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Salatheel
I Don't Want To Do Anything
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More of a dog’s breakfast than a degustation.
Is it a crime mystery, slice of life, healing drama, melo or a romance? Take your pick 'cause they are all in there. But far from being a degustation of delicious, beautifully crafted dishes, it’s a dog’s breakfast.It is ludicrously ambitious to think that all these themes can be squished into 12 episodes and then served up elegantly. In fact it’s a half-baked crumpet with raw veggies and Korean BBQ belly pork. Which is a real shame because there was some great main-course potential there in amongst all the side dishes.
If I was going to choose where to put the emphasis, I’d say that by far the strongest part of it was the slice of life. If they’d settled for that and thrown in some more detailed romance and much better character development, the actors and director would have delivered an OK drama. As it was the crime mystery dominated the second half, dragged in characters that were totally peripheral, set up non-credible police investigations and generally smeared ketchup over everything.
There were some nice performances in amongst the hash. I particularly liked the secondary couple and think that Shin Eun Soo as Kim Bom was the standout. However, Yim Si Wan as An Dae Beom was the sort of bland that could challenge a béchamel sauce.
There was some nice writing in there with some good ideas and it didn’t always take the easy path, but the temptation to go for big dramatic showpieces really trashed the credibility ratings for me. It didn’t need foie gras and caviar, country pâté served with crusty bread would have been so much more satisfying.
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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The Lighter and the Princess' Gown
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70% relationship, 30% revenge, 100% great.
I absolutely adored this drama. I’m a sucker for a badboy/girl drama, and this one ticks every box and more. Yes it does have some faults, and I will discuss them, but don’t expect me to mark it down because of them. I’m just going to be blatantly biased…At heart, this is a story about relationships that are entangled with a competition/revenge plot. But it’s 70% relationship and 30% revenge. And it examines not only the relationship of the central couple, but beautifully realises a whole raft of other connections and gives all of them depth and time to progress and change. So, if you are someone who moans about pacing being slow, forget it and move on elsewhere. The pace slows down to accommodate the depth and it’s an intelligent and perceptive depth at that.
The drama sets up and defines the attitudes that can deliver success in the cutthroat world of IT, where survival demands not only ruthlessness but also the ability to engage with, or accept that immorality is a necessary component. It requires you to be willing to employ the tactics that will destroy any competition particularly if it is superior to your own offering. That this is a reflection of the real world is backed up by the history of IT. In the 1980s-90s Bill Gates foisted onto the world a mediocre operating system (Windows) with a substandard suite of office software (MS Office). He did not create his original operating system (MS-DOS) on which Windows was built, but reputedly purchased it for $75,000. Other operating systems and office software with superior performance were thrown to the wall in the marketing hype. This is the world of the story, and it examines how characters are crushed, survive or thrive in this environment and the personality traits and abilities which inevitably seal their fate.
One of the really attractive aspects of this drama is that there are no clear lines that mark good and bad, right and wrong. All the characters have flaws and reasons for them, and virtues that define their core. So this is not a simplistic revenge plot where a notional good triumphs over a notional evil. It is an unfolding of the damage that revenge and competition wreak on individuals and an examination of what they are willing to sacrifice and learn in order to survive. As a consequence it has a high believability rating. There are some moments in which credibility was lost for me, but overall it mesmerised me and carried me through those times with ease. This is not a drama for those looking for wish fulfilment, it’s full of flawed people and the flawed relationships that they have. But they are viewed through a compassionate lens.
Structurally, the story falls into three distinct phases. Each phase has its own vibe and focus and this helps to a large extent to refresh the drama and keep the viewer interested across the 36, 35 minute episodes. The drama opens in the present (2019), then flashes back to 2012 and works through sequentially. I’m not sure why the director chose this cut and it does, to some extent, take away the element of surprise later on. One possible explanation is that they wanted to establish this as a serious drama from the off, and not just a University romance. And I must admit, that the start hooked me right in there and I was not as entranced by the next few instalments. But stay with it, it is necessary to watch the whole development of the characters from start to finish to really appreciate the story.
This was a dramatisation of two novels. I’m not sure how closely they were followed and where the credit for the dialogue and characterisation should go, but the script in this drama was beautiful. It was subtle, nuanced, multi-layered and deep and often left me feeling I wanted to stop the action to mine the meaning of some of the lines. There is so much in here that a second time through can only improve your understanding and enjoyment.
