Genius is 1 percent inspiration and 99 percent perspiration.
At twenty-three, Lin Zhaoxi lives a life of quiet desperation. She grows up in the shadow of two natural math geniuses - her father Lin Zhaosheng and his mentee and love of her life, Pei Zhi. Despite her passion, her aptitude for math is not intuitive and falls short of true genius. Discouraged, she majors in philosophy and is resigned to a mundane existence. She also loses touch with Pei Zhi after he leaves to further his studies in Germany. Her world unravels further when she discovers her father Old Lin has early onset Alzheimer's. Then out of the blue, she is whisked away to cheese world, a parallel world with a childhood classmate Ji Jiang. In order to return to their world or strawberry world, they must win Math Olympics. This was a challenge she failed as a child. It was arguably the great inflection point that put her on a less satisfactory life path, one that is lacking passion.Don't be put off by the math aspects of this drama; the writer does a good job making abstruse concepts and theorems quite approachable and avoids getting bogged down into the weeds. The storytelling indulges in almost ten episodes of sheer childhood delight as the young Lin Zhaoxi, Ji Jiang and Pei Zhi try out for Math Olympics. The child actors led by Wang Shengdi, Fu Bohan and Lin Zeyi blew me away with their natural and uninhibited articulation of joie de vivre that conquers all. The young cast steals the show with their empowering message that genius is 1 percent inspiration and 99 percent perspiration. The Harry Potter allusions were brilliant - it just cracked me up that no one wanted to be Harry! It also pays proper homage to Snape, one of the most complex, fascinating and moving fictional characters ever written. This is indisputably the strongest, best arc of the drama.
The middling arc is a struggle by comparison as both Zhang Xincheng and Zhang Zifeng take time to get in character and are not that convincing as lovers. It is not a bad arc at all, in fact the father daughter dynamics are very enjoyable and touching. It is just that the first arc is just too good. Initially, Zhang Zifeng seems mis-cast because unlike Ji Jiang and Pei Zhi, I could barely see any vestiges of the child that was Lin Zhaoxi. But upon reflection, it is intended that all of that youthful optimism and sense of invincibility is extinguished. The actress really redeems herself in the latter episodes, especially in her chilling encounter with her doppelganger. Oddly it is Zhang Xincheng's performance that doesn't hit all the right notes in this. I think he is much less comfortable taking on grey or flawed roles. I didn't like Pei Zhi for most of the drama and only empathised with him after his heart to heart with his father Pei Donglai in cheese world. Both the young and grown Ji Jiang is far more charismatic and is seamless portrayed by both actors. As always the veteran actors Lei Jiayin, Wang Xiao (Zhang Shuping) and Geng Le (Pei Donglai) are the ones that save the day by extracting the best performances from the younger actors. In this one, even they are outclassed by the amazing kids. Ni Ni's brief stint as an omnipresent and unforgettable character is both delightful and heartbreaking. The drama picks up pace and comes together in the final act. It finishes strongly with a few good mind blowing twists and reveals to end in a good way. Some may not like how it was all wrapped up but I did and I explain why in a spoiler in the comment section of this review.
The Heart of Genius is a well-crafted and intriguing story about life, love and friendship that is comical, inspiring and heartbreaking. Everyone makes mistakes and has regrets; Lin Zhaoxi didn't try hard enough, Pei Zhi lost his father too soon; Lin Zhaosheng didn't fight to clear his name; Zhang Shuping did the wrong thing... This drama tantalises with the impossible fantasy of re-writing history, to have a chance at a do-over of the big what-if moments in life. It proves that even though assholes are still assholes in each world, the grass is not necessarily greener in cheese world; that there are always consequences and trade-offs that are of unknown, unknowable value. Thus we must be consoled by the wisdom that life is not a fairy tale and who we are and who we love are the sum total of our shared experiences good and bad. To live in the moment and to accept what we can't change. It is a very engaging and thought provoking drama that does not seem to get the appreciation it deserves. It is one of the most enjoyable dramas I watched recently and am happy to rate this an 8.5 overall.
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The drama is based on a manga that I haven’t read so I can’t compare but from the overview, I am sure this story can make a fine anime if that’s ever planned. I always said that Japanese tend to pick interesting and different plots for their dramas; this is definitely one of those intriguing topics that invade Japanese seasons each year. The plot may seem a little heavy due to some episodic procedures but it’s smartly written to overtake certain sensitivity against the episodic pattern.
S - Saigo no Keikan (aka S - The Last Policeman) is about Special Forces in the Japanese police organization and their way of handling terrorist attacks or situations. The main focus of the drama is NPS, a new special force that gathers the qualities of two older Special Forces SAT and SIT. NPS’s purpose is to secure criminals without killing them, that’s the main belief of the force, its members and our main lead. The operations’ build-up feels quite real although the final outcome can be fairly dramatized for the sake of emotions.
Despite being a straightforward action drama with lots of gun shooting and explosions, the drama’s main focus was the ethics and the feelings behind each case. It’s indisputably not brainless action for the sake of entertainment, it’s also not action games for the sake of thrills, military techniques or the suspense; it’s action for the sake of human emotions and relationships. It was an interesting take of the police, its higher-ups and the power struggle between Special Forces.
