3
3
A drama with potential, let down by lack of finesse.
The writer, Noh Ji Sul, penned the full-on, tear-stained melo, Scent of a Woman and also 100 Days My Prince (which I haven’t seen). Here we have out and out romcom for the first half and melo-drama for the last part. It’s worth noting that the genre tags are romance and drama, not romcom. It seems she likes extremes and she mixes them here in line with the current trend of fudging genres.Being used to fixed genres it can sit uncomfortably when they are blended. A great deal of viewer enjoyment comes from having expectations fulfilled. When they are not the viewer is pulled out of the world of the story to deal with their own reactions. You can see it reflected in the comments section for this show. However, in the constant search for something new and different I can see this trend continuing and no doubt we will all adjust our expectations accordingly.
This story is set in two different time periods but the movement between them is somewhat random. Sometimes there are links via dreams, other times were are just catapulted back, which felt disjointed. Some visual/cinematic clues would have gone a long way to smooth the jumps and wouldn’t have been hard to implement. Just part of the overall lack of finesse I mentioned in the subject line.
Even in the present, the timeline was repeatedly twisted up. Once or twice will have the desired effect of increasing tension, but when used too much, you know you are being manipulated and it becomes annoying.
The plot in the past could have occupied a whole drama in itself but was rushed through. I felt the balance in the overall story was off, particularly as I spent the first five episodes twiddling my thumbs in the present time waiting for something to happen. If the writer, and later, the director/editor had decided on a more even weight and distribution throughout between past and present it would have woven a better and more compelling story.
I was puzzled in the first two thirds of the show why they should like each other at all. There were very few interactions that could build attraction and yet all of a sudden there was undying love. Later on the chemistry really worked and drew me in, becoming much more believable. But the viewer needed more ground to stand on early in the piece to give it credibility and a more clever weaving in of the backstory would have solved the problem.
The opening episodes are really at a romcom level, and the action is highly exaggerated to suit that type of presentation. But it does tend to undermine the credibility of the emotions to the point that I felt character integrity was being sacrificed for the sake of a joke. Whereas at the end credibility was sacrificed for a somewhat ridiculous stalker plot.
Rowoon has been very busy in some top-rated dramas in the last few years and he’s not stopping. Is he more than a pretty face? Well he does a decent job here, although his perfect good looks need to be ruffled a little more to really convince. I liked Jo Bo Ah’s performance better, and she is also an actor on the rise with some noteworthy performances on her CV.
In supporting roles, Park Kyung Hye gave a brilliant comedic performance as the desperate Son Sae Byeol, deliciously contorting her face like a slapped arse for most of the time. And Hyun Bong Sik oozed as the slightly sleazy manager Gong Seo Gu.
The cinematography in the historical section is beautifully done, with great use of colour and contrast. There’s some traditional fireworks and those scenes were very beautiful. I’d really love to see those myself - one for the bucket list…
What’s the line between accepted notation and cliché? Is it a matter of viewer perception? For me the accepted notations, such as flickering lights meaning spooky etc, were just too frequent not to fall into tired cliché. There was a distinct lack of imagination and freshness in dealing with the supernatural aspects which really should be laid at the door of the director. As far as the script goes, there’s not a lot of subtlety. It gets the job done rather than looking for novelty. You won’t have to read between any lines here.
Finally, it really isn’t hard to decide what season a drama takes place in. And here it was all over the place. People wearing shorts at Christmas, everything full green and verdant in the depths of winter. Talking about being cold and then hanging out outside. Just unnecessary, sloppy production.
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Hard-core, unrelenting melo relieved by some good performances
Don’t be deceived by the trailer, this is wall-to-wall weeping melo with a few flashes of sparkle to light up the path. We start with a big shock early on and then gradually add trauma to the mix for each character as we go. It’s pretty unrelenting.This is the main drawback, it tries to pack too much in and takes on too many themes. A secondary focus is child-parent relationships and nature versus nurture. This theme led to the introduction of a lot of characters and some distracting and unnecessarily complex story-lines, one of which is introduced quite late. They have a different resonance to the main plot and disrupt rather than reinforce the central story. The pace of the drama is slow enough at the start to realise the emotional developments, but as the plot becomes more complex the treatment becomes more superficial. Some plot-lines need more attention to be worthwhile and on occasion the emotional impacts are truncated and left hanging.
The romances are somewhat half-hearted and it is notable that the male characters are all listed as support roles. The focus is split between the women’s friendship and their love lives, which means that neither get the strong treatment that they deserve.
The editing of the last episode doesn’t feel smooth to me and although the ending creates the right emotional mood the story-line is fragmented. It pulls its punches and loses something in the process.
On the positive side, it is prepared to get down and dirty with real feelings and conflicting emotional responses. And there are some good performances, particularly from the three leads, Son Ye Jin, Yeon Mi Do and Kim Ji Hyun. The relationship between the them had a believable chemistry and there is a naturalness to the delivery of the lines.
Overall, this is not a bad production, but it carries far too much weight to be an easy or compelling watch.
What my rating means: 6+ Some aspects of it were OK but it had serious flaws. It will pass the time but you can find something better.