In so many ways, space and time were taken by the director, actors and cinematographer. No-one was afraid to linger, whether over a pause before a line delivery or a close-up on a facial expression. It really gave the viewer time to appreciate the layered meanings hidden within the dialogue. Could it have been improved by editing? Yes, I think it could have benefitted from some pruning, especially in the middle section where things did seem to be visited repeatedly. But overall, it meant time to savour, rather than gulping things down and rushing on to the next course.
The beating heart of the drama is the relationship between Zhu Yun (Zhang Jing Yi) and Li Xun (Chen Fei Yu) and it is superbly realised. There are tensions, arguments, heartache, loyalty, love and chemistry by the bucketload but also the most beautifully improvised playful moments for which we can thank the director Lui Jun Ji for having faith in his cast. I can only imagine that these two actors get along together. Their interactions were so credible and powerful that you often feel you are a fly on the wall. Chen had the more complex part and he rose to it, providing a real sense of the inner vulnerability of the character. Zhang was less impressive earlier on, but as the character development demanded more of her, she brought it to the table.
I was a little disappointed in the performance by Zhao Zhi Wei as Gao Jian Hong. I thought he performed brilliantly in the first half of the drama, but failed, for me, to really show me the subtlety of his motivations and inner feelings in the second half. I don’t think that it was entirely his fault. The script was thinner than previously for the character and maybe the director failed to bring out more nuance.
The director really captured the abundant humour. Nothing was overstated or obvious, but with the co-operation of the actors and cinematographer, a wry smile or a sidelong glance never went to waste. This is not laugh-out-loud stuff, but the sort of appreciation that time spent observing people can bring. It really added so much to the characterisations.
The cinematography was clean and crisp, with some well thought out angles that supported and reflected the action. I think its real value lay in the way it captured emotional responses. I wouldn’t say it was brilliant, but it was definitely good enough to contribute to the high quality of the overall production. The music was used to help the viewer appreciate the current state of feelings of the leads. The lyrics, large chunks of which were in English, were really a series of spoken thoughts. I didn’t find the music itself exceptional.
When a drama can force you to binge watch and make you regretful that you are nearing its end, then you know it’s a special one. My last comment is for the drama poster — REDO IT!!
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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Anata ga Shitekurenakute mo
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Insightful content with average execution
Don’t be deceived by the impression the first couple of episodes make, this is not a mundane, trope-filled series. On the contrary, it unfolds a complex examination of marriage. The drama places adultery in the wider context of already fractured relationships and explores it as a symptom not a cause.It rings the changes and thoroughly deals with all sides of the situation, identifying every nuance and plunging into everyone’s complex and conflicted feelings. The excuses, evasions and dishonesty, not only with their partners, but with themselves. The selfishness and procrastination that accompany the slow move towards emotional honesty, self knowledge and self acceptance. It leaves no stone unturned, no nuance uninvestigated. To its credit, I often thought that I knew where it was headed, only to become unsure again. Very much like the real life process of negotiating relationships.
And this is its strength. It is a mature reflection on the fragility and messiness of relationships which can probably only be fully appreciated by people who have some life experience.
However, with so much to pack in, there is little subtlety in the way the next angle is manufactured. We shift from one perspective to the next like factory processes on a conveyor belt and the final episode is one conveyor belt too far imo. You can see the spreadsheet with the plot points divided up into the number of episodes and the flow charts for the character developments. The writing is not quite subtle or smooth enough to be wholly convincing.
Having said that, there is so much material that it could have benefitted from a longer unfolding. This is really not something I say very often, normally I want to get in there with the blue pencil and drastically prune things back. But only eleven, forty-five minute episodes cramps its style. Although I don’t think the writer (Okazaki Satoko) is top notch, I think she has enough skills to have eased the flow if she had been given a longer opportunity.
The performances are mixed. For me, Nao and Nagayama Eita make a much more convincing pairing than the other couple. There is greater transparency to their internal emotions. I found Iwata Takanori unconvincing. The right expression is on his face but the emotion isn’t there in his guts.
With so much opportunity to overplay the melo, it is a credit to the director (Nishitani Hiroshi) that he underplays it in true Japanese fashion. As a result the pathos of the situation is enhanced. But it could have been more so if he had made more use of silence and pauses. Possibly the pressure of time disallowed this.
There’s some inexcusably bad editing, where the screen flashes black in the middle of a scene, possibly where ad breaks have been sloppily removed. And whoever edited the soundtrack should be demoted. Too often it was too loud, too obvious, too repetitive, too random and so noticeably truncated that it was like a shock to the system.
All the way through I was wavering between giving this 7.5 or 8, but in the end, even though the insightful content merited the 8, the execution disappointed.