Acting wise, this drama’s producers knew how to choose their leads, supporting roles and even guest stars. Mukai Osamu and Ayano Go had a good chemistry as opposites in the same line of work. Although Ichigo’s character would sound a little cheesy with his over-concentration on not killing any criminal but he managed to keep the character interesting until the very last end. However, Ayano’s Soga was more penetrating with a cold character and a detailed back story. Another interesting character must be Odagiri Joe’s Masaki Keigo, the actor does crazy roles so well; I am glad I will be seeing lots of him this year. If we talk about acting then we shouldn’t forget the veteran Omori Nao and other cast members that delivered so well no matter how small the role was.
The action department was quite intriguing at times, even though shooting and bombs’ explosions weren’t present each episode but the Special Forces techniques and operations’ codes were believably made. The OST and cinematography were also pretty fitting for the drama.
Watch if:
-You’re looking for a good Japanese action drama.
-You like dramas that focus on special themes.
-You’re looking for a good casting line-up.
Do not watch if:
-You can’t stand the episodic pattern.
-You dislike the Japanese way of making action dramas.
-You’re looking for romance.
S - Saigo no Keikan is an entertaining drama with lots of action to keep you entertained mixed with dramatic moments to stimulate emotions. I will be impatiently waiting for the film!
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1A cacophony of crows.
The Story of Minglan is a leisurely and meandering account of how with patience and cunning, Sheng Minglan, the low born daughter of a concubine triumphs over many challenges to achieve both personal and social success. Minglan's father is a middling court official who over indulges his favorite concubine and allows her to turn his household upside down. The petty tyranny of harem rivalry leads to tragedy and Minglan ends up being raised under her grandmother's wing. Minglan's great misfortune has a giant silver lining because this formidable old lady is a force to be reckoned with. She sees to it that Minglan is well schooled and helps her navigate the many pitfalls of harem politics. Minglan blossoms into a quietly underestimated young lady who catches the eye of the most eligible bachelors despite her low status.This drama digs deep into what lurks beneath the genteel façade of Confucian propriety among the status conscious Song dynasty nobility. The deceptively sedate, mundane, humdrum of women living lives of quiet desperation, occasionally broken by shrill outbursts that crescendo horrifyingly in a cacophony of crows. My eardrums barely survived the assault of this panoply of nasty, caterwauling women. The early arcs on Minglan's childhood and coming of age are the best, most empowering ones. The drama climaxes at her vengeance arc, where I found her quiet scheming and utter ruthlessness chilling and impressive. After that the domestic bliss arcs drag on far too long with the couple dealing with repetitive villains with all too similar modus operandi. We really did not need to see version 2.0, 3.0 etc of essentially the same not very smart wicked women archetypes that are too handily dealt with by our power couple.
Zhao Liying delivers a credible portrayal of a docile, Song dynasty noblewoman with hidden depths. The way she digs into you with her eyes, the fleeting cunning smirk and brief flash of fury in her placid gaze foreshadows her evolution into a full-on temper tantrum throwing wife! That said, Zhao Liying is still best at fierce roles rather than as a docile still waters run deep kind of character. Zhao Liying and Feng Shaofeng paint the perfect picture of domestic bliss.Their chemistry is that of a long married couple in harmony and less of the sizzling kind that flared up between her and Lin Gengxin in Princess Agents. It is rare to see Zhu Yilong in a costume drama and I felt real sorry for his Qi Heng who unlike both Gu Tengye and Sheng Minglan, has no free will as he is unable to free himself from the social strictures of his time. The cast overall is very strong with many veteran actors that deliver comical parodies of the ridiculous pretensions of the Song aristocracy.
I am afraid I did not enjoy this very well made drama as much as many other people did. The 70+ episode narrative goes on for too long, conveying an unnecessarily realistic impression of how suffocating it was to be a Song dynasty woman. Considering Gu Tingye's incredibly modern attitudes with respect to polygamy and empowering his wife, I am convinced it was impossible to be a Sheng Minglan in those times. Some of the early arcs are worth 8.5 but the story climaxes too early and is bogged down by repetitive plots in the latter half. This weighs my overall rating down to 8.0. This is a drama that patient viewers with robust eardrums will enjoy more.
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loved everything about it except ending
In the last few episodes, they showed all happy moments then I understood something bad is going to happen in the ending, as expected I didn't like the last two episodes. The last two episodes ruined my overall experience of watching this show, felt like 15hrs that invested in this show went waste. I was too involved in drama throughout, maybe that's why I feel this much disappointment. I absolutely loved all characters, that's why the last two episodes were like hell for me. goshhh i wish I could change that part of the story.anyways for talking about positives, ML is super cute, the characters that you may dislike in the beginning will make you fall in love with them eventually. people who just watch for entertainment and don't get much involved in the story can enjoy this show as one time watch.
I know no writer or director is going to consider my review but still wanna mention that 90% of the audience like happy endings. for god's sake don't play with audience emotions towards the end of the show. many awesome fantasy dramas keep us involved in the story but breaks our heart towards the end, I know for writers its creative work, and they have their own imagination and understanding of the story and what they want to deliver to the audience but we would appreciate if they keep in mind that we watch dramas/shows for entertainment, so please don't spoil endings for us, just let us leave with a smile of our face after finishing watching it. don't ruin our overall experience with overdramatic endings.
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1The thundercloud that growled but only drizzled...