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Relationships laid bare with honesty, comedy and a splash of melo
This isn’t a romcom, but it does have both relationships /romance and comedy as basic ingredients. It’s something that you need to have some good and bad relationship experience to really accept and appreciate. There are no Cinderella and Prince Charming moments here, it is not love conquers all, let’s get married and live HEA. It’s about messy human beings struggling with self preservation and self awareness.A constant theme is that life is a mixed bag of good and bad, happy and painful, and that you have to accept and negotiate it. Set in the world of divorce lawyers, it examines the fragility of relationships in the wider context of family and also the compromises to be made in the face of difficulties. In general it doesn’t over-sentimentalise but allows the imperfections full display and counts the cost of them.
The first episode is funny, vicious and finally vulnerable, and it sets the scene for what is to come quite well. Divorce and relationship strife is a lose-lose situation and it brings out the worst as people fight to salvage what they can from the wreck. The stories highlight the pressure from all sides that causes the inevitable hardening of attitudes .
The drama is not profound and doesn’t set out to preach. There is also a healthy dose of compassion along the way. It manages to take on some very difficult themes and work with them, not always entirely convincingly, but with enough sincerity to carry you through.
However, there are some great one liners, and it showcases how humour is always the fallback mode for survival. It periodically utilises some of the darker shades of comedy to keep the mood lighter. Sometimes it flirts with the line of acceptability and credibility but on the whole stays on the right side of it and draws back when necessary to keep the integrity intact.
It’s a difficult balance to strike and I think they did quite a good job initially in meshing it all together but the further in you get, the higher the stakes, and the more it fails to gel properly. The full-on melo in the final episode was not to my taste, ‘cause I’m a less is more sort of gal, but the final outcome was right for the characters imo.
The performances were good but not outstanding. There was some great observation and enough character development to make it interesting and real, but at times the comedy elements did disrupt that and some scenes were not adequately prepared for.
This is the only writing credit on MDL for Park Jin Ri. If it’s a first attempt at being a main scriptwriter then I think this is definitely someone to watch out for in the future. She has the ability to create interesting characters and the insight to give them depth.
Overall I liked this drama, but then I’ve got a whole bunch of life-experience to empathise, smile knowingly and appreciate the ironies. It isn’t brilliant but I think it’s better than average so I was in two minds about the rating. However, in the end I chose the lesser as I couldn't really justify the higher. If you’re into wish fulfilment you won’t find much of that here and I recommend you to flick channels and go for “Crash Course in Romance” instead.
What my rating means: 7+ A watchable drama, but nothing exceptional. Good enough to qualify for the race, but finished with the pack. The sort of thing that promises more than it delivers.
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Tender, sensitive, beautiful. Thoroughly excellent.
This is a story about an age gap. It’s in the title, but it’s also at the heart of the writing and the unfolding of a relationship in which one is already an adult and the other coming of age. The mesmerising beauty of this drama is the acute observation and treatment of this journey.It is in the excellence in the writing (Kwon Do Eun) that has perfectly captured the age difference in the dialogue, and displayed a depth of understanding that reveals, in sequence, each tiny step forwards. It is in the directing (Jung Ji Hyun) that forces nothing and under rather than overplays each scene, giving it space for a natural unfolding. It is in the cinematography and editing that keeps it very clean and pure, capturing facial expressions in the moment, in a simple and direct way and not holding them until they lose their essence. It is in the soundtrack which is sparingly used and refrains from emotive strings. And finally, it is in the excellence of the acting by all of the cast, but especially the two leads (Kim Tae Ri and Nam Ju Hyuk) who reveal the emotions with a visual ease that belies the skill involved, so that they emerge with total credibility. Wah! Superb!
It would be a mistake to approach this piece as simply a romance. The underlying theme is how the times and circumstances that we are born into as well as the random events that happen impact our dreams and shape our lives. It also reveals the cost that must be paid for the realisation of aspirations and responsibilities. Set in the economic downturn of the IMF crisis in the late nineties we see lives and relationships transformed and dreams crushed, but also opportunities realised, responsibilities fulfilled and sacrifices made through an engagement with the reality of the present.
This is a story about how nothing is forever. Moments of love, friendship, success, failure, ambition and passion — all change irrevocably with time and events. It is important to realise that the present is the only time that you have. If you live for and fully engage in the present the memories that stay with you will become the colour of your life. They may not be the moments that you think are important at the time, but these are the moments that last forever.
Perhaps the illustration of this theme provided the only fault I can find—that of the pacing and slight fragmentation in the latter stages and the necessity to rush some character development but I think it came true at the end (which I thought was the right ending). I loved the nod to her previous drama "Search WWW" that was the postscript to the show.
Setting it in the late nineties allowed the writer to explore a love story in a time far enough distant for it to be credible that development was at a later stage and the innocence of adolescence was something to be preserved. The ML (Baek Yi Jin) respects and gives space to the unfolding of maturity in the FL (Na Hee Do), which he himself was denied and this is a major part of the charm and warmth of the story. The gradual awakening of her sensuality, particularly during the beach scene, is beautifully portrayed by Kim Tae Ri and sensitively directed and filmed in close ups of her face that capture the subtle moments of realisation. This is pure, heartwarming nostalgia at its very best.
