Mr. Sunshine (2018)

Name a more Oscar-worthy drama… I’ll wait

Upon a quick glance at the title and the promotional poster, you’re probably already thinking wow, this sure looks underwhelming! Well, dare I say that those were precisely my first thoughts – but now, I don’t even hesitate for one second when someone asks me whether this drama is any good, because my answer will always be the same, and that is: ‘exceptional’ doesn’t even begin to cut it.

Initially, I thought the premise was very lacklustre – set in the early 1900s, this mini-series focuses on Righteous Army activists fighting for Korea’s independence against foreign forces, but the more I watched, the more I began to realise how fascinating this was. Not only did it act as a device to help viewers establish the rationale behind each of the character’s motives, but it also contributed to the story’s development in more ways than I could have imagined. The idea of a premise is that it lays down the most basic foundation of a writer’s work, and just like a movie post or an illustrated cover of a book, it paints a simple image of what’s inside, but not much more. And here’s the thing, it’s incredibly unfortunate to still see so many K-drama writers (whether old or new to screenwriting) fall into this rut when it comes to bringing an idea to life. However, for Mr. Sunshine screenwriter Kim Eun-sook, this doesn’t ever appear to be a problem she faces.

Kim is one of the most accomplished and sought after screenwriters in the industry, and it’s a no-brainer as to why this is the case. In the last 10 years, she has written the script for some of the most commercially successful dramas: Secret Garden (2010), A Gentleman’s Dignity (2012), The Heirs (2013), Descendants of the Sun (2016), Goblin (2016), The King (2020), and this drama included. Yes, she may have incorporated overused clichés in a few of her written work (e.g. rich guy-poor girl, evil mother-in-law, etc), but at the same time, it’s evident she continues to develop narratives which are so unique and enthralling; a talent which is unsurpassed in the industry. Unlike many writers whose dramas flopped, each one of her projects has stood the test of time, and this drama is no exception.

But the success of Mr. Sunshine ought to be shared equally with director Lee Eung-bok, whose creative direction and vast use of cinematic techniques in this drama was just out of this world. Together, they raised viewers’ awareness of Korea’s history, and shed light on those deemed peripheral in society. Many with very little understanding or are quick to judge will say that everything portrayed is historically inaccurate or rubbish, but what these people fail to acknowledge is that these very cruel and tragic events did happen, and whether or not this drama perfectly encapsulated that 101% accuracy is irrelevant. Mr. Sunshine was a cleverly crafted masterpiece to simply put, and I have no doubt the producer called in a historian to ensure the historical and factual basis of the premise was presented in such a way that had more to do with the storyline and character development, rather than the accuracy value it would have added to the plot.

The storyline was wonderfully perplexing, with each dramatic turn adding all these unexpected twists. It was fuelled with long-awaited revenges, political debacles, and palace shambles, all atop a crumbling social class system and a country’s disastrous attempt at stopping the Japanese from invading. Unlikely friendships formed, loyalties tested, identities challenged, and moral compasses questioned, but till the very end, not one person flinched, nor did they flee their allegiance to join another simply for the sake of love or friendship. But what I really appreciated about Mr. Sunshine would be this: the delivery of a poignant love story without the need for any kissing scenes.

I’m not going to lie when I say that there’s got to be smooching involved to make the chemistry somewhat convincing, but even when there was none of that here, I wasn’t the slightest bit concerned or disappointed. Because when there was grief, I ugly cried; when there was suspense, I went numb; when characters embraced, my heart melted; when a character experienced pain, I too felt my heart being ripped out of my chest; whenever a villain or antagonist appeared, my insides burned with rage; when a character showed their quirks, I chuckled with amusement; and last but not least, when a scene was so profoundly sad, it did more than just move me beyond tears.

I also admired Kim’s screenwriting, because instead of cheapening the plot with unnecessary exchanges, I found myself immersed in eloquent poetry and an engaging dialogue that actually built towards something, whether it was revealing important information about a course of action or disclosing a certain character’s disposition. And every time a flashback or sentimental object re-appeared, I knew what purpose it served because the story behind it was so powerful that it became an etched memory (e.g. Lady Yun’s norigae (ornament), ragged shoe floating in the well, wooden music box, red paper windmill, etc). The stunning cinematography was also something to marvel at; not just acting as a visual aid, but in creating this immersive historical experience. With a beautifully composed soundtrack to match, I was well and truly enchanted. (Two songs in particular which struck a chord was Park Hyo-shin’s “The Day”, and Baek Ji-young’s “See You Again”; both of which evoked so much soul, emotion, and lyrical meaning).