A promising beginning which concluded with a lackluster ending.When this drama started, the first four episodes were super intense and exciting. But as it proceeded towards the second half of the drama, it lost the angsty essence and circled around a vague story that was only full of misunderstandings, miscommunications and ego problems. Personally, Jeonghan's character seemed very interesting to me but not Iljo. And shout out to Iljo's best friend Suho, who never expected anything in return but stayed by his side when Iljo was nothing.
Some characters spiked my blood pressure, some only made me roll my eyes, so overall it's a decent drama that you can binge on as a one-time watch, but it won't leave any long-lasting impression on your brain (only the important scenes like— well iykyk 🤭)
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The sparks and the spices
This dating reality show is so enjoyable. There are sparks but at the same time spices as well. The whole concept of the dating show is interesting especially the phone call to express the feeling part. The phone calls kept me at edge. Like I could never predict who each of the contestant would call. It was interesting and at the same time agonizing especially the phone calls involving the love triangles.WARNING: Major spoilers ahead!!
Honestly Junseong and Sungho are the best part of the show for me. I rooted for them since the very first phone call. "Roommate, hi" was what got me into the show and I fell deeper and deeper episode by episode. I couldn't help but cheer for Junseong. He was so sure about who he wanted and the way he expressed his feelings in the most sincere way whenever he got the chance to, every second of it was absolutely worth witnessing. On the other hand Sungho was sure about his feelings towards Seonwoo until he wasn't. He wavered ever since the first call from JS. From "friendship 100% love zero" to "Beside Junseong, others are like friends or colleagues to me", he came a long way. And damn their dates were an absolute delight to see especially the one after call match. The sparks were flying everywhere. They really stole the whole show for me,
Moving on to Seonwoo, I won't lie at first it really felt like he was leading everyone on and I wasn't quite a fan of it but as I watched more of him, he grew on me. And the love triangle of Hyun Joon, Minsung and Hyun Jin, it was a bit of a mess. For most of the part except Hyun Joon, the other two seemed confused. They were certain one moment and the next moment they were not. It was honestly agonizing to see but I do get it that none of them were actually at fault. However, I liked Min Sung and Hyun Joon together. Their date was cute. But it's commendable how Hyun Joon stood up for himself. Also, Yunghee damn he was so consistent and his efforts towards SW melted me. And Jeongwook this guy deserves nothing but happiness. He is such a softball mahn. I wish each one of them a happy life. I hope they live it to their best and also find the one they love and who loves them back too.
Overall an enjoyable show that kept me awake one whole night and even after I caught up to the recent episodes I could not stop myself from binge watching it. Highly recommended!!
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1This is a fabulous show with a lot of depth - one of the best out there
DO NOT BELIEVE THE NEGATIVE REVIEWS. This is one of the best historica dramas out there. The only thing I agree with: the poster is misleading but only a little, because at the heart, it's a socio-political drama. This shows highlights:The foundation of trust and friendship is what matters most;
that agency of women has been hard fought and we are still fighting;
people in power will do anything to keep their power unchecked;
social injustice unhinges people; revenge is never pretty and is a vicious cycle, and one day someone has to sacrifice something to break it.
learning to be humble and thankful for things we often take for granted (freedom to make choices, having enough to eat, having a roof over the head, trusting people around you when anyone could kill you anytime);
And it's about making the right choice. This drama also features one the most FEMINIST heroes that I have seen in a very very long time. It's unbeleivable how beautifully that arc has been shown. His belief in his woman's capabilities is limitless and is a pure delight to watch. He is never the knight in the shinning armor, and only steps in if his woman is facing trouble because of others' prejudices. As Jay Yi beautifully says in one instance "he is a man who breaks down high walls for a woman who is stuck behind it'.
It IS a romance but not the regular kind we see today. It's more a vehicle that moves the narrative forward. Yi Hwan (the Crown Prince) falls in love with a woman he has no chance with - she technically belongs to his best friend (whether she wants it or not, she is just an object in the eyes of the soiety she lives in), while the best friend has this unhealthy attachment to a woman he has never met as an adult, making life truly difficult for the Prince; plus she does not fit any criteria to become his Crown Princess even if she were to be absolved of the murders (The Crown Princes were governed by strict rules of marriage, he had no choice in who he could marry as it was always a politica decision taken by the royal parents; the Kings however were not bound by any of it, they could choose their own Queens if they wanted). Min Jay Yi, duty bound to marry the man her family chose for her, marriage being a contract between families with no place for choice/love, is now an accused murderer on the run and, not only she loses everything - her family, her home, her reputation, her identity, but she also ends up falling in love with the most unatainable man she could imagine.
Hence, they have no chance with each other. But when does heart ever listen to reason? Yes, they never touch each other and totally adhere to the Josean principles of physical space between a man and a woman at all times. But their relationship is so wholesome, beautiful and pure that it harks back to the times when romance was all about yearning and longing. Don't miss their interactions, they confess to each other throughout without saying the actual words and it's beautiful to behold. And their interactions are hilarious at times. He is stuffy, morally upright, naive and insanely competitive. She is fiesty, unconventional, motor mouth but keeps her innermost feelings bottled up because that's how she has been raised. He falls for Jay Yi for the world she shows him outside of his very lonely existence (she is fearless and she drinks haha!), someone he can trust, rely on, beleive in, and laugh with, while she falls for his progressive thoughts, and benevolence. Both are brilliant people and never fail to complement each other for that. Or take each other down a peg when the situation demands.