I defy you not to fall completely in love with Na Hee Do. What a creation she is! Kwon Do Eun has created a peach of a role and who wouldn’t jump over 10 metre fences for the opportunity to play this part. Kim Tae Ri has convincingly dropped thirteen years to engage with her unfailing optimism and resilience to failure. She has perfectly captured the character’s naivety, disarming honesty and staunchness as she blunders forwards, regardless of risk, inspiring hope in those around her. This is a stunning performance by Kim Tae Ri that completely enthrals from the first moment to the last.
If the writer has a weakness it’s her male characters. They don’t really have enough wrong with them; no edge, no raw, roughness to play with. Here again, as in “Search WWW”, she shows no hesitation in writing a range of strong, complex female characters; from the unhappy, controlled and judgemental, Shin Jae Kyung (Hee Do’s mother) to the clever, hard-nosed fencing coach, Yang Chan Mi. But her leading males are soft centred, as though she is nervous of being able to make them attractive if they have flawed character traits or are dislikable in any way.
Having said that, Nam Ju Hyuk’s performance as Baek Yi Jin was a masterpiece of warmth and tenderness. His character represents the voice of the times. He embodies someone for whom love and compassion are the currency of life and shows us its simplest form as a desire to hold a space for another to live in safety and happiness. His relationship with Na Hee Do is a voyage through varying aspects of love and support that subtly change as they both grow in age and understanding to embrace equality. And it was easy to see the transitions in Nam Ju Hyuk’s face. There were some beautiful moments in their relationship that explore not just romance, but the foundations of love, protection, support, generosity and respect. I enjoyed his interpretation of the ML and the chemistry between him and Kim Tae Ri was magic.
Kwon Do Eun knows how to touch your heart without raising a fuss. No false emotions, onion tears of histrionics necessary. Just simple scenes, like listening to a pager message from a phone booth. She sympathetically captured the excruciating embarrassment of adolescence that reached an unforgettable climax in the aftermath of “I have to have you”! But she also knows how to ham it up, as in the brilliant scene between separated husband and wife in the internet café. There’s a thread of delightful, knowing humour that swims like a silvery fish through all the episodes. It frequently made me laugh out loud and kept an almost permanent smile on my face.
The colour palette utilises bright and vibrant summer colours, reinforcing the nostalgia of a youthful optimism and perseverance, rather than the drabness of the economic downturn. The cinematography has an elegance that frames each shot with care and keeps the viewers’ attention where it should be, on the actors, whilst also adding character, texture and visual beauty. Who can forget the scene on the bridge (enhanced by CGI) with its opalescent sheen and overarching rainbow.
The whole production cleverly walks the edge between the nostalgic and the sentimental. It rarely falls over it and that is something very difficult to achieve. It is helped enormously by the straightforward cinematography, the choice of simple music and the partnership between director and actors that kept the performances restrained and the emotion true. This could easily have been overplayed, sickly sweet and emotionally exaggerated, but it wasn’t and that’s why it has earned such a high rating from me. It was a complete joy to watch and I cannot recommend it more highly.
What my rating means: 9+ A drama I totally fell in love with and is endlessly re-watchable. It ticked all the boxes and had some serious wow factor. It would go on my personally recommended list.
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Enjoyable silliness
Look it’s not just politics that is drifting through the clouds like a weather balloon convinced that its feet are firmly on the ground. Everything, including K-drama, has taken off into the stratosphere in flights of fancy and all the tethering ropes are trailing behind like detached umbilical cords.I’m sort of going along for the ride with this particular balloon because it’s a lot of fun. I’m not sure that it can sustain it over another series without introducing something a bit more solid than Mr Bean-counter running a hospital, whilst The Doctor (Who) aka Baek Gang Hyeok, kits up in scrubs and sews another artery together in less time than it takes to fire up the TARDIS. Not just a specialist trauma surgeon but a transplant surgeon too. In fact, a dab hand with anything he can get his fist around, scalpel, gun, helicopter joy stick…
Is it good? Well it’s fun and it carries you through on a pace so fast that your credibility warning buzzer has no time to trigger. What did trigger my credibility buzzer however is that something I take for granted, my country’s sophisticated ER/Casualty system, does not exist in all developed countries.
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Have a bucket handy
I don’t know how much cutesiness you can take before being in urgent need of a bucket. I’m not good with it, so be warned, there’s one couple whose nausea rating rockets past stratospheric and had me retching for the FF button. Talking of couples, the word incestuous, seems almost ready to spring from my lips. It got so bad that even the celeb posters in the lobby were making out. If it could move it was paired up with something that only needed to show signs of breathing. Compatibility was an irrelevant afterthought if it was there at all. But hey, I’m not a sourpuss, and if it’s a bit of fluffy romance you’re after, then this is definitely your drama!Actually, for once, the leads were the best couple (Lee Sung Kyun and Kim Young Dae) and I really liked both their performances.Not the hottest pairing ever, but they had likeable characters and played them well. Second up in the credibility stakes was Park So Jin and Lee Jung Shin. After that it goes downhill pretty fast…
Unlike most dramas, which start and end well but flag in the middle, this had a great mid-section a passable beginning and a totally forgettable end. Unless you’re an aficionado of PP you can skip episode 15 altogether and not miss anything at all.
What my rating means: 7+ A watchable drama, but nothing exceptional. Good enough to qualify for the race, but finished with the pack. The sort of thing that promises more than it delivers.
