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Utterly fascinating
Against the Current
I was utterly fascinated by this series. It is concerned much less than is often the case with public politics and bitter wranglings for favour, though this aspect is present to some extent. Overall, it is a story, or succession of interlocking stories, conveying the inner lives of many women in a single family over several generations. This is often figured through the images of the interior of the main house: lives, lived inside, reflecting inner experience.
Though set in some undefined past, all the women’s experiences resonate strongly with issues today. Though we are certainly in a better place now, we have to admit that even the world’s more ‘developed’ economies are not immune to the sorrows, challenges, injustices, setbacks, as well as the joys and triumphs, that are so clearly set out in the various women’s stories here.
The main interest is of course the love relationship, intriguingly implemented by a clever wife with her initially charming yet arrogant husband, which is beautifully interpreted by the two lead actors. Congratulations to both, but perhaps more especially to Liu Xue Yi for admirably embodying the varying changes his character requires of him over the 47 episodes. For me, he is an actor who never disappoints.
This is a long series to engage with, but I never felt the time dragged. On the contrary, I was thoroughly invested in all the developments, and individual motivations of each character.
The character of the wife with her sharp wits and everlasting compassion, a saviour to so many people, is remarkably embodied by Tan Song Yun, whose work I was not familiar with.
The photography is also very carefully composed, whether the group compositions which had a very painterly feel, or the very dramatic action scenes. All supporting characters are perfectly cast. Costumes and sets are a real visual feast. This is a series which will stay with me for a long time.
I was utterly fascinated by this series. It is concerned much less than is often the case with public politics and bitter wranglings for favour, though this aspect is present to some extent. Overall, it is a story, or succession of interlocking stories, conveying the inner lives of many women in a single family over several generations. This is often figured through the images of the interior of the main house: lives, lived inside, reflecting inner experience.
Though set in some undefined past, all the women’s experiences resonate strongly with issues today. Though we are certainly in a better place now, we have to admit that even the world’s more ‘developed’ economies are not immune to the sorrows, challenges, injustices, setbacks, as well as the joys and triumphs, that are so clearly set out in the various women’s stories here.
The main interest is of course the love relationship, intriguingly implemented by a clever wife with her initially charming yet arrogant husband, which is beautifully interpreted by the two lead actors. Congratulations to both, but perhaps more especially to Liu Xue Yi for admirably embodying the varying changes his character requires of him over the 47 episodes. For me, he is an actor who never disappoints.
This is a long series to engage with, but I never felt the time dragged. On the contrary, I was thoroughly invested in all the developments, and individual motivations of each character.
The character of the wife with her sharp wits and everlasting compassion, a saviour to so many people, is remarkably embodied by Tan Song Yun, whose work I was not familiar with.
The photography is also very carefully composed, whether the group compositions which had a very painterly feel, or the very dramatic action scenes. All supporting characters are perfectly cast. Costumes and sets are a real visual feast. This is a series which will stay with me for a long time.
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