All of these are packaged into a constantly moving narrative, packed with super funny moments and sparkling chemistry between Park Hyung Sik and Jeon So Nee. The side characters are to die for - Myung Jin and Ga Ram (Lee Tae Sun and Pyo Ye-Jin) are fabulous and the four make an investigative team (Shield team) that eventually resolve the mystery, with each of them bringing something to the table. These four could easily have a spin off show. Jeong Da-Eun as princess is super adorable and a very interesting character. The main villain is one dimensional but at the end, that makes his end supremely satisfying to watch. But it's the backstory that keeps you hooked.
The cast is steller, but Park Hyung Sik is ethereal as the Crown Prince. Not only he is blindingly good looking, but boy, can this man act. He brings Yi Hwan to life, and he does it with just his voice and his eyes. You cry with him, you laugh with him, you feel his heartache, you feel his jealousy, you feel his helplessness and rage at the injustices he is trying to fight . This is an award winning performance and hope he gets recognized for it. Jeon So Nee is a perfect foil to him. She starts ordinary and then grows on you. The fact that she is drop dead gorgeous is a bonus (take her out of the Eunuch uniform, put her hair down, put her in a plain unfashionable white gown and she takes your breath away). She goes through various stages of her performance with aplomb, and absolutely aces it in the emotional scenes (her confession will give you goosbumps and stay with you for a long time). She is an actress to watch out for.
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The acting is excellent. Unexpectedly the chemistry between Kam Woo Sung as Dong Ha and Choi Soo Young as Bom Yi is palpable. The age difference between them in the drama is 18 years and in real life is 20 years. I think some people might have a problem with it. However, Bom Yi is the kind of person in whom everyone would fall in love. Bom Yi's personality is well written and portrayed. Choi Soo Young is beautiful and seamlessly kept balance between optimism and depression I have totally fallen for Kam Woo Sung. His portrayal of loving strength is perfect. I would definitely want to be in a relationship with that kind of person. I am now going to find time to watch every thing he has done. The other actors are good too, but I came to not care much about anyone other than the main leads and the children,
The music is beautiful.
I won't rewatch this, but I can see someone might want to rewatch it.
I highly recommend this drama.
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Terrible writing. I finished this jeon jong seo
The writing is painful. I'm having to force myself to finish these last couple of episodes. It makes sense one of the writers has never written on a project before. I thought maybe the writing would get better, but then came episode 11 which was so damn bad. Add in the flat acting with it and just takes it all new level of bad. I can't believe they skipped a year and blew past that the son in law killed his wife. Wheres the families reaction to the news it was the son in law? What happened to the reporter? Then they made the secretary the new chairman of the entire company lmao. Did you want to see a-jung get her big break in acting? too bad they did it during the time skip smh. They let do Hans stalker ex off scott free with no punishment for outing do-han to his brother ji-han. What in the heck was that ending?????Why was the acting so bad? especially from the male lead. if I hadn't seen him in duty after school, I would swear this was his first gig. He barely had any emotion in the biggest scenes. his character was awkward and not in a good way, and the acting was flat. He almost has the same one expression in every scene.
Zero romantic chemistry between the main couple. Zero 0 none at all. at least they had a little chemistry when they were enemies, but after that, it was more like they were brother and sister. The one day get-away vacation was the least romantic getaway I've ever seen in a romantic kdrama. They literally did work in a field. In a way, it could have been cute, but they actually made it look so weird. he gets a small cut and then complains about for the rest of they day lmao. If there's one thing I can't tolerate, it's a weak kiss, and man, this one was WEAK. You only get one, maybe 2, in most kdramas(which has started to change recently. kdramas for some weird reason are getting a lot spicier know and it needs to stop) Make that one kiss count. Throw in some passion.
This show actually starts out interesting but then goes straight downhill. The fake marriage setup isn't even that interesting, and without the flashbacks of her with do-han, I can't even really tell their really friends. We barely got any interesting wedding planning scenes, and the wedding dress try-on was boring as heck. Did the writers have a bet on who could write the most boring scenes? We get no background info on the ex. why did they break up? why is he so mad? Do-han not telling a-jung about him, why? he dyes his hair for no reason, and we get no explanation.
The cafe worker Song sang eun has more chemistry with ji Hans assistant min jin woong than the main couple. they have a cute little romance going on. Their scenes were funny and adorable. The jealous family members hong in and kim ye won were pretty good too, those two together are hilarious. loved watching their scenes. Park ha in is very good in this, she plays her character the best out of everyone. Chae won just takes everything on the chin. I usually hate when the second female lead is a bad person, but in this, I would have loved it.
Jeon jong seo is an incredibly talented actress and so beautiful. idk who chose this script, but man, it was a mistake. The only solace for me is that enough people seem to like it to give it a high rating, so this project doesn't tarnish what's been a great run of projects so far. I've seen other people online agree with me, so I know there are those who will be hesitant to watch her next project, but it looks like it will be an incredibly serious project. So we should be getting a front row seat to the jeon jong seo I've seen in past projects.
I know she probably took this role so people would see her in a happier and fun light, but at what cost. I know she mentioned people seem scared of her due to her past projects, and she wanted to change their minds. She has to ask herself if she cares more about how people perceive her or about choosing projects that utilize her talent.