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In the domestic sphere it rocks, in the palace environment it rolls - right under the bus…
I watched both parts together and will only write one review. The score I gave to part one is 8.5, but I can’t get anywhere near that for the second half.Let’s start with the positives, because there are a plenty of them. The so-called “good” characters are both varied and interesting and some of them have interesting character arcs. However, the “bad” characters were unfortunately all cookies cut from the same bitter, extreme and bitchy dough and were interchangeable and forgettable, which rendered parts of the rambling plot incomprehensible. But let’s not get to that yet. Continuing on the good things.
The wonderful humour in part one that was such a delight. The writer excelled in bringing out the nuances within the everyday interactions. As social commentary it is second only to “Heard it Through the Grapevine”. It provided a balance and a foil for the more serious scenes. But alas, where was it in the second half. It died a death along with numberless others, who were victim to the bloodlust of Zi Sheng. In the second half, it felt as though the writer was really our of their depth.
There were some excellent performances from a very large cast. In particular I would single out, Zeng Li as Xiao Yuan Yi (Shao Shang’s mother), Cao Xi Wen as Consort Yue Fei, and in the latter stages Leo Wu stepped up as Zi Sheng.
I liked the costuming for the show. Particularly the military uniforms. And the fact that the early period meant simpler fabrics and elegant lines. The setting too was a great backdrop for the drama, with its huge barren landscapes and harsh realities, in which small oceans of comfort and civilisation nestled.
Okay, I’m going to leave the good there. There’s plenty of reviews that drool over Leo Wu on a horse and such similar attractions. Let’s get out the scalpel.
Save the best to last. There’s a reason this is said. It’s great advice: build, retreat, build higher, rest, build higher, hold, then run vertically to your epic killer blow. Unfortunately the second part of this drama completed the whole course in the first third and then had nowhere to go except repeat until the end. That’s partly the difficulty of writing a 40-hour drama. That’s a lot of story to weave together using original ideas. Okay, to be fair, they split it down the middle, so 20 hours of drama. But, how many times can you watch Leo Wu leap from his horse to save the day/girl at the last possible second. Once at the end would have been impressive, twice would be forgivable, three times unfortunate, but five-plus times? Tbh you’ve seen it all before and there’s no tension only predictability. It was a cast of thousands and fairly minor characters kept blowing up along the route to provide a foil and yet another opportunity for our knight in leather armour. There were so many of them, that I had difficulty remembering what their story arc had been (twenty episodes earlier) that was causing them to seek revenge at this point.
This is a drama built on backstory. Now backstory is never easy to handle. You are in with a chance if it’s the backstory of one of the main characters. But when you are asked to get invested in the backstory of people who either don’t appear in the drama, or who are minor characters overall, and on top of that, you are not even “shown” it, but “told” it in unlikely monologues and stilted “conversations”, then you’re really wading through porridge. Not only was it confusing just to have names without faces half the time, but it was boring too. There was nothing much to generate emotional investment and Leo Wu was on his own boiling up all that vitriol. Admittedly, the scenes when it spilled out were chillingly good and really showcased his acting chops.
To sum up plot-wise, as this rambling, fragmented plot played out I felt incredulity leaking from the pot until I was up to my knees in it, then at some point the swirling waters closed over my nose and mouth and I had to force myself to float on it to the end as I was in danger of drowning in the underground tomb and burning village.
In terms of the characters, the arcs for the male and female leads were largely unconvincing. I was willing to go along with Shao Shang learning to trust Zi Sheng, although the set-up for the punishment scene that clinched the deal was pretty unbelievable. But the changes in the later stages in their relationship had no real credible basis to them. Tbh, the character of Zi Sheng had so many red flags that to me he was unredeemable. The writer was trying to meld together two stubborn and flawed characters by melting them in the forge of saccharine romance tropes. It didn’t work.
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Day-time TV eat your heart out! Watch and learn...
By heck they don’t make makjang like they used to! You have to go to J-drama now if you want to find this level of hot, sweaty testosterone on display. Forced kisses, women dragged around, and all things beyond and in-between (there’s even a good splash of Master/slave in there). Beware, shrinking violets, this one is not for you. But if you are of a more robust mindset and like your melodrama vicious, toxic, wet and wailing, then this will absolutely be the ticket.Who else but Ji Sung could be evil incarnate one minute and hot stuff the next, whilst doing a brilliant impression of a belligerent, sulky teenager not getting his own way. Hang Jung Eum takes on the role of the suffering angel with the patience of a snail, the heart of a sticky chocolate pudding and the destiny of a lump of rancid fat. Normally it’s an ahjumma that parades a face like a slapped arse, but here it’s Bae Soo Bin who takes on that role and plays it with relish. As for Lee Da Hee, it’s a masterclass in “Hell hath no fury like a woman scorned”!
The plot is fairly straightforward and guessable from the get-go, but it still leads you a dance where all the characters are given ample opportunity to balance on a moral knife edge and come up wanting. Prepare yourself for gut wrenching twists, heart rending suffering, and miraculous character transformations. The pain and torment of the innocent (and not so innocent) is offered up as a sacrifice to cruel fate and revenge, and the slings and arrows of outrageous fortune rain down on everyone. And yes, those arrows are pretty outrageous. In anguish, in fortitude, in sickness and in revenge, it’s all supercharged and in there. “No matter how I try to erase you like an incurable disease from my heart” (actual song lyrics, end Ep13). What a wonderful, explosive mixture it is.