But what this drama could really not have done without was the outstanding performance of its talented cast (whether lead or supporting). The main cast comprising of Lee Byung-hun, Kim Tae-ri, Yoo Yeon-seok, Kim Min-jung and Byung Yo-han all had a unique charisma and stage presence about them, and I’m so thankful that their talents did not go to waste when they auditioned for their respective roles as Eugene Choi, Go Ae-shin, Gu Dong-mae, Kudo Hina and Kim Hui-seong. To be able to see each individual connect with their characters by immersing themselves in the script was one thing, but then the ability to translate and deliver the right amount of expressive energy and a certain personality on-screen was another. Thus, it was really pleasing to see that actor was emotionally, mentally, and physically invested in whatever challenges their character faced.

To start off, Lee Byung-hun did a marvellous job acting as Eugene Choi. His natural charm and ability to bring so much depth and emotion to the screen was very enthralling, and I couldn’t help but be captivated every time his character spoke, laughed, or smiled. Eugene was a man of chivalry and didn’t hesitate to rise and display authority whenever he was placed in a position of conflict. He was clever, ballsy, and uncompromising, but at the same time, considerate, sincere, and likeable because he always spoke his mind. Lee’s action scenes in particular just exuded this wow factor you’ll rarely see from other male leads; attributed to all the stunt, weapons, and martial arts training he had done in the past to be better prepared for his Hollywood action roles. Combined with his knack for being able to also speak English and Japanese fluently in the drama – you couldn’t help but think, what can’t this man do?! If anything, Lee is a true embodiment of fine wine that gets better with age.

Likewise, Kim Tae-ri absolutely killed it as Go Ae-shin, and who would have thought Mr. Sunshine would be her first breakout role on the small screen! What really stood out to me about Kim’s character was that she was such a badass, fierce, smart, and tenacious noblewoman who wasn’t unlike every other female lead, and it was only through her ability as an actress that she was able to deliver a strong and empowering female protagonist that was more than just a pretty face. Ae-shin was quite literally living proof of Mulan under disguise in a black suit, and the fact that she risked her life, nobility and feminity by switching out of a traditional hanbok and into clothing that placed her in a man's world to protect her country, and her country’s people was worthy of admiration. Simultaneously, Kim did a stunning job at portraying Ae-shin as this graceful aristocratic lady whose posture, speech, and movements were refined, articulate and well-paced.

But if there’s one person who I really want to commend for his acting, it would be Yoo Yeon-seok. This man’s performance was just incredible, and even if his character were barbaric and callous, you have to really give him credit for emulating someone like Gu Dong-mae. Dong-mae was the kind of character that gave you chills just by the way he smirked, tinkered with his samurai swords, or held a gaze, and that’s the sort of talent you want to invest your time in watching. That said, his character wasn’t all that coldblooded and indifferent. Eventually, we see that he wants to be a part of a society where people don’t fear him, and whenever we caught a glimpse of his softer side, it was often met with sorrow and sympathy. Yoo genuinely did an excellent job at his portrayal of Dong-mae not only as the loyal and merciless leader of Musin Society, but also as someone who was authentic and selfishly selfless.

It is also worth noting that Mr. Sunshine upped the ante to showcase the strength and power of women in characters like Kudo Hina/Lee Yang-hwa (Kim Min-jung). Although her role was secondary to that of Go Ae-shin, I really admired how Kim’s character was this affluent, elegant, cultured, and classy modern-day lady who was very ruthless at times. Her role as an accomplished owner of Glory Hotel not only allowed her to indulge in elaborate kimonos, Edwardian fashionwear, and an array of Victorian-era hairstyles, but it also gave her the opportunity to shine through as a skilled linguist, fencer, trendsetter, and businesswoman. It’s quite rare to come across a second female lead this alluring, and a multifaceted character at that, so needless to say that I was impressed by how Kim always exuded the right amount of charisma with the perfect expressions to match in her portrayal of Kudo Hina.

And then there's Kim Hui-seong (Byun Yo-han), the charming third male lead who plays the second wealthiest man after the King of Joseon. From his use of self-deprecating humour to enliven sticky situations, playful teases, and softly-spoken lines, to the way he showed true, genuine concern for those around him, Hui-seong was nothing quite like the condescending and smooth-talking Casanova aristocrat I thought he’d be. Byun showed the audience that his character was more than just a womaniser; he was a gentle soul, risk-taker and a free-spirit who really wanted to contribute to society. It also goes without saying that he is a natural when it comes to conveying the expressions of someone who is genuinely in love. Hui-seong’s gaze always dazzled with adoration for his fiancée, and he never hesitated to wear a tender smile which carried with it this sweet sadness.

Final comments
I have never been more impressed by an AMAZING supporting cast, and although I may not know everyone’s names, it is without a doubt that their acting has left a lasting impression on all viewers such as myself. Kim Eui-sung especially, did an incredible job acting as Lee Wan-ik (the drama’s primary villain) and it only just occurred to me that he played the evil businessman in ‘Train to Busan’. Honestly, this guy’s expertise must be in villainous roles because his character in Mr. Sunshine was hardcore wicked with no redeeming qualities, and the fact that he could make you hate his character’s guts on a level you’ve never felt before is a true testament to one’s acting capabilities.