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a thriller/horror turned into an examination of how awful people can be
Overall: I struggled with how to rate this as there were parts that really worked for me and others that didn't. I was also disappointed but not surprised when some viewers victim blamed the character Non. 12 episodes about 45 minutes each. Aired on iQIYI. Production company is Be On Cloud which also produced KinnPorsche.Content Warnings: murders/death, blood/gore, decapitation, animal death, vomiting, bullying, manipulation, coercion, mental health struggles, suicides, attempted suicide, parental abuse, beaten up, grooming, teacher/student, non con sex, non con recording/sharing, cyberbullying, drugging
Thoughts on Victim Blaming Non
- consent is multifaceted, one part is non-coerced and Non was definitely coerced, he was groomed by someone he had respected and felt he owed that person, Non did not deserve the terrible things that happened to him
- for people who said "why didn't he just switch schools", we don't know the cost/transportation difficulty with doing that, also I think Non was an abuse cycle with the friend group, Jin was the little bit of sweetness that made Non hope for things to get better and then when they were terrible it was difficult to break free, viewers also forgot that Non had been lied to/manipulated and believed the first thing was his fault and that he was mainly responsible for all of the awfulness happening to him (update in episode 11 around 7 minutes Non says "if you didn't see me as a friend I could have moved to another school" which confirms for me that Non would have left if all of them had been terrible all the time but Non had glimpses of kindness an that kept him at his current school)
Watch Notes
- if you like horror/thriller (and don't want to see a ton of bullying/people being awful), watch episodes 1-4, then watch the beginning recaps of episodes 5, 6, 7, 8 and 9 which are all flashback, watch episode 10 thru the end
- if you like sweetness, watch the first 5 minutes of episode 7 and watch episode 11 33-41:25
- if you like spiciness, watch the scene at 26 minutes of episode 9
What I Liked
- mystery aspect
- the NSFW/intimate scenes in the first episode and episode 9 were well done
- character actions sometimes felt realistic
- that they talk about not splitting up like in a horror movie
- sweet moments beginning of episode 7
- fleshing some characters' backstories out
- flawed characters
Room For Improvement
- slowly paced for being a thriller, flashback episodes 5-9 provided important context but they also interrupted the thrilling part of the series, they could have condensed them or interspersed with the thriller part in the present
- there were 9 main characters and it took me quite some time to figure out who they all were and their relationships to one another
- Jin got off the hook way too easy for something absolutely terrible that he did, it felt unrealistic and was disappointing
- episode 10 was an exposition dump/reveal with some scenes (wandering around the woods) that dragged
- one character did not deserve what he got (wish there had been some kind of twist with this character)
- ending felt rushed and too much fantasy (no way would hallucinations have been exactly like that), wanted more/different twists and then the 31 minutes onward didn't work for me
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Takashi Miike is one of my favorite directors. Being the lord of gore is one of the main reason why I like him and Ichi the Killer is absolutely the epitome symphony of violence Miike ever made. I am into bloody productions: mutilation, torturing, splatter-gore, cutting body parts to pieces, heads rolling and everything that belongs to the category; you can call me eccentric or a psycho but those are my personal references and a part of my real life job. However, the reason why I liked Ichi the Killer and many of Miike’s films is not the gore for the sake of gore, it’s true that I like that element but it’s not enough to make me like a film, there has to be a message and a meaning behind it all.
Ichi the Killer has a dark graphic storyline; it tells the story of Ichi, a psycho killer who split people to halves and sometimes to little pieces through razors in his shoes and Kagihara, the masochist who’s looking for the killer of his gang’s leader who happens to be Ichi. That’s the general plot but there’s much more behind the events and the characters’ development, the hidden meanings and the final reveal of the characters’ relationships was pretty amazing and let’s not forget the mind-boggling ending that keeps your imagination wild. None of this would have been done without the fantastic performances of the charismatic brilliant actor Asano Tadanobu and Omori Nao, who had to play a childish character at one second and a sadist killer at the next moment.
Now let’s talk about violence, the main lead in this film; it was creative and pretty well-made sadist type of violence. People call Miike a “cult” or a “sadist” director and he probably is, the way he shot the explicit gore scenes was truly brilliant with all of those cutting and blood’s splashing everywhere. It makes this film one of the kind if we consider how far he went with bloody scenes, I haven’t seen that anywhere before. What also makes the violence special is that it was entertaining, I found myself laughing at few scenes and no, it’s not because of my sick personality; there were some amazing dark humor moments inserted in this film because Miike can mix gore and comedy so well (think Dead or Alive trilogy).
Watch if:
-You like gory films with a meaningful storyline.
-You like Takashi Miike’s way of making films because this is probably his best work.
-You like bizarre Japanese productions.
Do not watch if:
-This is absolutely NOT for the faint of heart.
-You dislike anything that has to do with gore or you can only handle a little amount of it.
-You dislike over-the-top violence.
-You’re easily disturbed or grossed.
Ichi the Killer is the highest level of cinematically shot violence. It’s without doubt not for everyone, it can be a hit or a miss, some would find it a masterpiece and others would run away from the first few scenes. It’s bloody as hell and I completely loved it.
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"She'll thrive, and through her a family will endure."
