo bad.
It began with a perfectly acceptable high stakes drama (if I was generous, a 7.5) and then, almost purposefully, slid down the long slippery slope to end in the farce that was the coronation scene (now plummeted to a 5) before falling apart completely (which is how we arrived at 4). There were too many threads that were hanging loose and not bound together into a cohesive narrative. The last three episodes felt like having to clean up after a party—washing up the characters, vacuuming out the various plot rooms and polishing off the last dregs in the wine bottle just so you can keep going.
As for the dialogue, it was superficial, explainy and lacked any sort of subtlety or emotional intelligence. When characters start explaining their backstory to people who lived it with them, then you know the writer was chucking an all-nighter to get the scene finished before the dawn shoot and patch the holes made by the scenes that got cut earlier on. This happened throughout, but most cringeworthy was Empress Lv in Episode 34.
The acting wasn’t anything to write home about either. But then it’s difficult to excel with banal lines and wooden direction. It’s hard to pick a winner but I’ll back Lui Ling Zi’s performance as probably the best of a very average bunch.
And the soundtrack? Was there one? I’ve forgotten…
However, to end with, there are one or two things that attracted a favourable response from me. I really like the sets for this drama. Particularly the gambling den, with its rich colouring and ambitious costumes. Also the cinematography followed through on that theme, with some dramatic lighting that provided an interesting visual feast (which saved it from a 3.5).
To be honest, this drama suffered even more from the comparison to Nirvana in Fire which I’ve just finished watching. I described that as “sophisticated and intelligent” but unfortunately this one is lame, painful and naive. In reality it is a romance in the enemies to lovers trope wrapped up in an intrigue/mystery plot that has about as much twist and tension as a scrunchy. Because whatever happens, you know beforehand that it won’t cause much of a problem to our dashing, devilish hero who will emerge shining bright like a TRESemmé ad with his wig still immaculate.
How do I know that? Because a good plot is one where the odds have real bite and there is both winning and losing, so that the audience is left insecure. But when death is the only stake from the get go, two things become obvious: firstly there will be no gradual increasing of tension and anticipation, only more of the same; and secondly, the hero/heroine can never lose, whatever the circumstances; come hell fire, explosions, high water, incompetent assassins, miracle survivals, impossible escapes and of course, the compulsory memory loss.
Another consequence is a stupid, one dimensional villain, who has to mess it up every time. The character of Prince Wu You was bafflingly extreme and contradictory but not to worry, he was just the aperitif and was soon replaced by another one. Unfortunately, Prince Wu Yin was cut from the same cookie dough but had an added creepily erotic nanny fetish over the linchpin villain of the piece, whose most notable feature was her absence from the majority of the drama. The loss of the only credible villain, Meng Hui Jin about a third of the way through was a sad day for the plot. One wonders if having an opponent equal to the task was something the writer was not skilled enough to handle.
I wasn’t convinced by the love story either. In fact the writer’s level of emotional literacy throughout, especially in the characters of the villains, hovered around zero. If on first encountering someone they try to kill you, just believe me when I say, you really are never going to trust that person again. Then heap on top of that a huge number of dodgy scenarios and a great deal of warranted mistrust and you have an unredeemable situation. So to think that these psychological obstacles could in some way be cast aside (however much two people lust after each other) is totally naive and snuggled-up-safe-in-bed fantasy-land imagining. And there you have it, I suppose I’m just too old and grounded in reality to appreciate this style of storytelling. I assume that this is a known fact to people who choose to read my reviews (and I’m genuinely grateful to you for being one of them), so no surprises here, lol.
This wasn’t a low budget love story. There was a cast of thousands, a big costuming budget and all the trimmings which were on constant display (they’d got them, so they might as well use them type of attitude). Which might go some way to explaining why our intrepid heroine felt it necessary to still wear a barnet full of ornaments and a silk gown whilst rough travelling hundreds of miles on horseback to rescue her brother. But despite all that jingling finery, the drama still didn’t make the cut because the script and the plot was sooo bad.
It began with a perfectly acceptable high stakes drama (if I was generous, a 7.5) and then, almost purposefully, slid down the long slippery slope to end in the farce that was the coronation scene (now plummeted to a 5) before falling apart completely (which is how we arrived at 4). There were too many threads that were hanging loose and not bound together into a cohesive narrative. The last three episodes felt like having to clean up after a party—washing up the characters, vacuuming out the various plot rooms and polishing off the last dregs in the wine bottle just so you can keep going.
As for the dialogue, it was superficial, explainy and lacked any sort of subtlety or emotional intelligence. When characters start explaining their backstory to people who lived it with them, then you know the writer was chucking an all-nighter to get the scene finished before the dawn shoot and patch the holes made by the scenes that got cut earlier on. This happened throughout, but most cringeworthy was Empress Lv in Episode 34.
The acting wasn’t anything to write home about either. But then it’s difficult to excel with banal lines and wooden direction. It’s hard to pick a winner but I’ll back Lui Ling Zi’s performance as probably the best of a very average bunch.
And the soundtrack? Was there one? I’ve forgotten…
However, to end with, there are one or two things that attracted a favourable response from me. I really like the sets for this drama. Particularly the gambling den, with its rich colouring and ambitious costumes. Also the cinematography followed through on that theme, with some dramatic lighting that provided an interesting visual feast (which saved it from a 3.5).
Was this review helpful to you?