Not only did Mr. Sunshine record the 6th highest rating for any given episode in cable television (previously coming in 3rd place before the release of Hotel del Luna [2019], Crash Landing on You [2019-20] and the World of the Married [2020]), but it also netted an overall average rating of 12.955%, making it the second highest-rated K-drama of all times in cable television. What makes this latter figure far more significant than the first is because not only does it reflect the popularity of the series during its broadcast, but it also evidences strong audience engagement.

There is no doubt that Mr. Sunshine is probably my most favourite drama to date (along with Crash Landing on You and Signal), but if you ever just need to know why again, please don't hesitate to re-read this review.

Favourite quotes
Kudo Hina: “Three men who are worse than strangers are gathered in one room.”
Ae-shin: “Not goodbye but see you again.”
Lee Wan-ik: “I may be a mutt or a hound, but I’m the boss of all other dogs.”
Ae-shin: “You only have one bullet”, Eugene: As always, I just need to use it wisely.”
Kudo Hina: “Before you leave, act like a decent father for once in your life.”
Dong-mae: “We, unlike our parents, can shoot a gun or drive a sword through anyone.” Eugene: “I made a choice. We, unlike our parents, have the luxury of making choices.”
Ae-shin: “Gun. Glory. Sad Ending.”

Character summaries
Eugene Choi/Choi Yu-Jin (Lee Byung-hun) is the son of slave parents who flees Joseon at a young age and becomes a naturalised American citizen. Growing up, Eugene knew he was different from all the other kids – from his skin colour, long hair to his poor English speaking abilities – getting heavily bullied as a result. From the point he realises that he can no longer live as a Joseon man in a western world, his growth is exponential, and Eugene defies all odds to end up becoming a very admirable U.S. Marine Corps officer. Despite his accomplishments, he continues to be tormented by his past memories of being hunted down by slave hunters and keeps hold of Lady Yun’s norigae (a traditional Korean accessory that is hung from a woman’s hanbok skirt) as a reminder of his mother’s sacrifices. But make no mistake when I say each flashback of Eugene being thrown that norigae by his mother came with profound sadness; a true testament to the saying that “a mother's love for her child is like nothing else in the world. It knows no law, no pity. It dares all things and crushes down remorselessly all that stands in its path." But that is not the only object which served a purpose in the story – Eugene also kept with him a very peculiar wooden music box, which played a hauntingly enchanting yet sorrowful melody. What made this music box so special was its significance to Eugene; the melody evoked happiness, hope, and life in spite of the tragedy and grief he suffered fleeing Joseon as a very young child.

Upon his return to Joseon, we see that Eugene’s unwavering loyalty to America remains unchanged when he is sent to the American Legation in Joseon to uphold peace and friendly relations between the two countries. Although he is often dragged into Joseon’s political debacles by Emperor Gwangmu (Lee Seung-joon) and anti-Japanese minister, Lee Jeong-moon (Kang Shin-il), Eugene explains that he has no intention to be swayed by their desperation to protect Joseon from Japan and all for a very good reason. At the same time, we learn that every action he makes is somehow unintentionally politically motivated – both a win for himself, and for the Emperor and his underlings; demonstrated by what he ends up doing with the ‘Certificate of Deposit’ (i.e. the King’s bank certificate), Minister of Foreign Affairs, Lee Se-hun, and his position at the Royal Military Academy where he shares with his trainees a very powerful Arabic proverb: “An army of sheep led by a lion would defeat an army of lion led by a sheep.” Although Eugene is seen to be this serious, calculating, and audacious character, I loved that he also had this warmer side to him which he shared with Go Ae-shin (Kim Tae-ri) – the Joseon woman he fell in love with and cherished more than his own life.

Unlike Eugene, Ae-shin was more reserved and careful with how she carried herself, and their love story was met with a lot of difficulties and uncertainties whenever a mission arose, or their situations changed, and neither of them would know the outcome of one another – symbolised by the placing of a red paper windmill at each other’s place of residence, or at the Apothecary (where they would often meet in secret). Although the portrayal of their relationship was far from the lovey-dovey type that you would otherwise normally expect to see in K-dramas, you could tell that their love for each other was nonetheless so pure, and every misty-eyed gaze and embrace became more heart-wrenching than the last.

The daughter of an aristocrat, Ae-shin was well-known for her kind heart; never faltering to help those she saw in need. As if brains and beauty was not enough, Ae-shin ended up following in her parents’ footsteps to become a part of the Righteous army, a movement led by her grandfather to protect Joseon people from threats instigated by Japan and foreign forces. Although she was refused involvement on many occasions by Lord Go, I loved that her persistence, grit, determination, and fearlessness to provide for Joseon and more trumped feminity and nobility, thereafter, becoming the army’s most-skilled sniper after her master, gunman Jang Seung-goo (Choi Moo-sung). If there was anything to admire about her character, it would be that she was a reticent catalyst for Joseon people’s freedoms and women's liberation – and who doesn’t love a strong, empowering female lead?

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