In her 2007 novel “The Sweet Far Thing”, Libba Bray has says, “There is an ancient tribal proverb I once heard in India. It says that before we can see properly we must first shed our tears to clear the way.” Indeed, our past is what holds us back from things that we wish to accomplish, but what matters is how we learn, acknowledge and grow as better human beings from it. We are healed of a suffering only by experiencing it to the entire. There is no beauty in sadness, no honour in suffering, no growth in fear and no relief in hate; it’s just a waste of perfectly good happiness. “Pachinko” depicts all that through the saga of a family over generations."Pachinko (パチンコ)" is a Japanese gambling device resembling a pinball machine but with automatic payoff as in a gambling slot machine (merriam-webster). Pachinko parlors are widespread in Japan, and, mostly owned by Korean immigrants, and usually also feature a number of slot machines so these premises resemble and operate similarly to western casinos. Modern pachinko machines have both mechanical & digital components. As stated by the writer, Pachinko, in the show, is depicted as a metaphor to life, when it's very unfair to go ahead, but you still continue to play, because you can't turn back or give up either. Pachinko is a game of chance and survival, both figuratively and literally.
Created by Soo Hugh and co-directed by Justin Chon & Kogonada, "Pachinko (2022) is an American show from Apple TV+, adapted from the original book of the same title authored by prominent Korean-American writer Lee Min Jin, released in 2017. Co-produced by 3 companies: Media Res, A Han.Bok Dream and Blue Marble Pictures, it's a 4 year long project, that started with Apple Inc. acquiring the bid for the series in 2018. The production took 7 months for casting and all of the cast were in fact auditioned and chosen, as informe by the team. The filimng started in October 2020, and was done in different phases, at different locations, and in fact different countries (South Korea, Japan, USA and Canada), that ended in April 2021. Reportedly, the showrunner Hugh has the objective of creating 4 seasons in total, which gives us the idea that the show we just finished is apparently one-fourth of the original novel.
"Pachinko (2022)" follows the mettlesome multigenerational chronicle of a single family, in parallel, who are immigrants of Japanese invasion & colonization in Korea. Their pursuit for survival and happiness, with hopes & dreams have led them to prosper and thrive over decades though their foregone days of sufferings and scars from the past remain fresh in their hearts. The show presents stories from different timelines from 1910 to 1989.
Kim Sun Ja (later Baek Sun Ja/Bando Nobuko) is played by 3 actors: Jeon Yu-na (childhood), Kim Min Ha (teeange), Youn Yuh Jung (Old), whom the author keeps at the centre of everything that takes place throughout. Steven Noh plays Pastor Baek Yi Sak (Sun Ja's husband) while Soji Arai (Korean name: Park So Hee) is in the role of Baek Mo Se/Bando Mozasu (Sun Ja's son) and Jung In Ji takes part as Yang Jin (Sunja’s mother). Ko Han Su (Lee Min Ho) is a cold-hearted fishmonger with a dark past and plays an important fuelling factor that impacts Sunja’s life. Baek Yo Seb (Han Joon Woo) and Choi/Baek Kyung Hee (Jung Eun Chae) are brother & sister-in law of Sunja, respectively. Baek Solomon (adult: Jin Ha and young: Yoon Kyung Ho) is Sunja’s grandson from Mozasu, who is an efficient employee in a top corporate bank in New York. Etsuko (Kaho Minami) is Mozasu’s girlfriend whereas Naomi (Anna Sawai) is Solomon’s collegue.
The opening was the highlight of the TV series and definitely a favourite. While looking at the opening credits, it’s unclear whether this is a Korean, Japanese or Western drama; the main cast members gathered in a scintillating & evocatively coloured pachinko parlour as if it were a paradise, dancing to "Let's Live for Today" by The Grass Roots. This is the only time the actors from different timelines intersect, which was mainly due to Hugh’s love for opening credits.
“A child is coming. This one will thrive, I assure you. And through her, a family will endure.” : describing the birth of Sunja, the central character, this line epitomizes the pneuma of Pachinko’s premiere. In contrast to the book, which is ordered chronologically from the 1930s to the late 1980s, the filmmakers of this series made a bold change. The nonlinear construction of time in the series jumps between past and present.
“Pachinko” tells us a spellbinding story of colonialism & subcultural nationalism, war & peace, love & loss, and victory & sorrow, exclusively from a meta-historical human perspective. The historical accuracy and the detailed representation of adversities experienced by the people of Korea, due to the brutal consequences of a ruler's greed, is of immense value and definitely deserve all the noble words that exist in the world. From making aware the contemporary generation about their history to generating nostalgia & cognizance in viewers by enabling them to look back and consider the affinities between realities of different times, Pachinko does all that, if not more.
Enumeration of Sunja’s journey particularly feels nostalgic yet melancholic as it serves as a reminder of the wartime and post-war stories of 1st generation Koreans and their descendants. The nuance of these memories, however, forces us to acknowledge what they’d, in truth, gone through in the course of history and how it affects the current Zainichi Korean generation. It also shows us how resilient and strong people can be despite what life throws at them. Though the cornerstone essence of the story remains the same, adapting it into live-action demanded some changes, and these changes are brought forward from the development of the series; you can clearly experience it if you have read the book already.