It spins along at a rollicking pace, with a touch of middle age sag that tightens up again later. And it all unfolds along well-worn tracks like a pilgrimage to the Wailing Wall. But, by gosh, it’s a thrilling, compulsive ride.
And of course it’s full of characters that in real life you’d give a twenty mile berth to in order to avoid touching them with a barge pole. In fact, all of them wave so many red flags it’s like being at a communist party rally. But hey, this is makjang. Just deserts will be got, and the twisted will be stretched on tenterhooks until they become straight, then woven with remorse and sacrifice until they become the very fabric of the community. Just roll with it and you’ll have sooo much fun.
How can I not give it an 8, for being a perfect example of outrageous, sumptuous makjang, in all its over-blown, toxic glory. Or is it perhaps a 3, for breaking every woke rule in the book. Only you know yourself well enough to decide.
Ahhhh, thanks “Secret” for the explosive laughter. Nothing like it to warm the cockles of your heart and cheer you up every time. That’s when you’re not sobbing of course. Cue violins and angelic choirs…
NB Currently (Jan 2025) showing on VIKI under the title “Secret Love”
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Quirky, surreal, warm and friendly
There is a somewhat bizarre plot which meanders along picking up themes as it goes. We go through digressions into crime, music, friendship, blackmail, betrayal, unrequited love, abuse, possible murder etc, all embedded in a wintry slice-of-life, set two hours drive out of Tokyo. It gathers all the themes together, along with a seemingly random selection of self diagnosed failures as characters (with the obligatory oddball viola player - musician’s joke…), but like strangers at a party, they don’t quite mesh. There is a slightly surreal feel that I am coming to associate with Japanese dramas and it has a strange affinity with Sartre’s play, “No Exit” (Hell is other people) where each of the characters wants something from the others which the others can’t or won’t give them. However, this is not a story about Hell, but about acceptance, both at a personal and an interpersonal level.It doesn’t really follow a single plot line, but presents sequences of fragmented scenarios that have a thread running through them. Just when you think it’s all fallen apart, it comes back together at the end.
There are some really good performances from the core cast who hook you in and carry you through. The “playing” of the instruments is a bit unconvincingly painful to watch at times, but that’s a constant gripe in many shows that involve musicians and the actors do a good enough job if you don’t look too closely.
A bit like a meal of leftovers, it’s all hashed together, but tastes good! I was in two minds about how to rate it, but in the end enjoyed it enough to bump it up from ordinary to good.
Note the Easter egg squirrel in the final episode, just before the credits :-)
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Turgid and relentlessly predictable
Look, I’m never going to love a show like this.The first half of this show is a let’s-pretend-we-are-saviours-of-the-poor-downtrodden-unfortunates. The second half is is the usual predictable gangster/corruption stuff. The script totally smacks of being written by someone who has zero understanding of what they are writing about. Everything from the emotions the characters are required to exhibit to the conversations that they have is totally unrealistic and wide of the mark. The gangsters are caricatures and there’s a lot of cringeworthy faux laughing. The plot and actor’s lines were so predictable that I was almost saying it with them—actually I did say it with them on a number of occasions. There’s a credibility gap as wide as ten ton truck in the way they behave. Dressed in plain clothes, they never identify themselves as police, but just wade into fist fights on every possible occasion, randomly throwing in a few gunshots without warning.
Not only that, but so many fragments of plot around the FL’s family hang off the edges of the main action like flailing fish and there is no credible character development. Son Ho Jun as Han Jin Woo simply looked embarrassed about being in the show at all. All the other characters had one mode of being and acted it out from beginning to end because they had no choice. I’m a real fan of Kim Hee Ae and that was why I picked up the show. But this is not one of her best performances.
All I can think is that this was the show where director Ahn Gil Ho learned from his mistakes, because Watcher and Stranger are light years ahead of this drama. But he had different writers to work with on those productions and, well, it really shows.
OK, it’s Sunday night bland entertainment, with nothing except fantasy-land porridge to offer. Was there anything to like about it? I think like is a bit strong… The OST made no impact on me whatsoever. The other production values were uninspiring and perfunctory. I only got through to the end in order to post this review. Jeez I need to go reward myself for diligence!
If you want something like this done properly, then I’d recommend "Live".
What my rating means: 4+ I forced myself to go through to the end of it, but only because I was committed to writing the review. It annoyed the hell out of me. Actively avoid.
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Cosy comfortable with a shot of blood
Once you get through the obligatory starter course of processed cheese, the first four or five episodes turn into a gentle, warm, carefully observed drama-romance with credible characters. Then the romance stretches like melted mozzarella for a number of episodes before just about righting itself; the cottage cheese style comedy tries to spice itself up with some hot chilli crime and the plot turns into gruyere, with holes so big you could run a mouse through them. Unfortunately, I could see where it was headed like I had a grandstand view down a wormhole.Okay, let’s put some spoiler-free depth to those claims.
First the romance. This is a noona romance and visibly so. I have no problem with the age of the FL, or the fact that the characters are played by actors with at least 10 years between them. But at times I found myself wincing because in the script the FL acts more like the ML’s mother than anything else and at one point the ML behaves like a teenager, and those things I did have a problem with. However, once the romance got going things settled down a bit, but there is precious little chemistry going on. It’s all very cosy and comfortable, so be prepared for that.