In "Pachinko," the representation of Solomon goes with the complicated colonial history his grandmother navigated first-hand and the reverberations of which he continues to grapple with as an adult. This also captures his links with the Korean heritage, and both challenges and intertwines with his Japanese upbringing. Indeed, Solomon is the 2nd most focused character in the drama, for the latest time period portrays the saga of him trying his best to become a corporate slave, while his links with the foregone history of his family’s sufferings hold him back and enables him to make decisions, unsuitable for his career and his ambitions.
“Pachinko” is magnificently and aesthetically recountable, particularly while illustrating 1910s Korea. Shots filled with dusty hanboks of the Koreans and pristine uniforms of the Japanese are entirely accurate to their time period. The show is filled with panoramic landscape shots of golden grain fields, dense yet bright forests, diaphanous water bodies and inky oceans. The opaque and uncanny fish market and dark-timbered boarding house are fascinating to extents. The combination of both pitch & pale hue, with varied compelling colour palettes, provides immense pleasure to the viewers and its enormous production values which has resulted in stupefying cinematic values, can be witnessed and heartfelt, from the very beginning of the show. The camera beautifully captures the vast sea separating two countries: Korea and Japan, and their highrises, with the movements remaining easy on the eye. The meticulous set designing, development of premise and eventually bringing them to life, have paid off.
The use of sound and language is also beguiling and bewitching. The use of the comoosed sounds and themes in “Pachinko” is perhaps the most heart-felt since they possess the power that enables the viewers to connect to different time periods, accurately. Various instrumentals composed bring about the souls of the essential contexts that the author and makers have attempted to project upon the audience. Sometimes it pulls the heartstrings to levels, but for most of its parts, the background scores are caliginous, shadows, weighty and substantial.
Reportedly, Hugh also took care of the character outlooks in an effort of using beauty im order to create a timeless period piece. The extensive studies with collection of photographs and clips of the contemporary time was a great help for illustrating appropriate hairstyle and makeup; starting from looks to attires, everything was developed with sincere attention which is obviously reflected in the show.
“Pachinko” offers us a reality check on the assumption that the age of globalization may make life easier. It shows how globalization can also push us further away from our roots and ancestors. This story is truly extraordinary and unique, and one that should not be watched as a typical migration story. In “Pachinko,” identity is not defined in terms of binary codes. Each story is different, and each individual is different in spite of their shared historical experience. This has enabled Hugh to go for a standalone episode, portraying the life of Hansu, through a terrifyingly real incident. Hugh’s research also led her to the Kantō earthquake, which hit the Tokyo-Yokahama area on September 1, 1923, with the magnitude of 7.9. The impact of the disaster was massive, with a death toll of aprox. 140,000. What stimulated as a consequence, was the spread of rumours about the Korean immigrants adding to the destruction and trying to overpower Japanese, turning them to scapegoats, which led to massacres, which was unforeseen and heart-wretching. According to several unanimous reports, an estimate of 6,000 Koreans were killed as a result. Nevertheless, Lee Min Ho gives the best of his career in this and honestly it's the first time I liked his acting, he has improved, indeed.
I think I have already thrown light upon the direction and related tasks throughout, in my piece, like sound editing, cinematography, setup design as well as composing, etc. The directors Justin Chon & Kogonada have done their job with great care and their efforts are visible. The rest members of the team should also be credited their due words of appreciation. Congratulations of creating a masterpiece.
Writing the show, for Hugh, hasn’t been just about bringing the epic of the Zainichi family onto the screen, exceedingly, she has attempted to a great deal to showcase their thorough experiences & emotions in accuracy and get the facts right. Her immense research and fact-checking has also enabled her to get her script reviewed by 20 or more historians, including those specializing in Japanese history, Korean history, and colonization. Its notable that their opinions and voices were unanimous and this has surely helped to elevate the quality.
Exceptionally, in the finale, the opening credit is performed by the Korean pop Pansori (traditional) band LEENALCHI, which recreates the same song by modifying the lyrics with Hangul.
My most favourite quote from the show is:
"Even if you're scared, let's be scared together. If we do that, won't we gain some strength?"
You must look forward to the ending of the finale episode, for it shows us the interviews from several Zainichi Korean Women, currently residing in Japan and their stories of suffering, tolerance, resilience and resistance. The 5 minutes long edited clip is enough to move your heart and make you cry.
Final Remarks... Pachinko is a brilliant tribute to the resilience & forbearance of survivors from an era of oppression on small lands, that was not often discussed, previously. It is a very complex part of history which ties in with one of the best shows to have been brought to life. The grandeur of Pachinko is, in many ways and on many levels, a reminder of how time can affect our lives. It sort of redefines the standard of a story that can move millions of hearts. Pachinko is the life-altering story that should have been brought to screen much earlier. Please go ahead :)
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A deeply romantic classic wuxia
This drama is actually very different from the original novel. The first fourteen episodes follow the novel, but then the rest diverge greatly and essentially becomes a very different story. There are significant changes to the character of Zhou Zishu, and there is a major show only plot-point that makes his dynamic with Wen Kexing completely different. The plot itself is also nothing like the one in the novel, and several side-characters were given bigger roles in the overall narrative and even different characterizations. Tian Ya Ke, the source material, is a fairly straight-forward story, while Word of Honor is more like those dramatic, old-timey classic wuxia stories.First off, kudos to the scriptwriter! The pacing is top-notch, not too fast nor too slow. Nearly every scene ties in to the overall narrative, not a single episode feels draggy or unnecessary. No fillers to be found here! And while non-mandarin speaking watchers may miss this, it is very clever how the script incorporates poetry into Wen Kexing's dialogues. Not only is it a very clever way to subtly showcase his flirting, it also adds a layer of depth to his character. Since he grew up in the Ghost Valley and did not have his parents to teach him, it implies that he taught himself literature and the fact that he always uses poetry to express himself shows how proud he is of it. The tiny details are also impressive, like the difference in Gu Xiang's character when we first meet her. She acts like an exaggerated version of a young girl, and slowly becomes more and more genuine as the story goes on. The director did confirm that this is because Gu Xiang hardly ever leaves the Ghost Valley, and so she was trying to copy how she thinks normal girls act. I really appreciate scriptwriting that incorporates characterizations into details like this, because it feels very natural. It also gives the show good rewatch value because after you watch all the episodes and see everything that happens, you suddenly notice the subtle details you missed when you watch the show again.