It seems that the writer wants to give the drama a bit of weight and chose to do it in two ways. One of which definitely added something—educational child abuse in pursuit of excellence. Because of the setting in a tutoring academy it was fully explored and provided some real depth by documenting the impact on the students. This part of the drama was good and was credible alongside the romance. But the other theme—heavy-duty-crime—really didn’t mesh well and was totally unnecessary imo. Also the execution of that whole plot thread was obvious and clumsy.
There’s a fashion at the moment to try mixed genres, but it rarely succeeds. Okay I admit, it could be that I just need to change, get with the program and embrace something new, but … I think that there are genres for a reason. And that’s because any drama is an exaggeration of life in a certain direction. The imaginary world created by a romance is fundamentally different to that of a crime thriller because it is designed to evoke different emotions and responses. Things that are credible in one world aren’t in the other. When you mix the genres it’s like being emotionally and psychologically pulled in opposite directions so that you twang like a rubber band from one to the other. In the time it takes to cut to the next scene the viewer has to heave out one universe and drag in another. Jeez, it wears me out…
A bunch of corrupt mothers were required to fulfil both the comedy and the serious commentary on educational abuse. But neither the writing, nor the acting/directing was subtle or clever enough to exploit this killer opportunity for black humour. Satire is an art-form, and anyone who wants to check it out at its absolute best should watch “Heard it through the Grapevine”. Here it was mostly a clumsy mish-mash.
Hwang Bo Ra was delicious again as the mercurial but minor character, Lee Mi Ok. She could have made a much better job of the self proclaimed leader of the mother’s group than Kim Sun Young and brought out the dark humour. She is such an underrated actor imo. Lee Chae Min as the student Lee Seon Jae and Jang Young Nam as his mother were notable, and the scenes between them were little gems. He’s a Song Kang lookalike but with acting ability… In general the performances were really good and that is what kept this drama afloat for me.
To quote Skitc’s excellent review for “Stranger’s Again”— beware the trebuchet!!!! Another traffic accident. Really!!!
Okay if you are a writer in need of ideas of how to injure someone in an urban environment that doesn’t involve a car, here are some pointers (feel free to add more in the comments below)
• bitten by a zombie escapee from “Happiness”;
• pushed down a manhole into the sewer;
• Dorothy’d into the sky by a tornado;
• half encased in setting concrete;
• an eye gouged out by a drone;
• garrotted by a kite string;
• savaged by a flurry of rabid hamsters.
F**king anything pleeeeeease except being hit by a car.
What my rating means: 7+ A watchable drama, but nothing exceptional. Good enough to qualify for the race, but finished with the pack. The sort of thing that promises more than it delivers.
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More Alice in Wonderland than Little Women
Loosely based on Little Women is the sort of loose that happens when the elastic in your trackies gives way and they drop to your ankles in a wrinkled heap. Yes they are still trackies, but not obviously so. I spent the first episode distracted by trying to unsuccessfully work out how this drama maps to the book. But I was looking in the wrong place, because, although there are parallels to be found, the map is really in the theme: the significance of money.This is fundamentally a story about money and its sidekick—power (the perennial obsessions of K-dramas, well maybe most dramas actually…). How and why it shapes lives, morals, choices and character. How poverty shapes your mentality and expectations. What you are willing to let it buy and what that does to your integrity. What risks you are willing to take to acquire and keep it. Under what conditions you will let it go. The price that your decisions exact from both you and those around you.
It puts the protectors, helpers, underminers and benefactors of the wealthy centre stage and examines their motives and desires. This is a rare perspective and I can only remember it being the centre of a drama in one other totally brilliant case, “Secret Love Affair” (if you are interested in this aspect, watch SLA, it will not disappoint, although it’s not a thriller).
As you can guess by now, it is not the plot that makes this drama special, (more about that later) although you can simply watch it as a thriller. It’s the examination and unfolding of motive behind the fight for freedom and opportunity in a world that values money over the individual. A society that insists we fight for limited resources to fulfil not only our dreams but our basic survival as well.
It’s almost impossible for us to imagine a society not based on money. But money itself is not of course concretely real, it is simply a universally accepted system of sharing resources that becomes meaningless if we lose trust in it. It is the illusion around which our reality and dreams are built. And if you are going to be fanciful, you could watch this drama as a commentary on the system’s strengths and weaknesses and the approach people take to best work it. Given that it is compulsory to engage in this system, the question as to what is morally acceptable and what is personally justified is core to the unfolding of the narrative.
Having said all that, there are problems in my opinion with how the drama is written and presented. There’s a vibe of the sisters being ordinary people (a reference to Little Women perhaps) who are unwittingly and sometimes unwillingly mixed up in something big.
However, through most of the drama, the sisters don’t display enough realistic, long-term emotional reactions to support their ordinariness in the extraordinary and violent situations that surround them. In a normal thriller we suspend disbelief because the whole thing is not related to any recognisable reality in the first place. Here, particularly in the middle section, I am being made aware of the gap between quasi normality and the world of the story with the result that I am also very aware of suspending my disbelief. And at times I found the approach is not subtle enough to make it work.
Because the women are presented as relative amateurs, there are moments that stretched my credulity to breaking point. For instance, without any preparation and seemingly without backup, they are willing to confront people they think are probably murderers. There are scenes where professionals who would never disclose information to anyone let alone the naive woman in front of them, disclose it. Etc, etc.
There’s an odd mix of the ordinary, the extraordinary and the completely surreal. The more surreal it gets the less the ordinary women at the heart of it are credible. It turns into conspiracy theory central with hallucinogens thrown in for good measure. Whether this was intended as a reflection of the madness that money creates in people is debatable.
The plot gets increasingly bizarre and takes off in strange directions and at times loses impetus. This has a fragmenting effect which leaks tension and can be frustrating. But at other times the sense of confusion and powerlessness is very effective in putting you into the shoes of the protagonists.
Overall, this is an ambitious drama and when it works it really works, and when it doesn’t, it really doesn’t. I’m someone who is prepared to put up with stuff not always working well if an attempt is being made to experiment with something new and different. I think this drama tries to do that, so I was happy to give it the benefit of the doubt, but even my goodwill was tested beyond its limits by the end.
What my rating means: 7+ A watchable drama, but nothing exceptional. Good enough to qualify for the race, but finished with the pack. The sort of thing that promises more than it delivers.
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The reality of hope. A deeply compassionate drama.
Both writer (Park Hae Young) and director (Kim Seok Yoon) know how to create sensitive dramas built around pathos, but with a cutting edge. Kim directed “The Light in Your Eyes” and Park penned the class act that is “My Mister”. You can imagine what you will be getting, and they deliver on it—in spades.At the start there is little to attract in the main characters. They are all struggling to find any sort of meaning in soul-destroying lives that are dominated by a long and exhausting commute to the city from their countryside home. But this writer has a beautiful knack of taking that ordinary exterior and peeling away the layers to reach the vulnerability and struggling humanity within. And by the end of episode 2 you are totally captivated by these self-scored 20/100 characters. Add to that a director and cinematographer who know how to capture the smallest twitch of a muscle in a face and make it speak volumes. And actors like Kim Ji Won and particularly Son Seok Koo, who can work with them to reveal the interior life of a character without words.
As with “My Mister” the raw material at the heart of this drama is family and the unfathomable glue that holds it together despite difference, ambivalence and natural preferences. Essentially they are characters weighed down with who they are, wishing they were something else, ignorant of how to change but trying to work out how to make things different. They are trapped and struggling to emerge, like butterflies, from chrysalises of painfully low self-esteem, guilt and negative thinking. If this doesn’t sound like an attractive proposition, it is the skill and wonder of the whole production to make it compulsive viewing. Each of the characters draws you to themselves and touches your compassion as they struggle towards the elusive future that beckons them.
The plot meanders through their realisations and lurches along with them. In the main it works but occasionally loses its way, particularly later on when time hopping causes inevitable fragmentation. I was not convinced that this disordering of time to create tension was strictly necessary as the depth of the characterisations are sufficient to carry you through. However, imo, it would be counter-productive to enforce a regular development on a drama that is essentially exploring the vagaries of the human psyche with all its winding roads, u-turns and blind alleys. The unevenness of it creates the overall mood and ambience of the drama and reflects the stop-go nature of real life.
The drama features the standard three leads and their relationships; but this is not a standard romance drama. Relationship itself is the focal point, not the falling in love. Essentially it examines how we can approach and be with each other whilst still retaining ourselves. And suggests that the only way we can live with both ourselves and with others is by being honest and taking the hit for doing so, as we work towards self-acceptance and self-understanding. Ultimately it is upbeat, but open ended.
There are no generic characters here. Each one, even the minor players, has been carefully created and presented with depth and there are some wonderful observational details and cameo performances.
Lee Min Ki does such a great job with the character arc of the irrepressible, oblivious and impulsive Chang Hee. His confusion and lumbering realisations are beautifully portrayed and provide a flicker of humour darting through the shadows. How can you not fall in love with him? Especially over the car!
I have an affinity with Yeon Mi Jung and the things she prayed about as a child. The character is played elusively by Kim Ji Won who manages to capture the enigmatic exterior that hides the depth and singularity of her character’s thinking and perceptions. You are always waiting expectantly for what left-field thing will emerge from her mouth. Occasionally the script can feel a little pretentious and self-conscious, but it is mainly because the writer is wanting to explore non-intuitive ideas and trains of thought. If there is a reason to rewatch the series, then I think Mi Jung is it. A second time round, understanding the character arc, would illuminate much of her early actions and responses.
Perhaps the most vulnerable of the three is Yeon Ki Jung, portrayed with empathy by Lee El, who manages to undermine herself at every turn and perhaps elicits the broadest spectrum of responses from both the viewer and the other characters, from exasperation to total compassion.
The interloper into the family is played convincingly by Son Seok Koo who manages to capture the multi-facets of Gu Ja Gyeong from brooding to awkward to nasty to vulnerable. The character and his background provide a disturbing contrast to the rest of the drama and sometimes jarred for me. If there is any flaw in the credibility it comes with the ending for this character. But his time on screen is compulsive viewing and many of the scenes between him and Kim Ji Won are very special, full of nuanced, silent communication and unspoken feelings from both of them.