There are many, many details that allude to future events, and dialogues that seem almost flippant in the beginning end up steamrolling you once you realize its significance in later scenes. Wen Kexing's "as a wanderer in this world, all I need you" sounds like casual flirting at first, but then you see how much depth that sentence holds once you see how their story ends.
The fighting choreography is very good, and really embodies the "fighting" in the classic wuxia I grew up watching. It's not just fighting, but also a sort of dance that reflects the dynamics of the characters. Sparring is basically Zhou Zishu and Wen Kexing's love language, and you see the evolution of their relationship in their fights too. Their fighting scene in the pink forest, in the lake before Zhou Zishu takes his mask off and in the ending are very similar to each other, but with small changes that reflect the evolution of their relationship. The way the story uses tropes to show the romance between the two main leads is excellent. The sparring in the pink forest, for example, is a common romantic trope in classic wuxia, and so is the hairpin scene in the latter episodes. Another noteworthy detail is that in the first episode the romantic connotations of giving a person a hairpin is shown in the scene between Zhou Zishu and his shidi's lover.
I really want to express how happy I am with the casting choices, especially with Zhang Zhehan as Zhou Zishu. Most actors can show strong emotions convincingly enough, but with characters like Zhou Zishu it's important to cast actors that can nail scenes that require nuance and subtlety. It was wonderful watching him transform from cold and sarcastic to warm and playful, and it was all done so subtly I actually didn't realize how much he changed until I was watching a scene and realized that not only was he the one teasing Wen Kexing, he was also the one initiating skinship??? And there's this specific scene in episode 12 where they're drinking together outside and when Wen Kexing calls out to him, you can see how he frowns and mouths something briefly before responding. It was a small but significant detail, showing the gradual decline of Zhou Zishu's hearing. There are many more details like this scattered throughout the show, and I really appreciate this kind of subtle storytelling versus scripts that are too on the nose and obvious.
Gong Jun also played Wen Kexing very, very well. He really embodied Wen Kexing's many faces, and it was wonderful watching his character slowly unravel. And although it's not necessarily a requirement for me, I love how well they match the physical characteristics of their characters. Zhang Zhehan is very athletic and has a very good physique, which just makes him much more convincing (visually) as the powerful leader of an assassin organization. Zhou Ye was perfect as Gu Xiang, her acting in episode 35 was especially chilling.
Also, a more personal opinion, but I like how they stayed true to the novel and portrayed both Zhou Zishu and Wen Kexing just as "masculine" as they were in the novel. I strongly dislike it when danmei adaptations make a character too effeminate. Of course, if the character is portrayed that way in the novel, then I have no issues. The problem is when when adaptations take a canonically more "masculine" character and portray him too effeminately, even when it's not the case in the original novel. Luckily, that did not happen here. There is something refreshing about a danmei that does not limit the personality and characterization of its characters based solely on supposed bedroom dynamics, and Word of Honor's casting and overall portrayal really delivered on that front. They really stayed true to Priest's (the author) work in that aspect.
As much as I enjoyed this show and gush about the script, it does have its shortcomings. The usual issues in the continuity of themes and the pacing of the last five or so episodes. Regardless, for me, the things the show did right definitely outweighs its shortcomings. Those who are expecting a faithful adaptation of the novel may not be happy with the direction this show eventually took, but as a stand-alone it really holds its own. With the issue of censorship in danmei adaptations, I did not expect this show to be as deeply romantic as it turned out to be, and I am still in awe of how they managed to pull this off. They could have gone for the fanservice approach, where they just give us suggestive moments without any real payoff, and yet they chose to develop the relationship properly and give it a real sense of intimacy and depth.
And lastly, I love that the ending credits song is essentially a summary of their romance. It starts with Zhou Zishu talking about his melancholic life and wanting to roam the world as an aimless wanderer, then Wen Kexing responds by lamenting about his own struggles and how it's a shame that he didn't meet Zhou Zishu earlier, and that he wants to give up "the adventures on horseback for a quiet life". Zhou Zishu then responds by saying he agrees to spend the rest of his days with Wen Kexing and the song ends with both of them singing ''I will be with you forever" at the same time. So yeah, kudos to whoever wrote that song because it really fucked me up after the ending. This show is insane and I am thankful to everyone who worked on it.
I love this drama so much!
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