The cinematography and editing has more the feel of a film to it, as though the camera is just a neutral observer hanging around and we see the action though those non-judgemental eyes. It lingers on contemplative faces and reveals hidden depths. In many ways the whole drama doesn’t criticise or condemn, but tries to simply observe. And in that observation there is the balance and compassion that colours the whole production. Nothing is too polished or self conscious. It draws you in and places you firmly in the action as a participant in this slice of life. Beautifully done.
There is also a very restrained use of a soundtrack, so that often it is the silence that holds you in the moment with the character. There is a lot of simple piano music, ethereal voices and soulful songs, which have been carefully chosen to highlight the mood. Did I catch “So Tender” by Say Sue Me from “Nevertheless” in Ep 11 at 47’, playing in the cafe scene between Yeon Ki Jung and Jo Tae Hoon. I think I heard it earlier with regard to this couple as well.
This was a special drama for me and goes straight onto my personally recommended list.
What my rating means: 9+ A drama I totally fell in love with and is endlessly re-watchable. It ticked all the boxes and had some serious wow factor. It would go on my personally recommended list.
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Almost really good—but not quite…
I’d really like to give this drama more than the 7.5 I settled on because there is a lot on offer. But for me, the last four episodes lost their way when the main arc of the plot ended and felt much more like introductory episodes trying to establish a story where there wasn’t a thread. This left an overall feeling of blandness and added to the other things against it, I could only drop the rating.So what would have garnered it an 8. Well, the performances. They were good overall but Jang Na Ra really delivered a standout performance here, and it is worth watching just to see her. The other leads were also good, but with less complex characters also had less of a chance to reveal their talents. Having said that Nam Ji Hyun and P.O stepped up to the plate and I enjoyed their scenes together.
The relationship between the two FLs was well developed, moving from seonbae/hoobae to encompass a well rounded appreciation and friendship. The steps to achieve this were credible too.
The script was informed—the writer has done the job of a divorce attorney, so probably cherry picked from the cases that landed on her desk.They were varied and sometimes had interesting twists, but their resolutions were often trite and rushed.
Which brings me to some of the negatives. I’m not a fan of wailing melo, or saccharine sentimentality in order to create an unrealistically simple happy ending. And there was quite a bit of both. Now this is a personal preference, and I know that there are a lot of people out there who appreciate this approach, so judge for yourselves here. This was particularly apparent to me around some of the interactions with children and spouses.
The forward thrust of the lives of the leads petered out around episode eleven, with Cha Eun Gyeong’s (JNR) main plot line all but resolving. The other characters did not really have a strong enough plot focus to carry through. The result was that the sequential cases continued without a continuing main thread to support them A bit like a steak and onion pie without the pastry, as a result things slopped around the plate with the last few remaining crumbs of piecrust floating in them. Leaving a very unsatisfactory aftertaste.
Overall, this is not a bad watch at all. It has some excellent stuff to offer, but may leave you wishing it was more.
Just editing this to backup unterwegsimkoreanischenD's warning not to watch episode 0 if its available on the platform you watch. It's a weird spoiler filled mish-mash.
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Scored well until it started kicking own goals.
As the famous football quote says: this is a game of two halves and it’s not over until it’s over.This perennially loved theme has always found an audience, from “Shirley Valentine” onwards; the dutiful, middle-aged woman waking up from the self-imposed drudgery and finding she has no-one to blame but herself, then kicking over the traces and fighting back.
In the first half, it takes some standard comedy tropes and situations and gives them a refreshing twist. It’s not outstanding in any way, there’s no spectacular cinematography, or deep, complex characterisations, or an innovative script or striking editing, yet the first half ticks every box as a great, enjoyable watch. It’s funny without being obvious, observant without being self-conscious, clever without being pretentious. It’s a great all-round show that slides seamlessly from comedy to drama to melo and back again, maintaining exactly the right degree to remain balanced and credible.
Then after half time, the team comes back and who knows what happened in the locker rooms in those fifteen minutes? Because things start to go pear shaped during the obligatory away-from-home scenes in episodes 9 & 10 after which they pretty well fall apart in episode 11 and continue on kicking own goals from there.
The plot really got pushed way beyond its limits. It went hunting for bottomless pits to fall into and whenever it couldn’t find one wheeled in an excavator and dug it out until, by the end, the pitch looked like a opal mine site at Coober Pedy. The overblown comedy and melo burrowed deeper and deeper until the whole thing pretty much collapsed into a sink hole.
The team managed to scramble up to the surface again for the last twenty minutes, but by that time, it really was all over.
There was absolutely no real need to keep upping the ante, there was already plenty to work with in the relationships laid down at the start. But everyone was literally dragged through the operating room for emergency surgery that singularly failed to revive a show gasping for air.
Having said that, in amongst all the manufactured chaos were some nice performances.
Although Uhm Jung Hwa gives a convincing performance as the unconfident and self-doubting Dr Cha, I feel she was somewhat overshadowed by Kim Byung Chul as her scheming husband, who has fantastic comic timing and plays in to all the “total bastard husband” expectations that you may have. Another actor who stood out for me was Song Ji Ho who beautifully captured the conflicted son.
What my rating means: 7+ A watchable drama, but nothing exceptional. Good enough to qualify for the race, but finished with the pack. The sort of thing that promises more than it delivers.
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