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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Mr Plod the Policeman plays Cluedo with Sherlock Sigmund da Vinci
Okay, suckered again by the rating and reviews. This is the first Chinese cop show I’ve watched and as this one is reputedly the crême de la crême (MDL rating 8.7, March 2023), then it will probably be the last. Don’t be deceived into false hope by the quality of the murals at the start of Ep 1. It’s not going to live up to them. Every time I thought, oh this is getting better maybe it’s actually quite good, something eye rolling would happen.Having said that, the ideas are not all bad and in better hands, given more time and depth, some could have been good. However, it’s got a cater-to-the-lowest-common-denominator type of script with dialogue that’s way too banal and explainy. That’s coupled with a shallow and pedestrian execution complete with impossible leaps of logic and events that catapult you forward way beyond the bounds of credibility. It does improve as you get further into it, and has flashes of inspiration, but you have to wait until the last few episodes. Overall it never really manages to be anything other than heavily flawed.
I was hoping for something deep and convoluted, but it mainly comprises sequential procedurals of unrelated crimes lasting one or two episodes, that are far too easily solved with:
1) a remarkably surprising lack of leg-work;
2) a forensic artist who could put a collaboration between Sherlock Holmes, Sigmund Freud and Leonardo da Vinci into the shade;
3) criminals who obligingly fess up before they’ve even been asked to, or roll over and spill the beans the moment they get rumbled.
The police characters have no real distinguishing marks and range from featureless to faceless. For the first 6 eps no one shouts, no one laughs, no one reveals much emotion and about the most impolite you get is entering the boss’s office without knocking. Any aberrant, impulsive behaviour needs to be (quote) “supervised”. Wow, what an ordered, stress-free life the Chinese police lead.
The most interesting character, and the best performance, is the forensic artist, Shen Yi, well played by Tan Jian Ci and mercifully he is centre stage for the majority of the time. This paragon embodies every speciality that is needed to solve the crime, including that of a handwriting expert. But you have to wait until Ep 8 for his story to really begin to unfold.
It’s a story shared with his cop partner and as it is the most interesting part of the drama it would have made a good central focus with the whole thing built around it. But instead it’s just a hastily composed fragment rushed through at the end.
Look I’m prepared to stretch credulity on occasion, but there were a lot of scenes in this drama particularly regarding client confidentiality, colour blindness, gun procedure, DNA extraction, virus tracking, lack of procedure and the take down scene at the end, that had me snorting with laughter. I mean really folks, handing out guns to untrained people like candies to children—there’s a limit… Research! Just do your job and research before you put fingers on the keyboard to write the script unless you intend for it to be comedy.
On the upside, the creative artwork and cinematography are a total joy. You also get to learn a lot about the world of the forensic artist and the techniques they employ, even though, I swear, some of it is lifted from a fairy tale.
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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Same-same then product placement… Repeat.
I’m a rookie reviewer for this genre of fluffy romcom. This one seemed standard to me even though it’s the first time I’ve go through to the end of one. Standard plot of misunderstandings, standard character types of rich and ordinary, standard production values, standard slapstick humour. There wasn’t anything that struck me as original about it.I understand that this production was not aimed at me, however, that does not excuse lack of quality. To keep up quick fire momentum takes more than just energy—which for the first half was at a good level—it also requires imagination and inventiveness and I’m afraid this didn’t cut it. About two thirds through I began to find the TV drama everyone was watching more entertaining. Ultimately keeping a flow of fresh ideas is the responsibility of the writer and director and here the treatment was repetitive and unsophisticated.
It made a good start but quite quickly the script and plot became predictable. The acting tended to follow suit, with a lot of stock, same-same expressions and reactions to the manufactured situations. The first couple of times it’s funny, but very quickly becomes irritating. For example, the constant hiding begins to pall during Episode 3, but is still going in Episode 4, and then gets dragged out into Episode 5 by which time it is long past its use-by date. Ditto the pretending to be someone else theme.
There is a heavy emphasis on wealth with a lot of ostentatious display, along with the assumption that popularity and acceptance can be easily bought with a credit card. This message is backed up by the wall-to-wall product placement. Seo Hye Won’s part in the early episodes seemed to exist solely as a product placement vehicle. By Episode 10, scene after scene was built around it, reducing the dialogue to meaningless rubbish, destroying character integrity and disrupting the momentum.
On the plus side… there is plenty of fun with a load of eye candy. The couples have reasonable chemistry but lacked any sort of pizzazz. Kim Se Jeong and Ahn Hyo Seop were most believable in the tender scenes rather than the passionate ones. Seol In Ah and Kim Min Gue were more unevenly matched. I liked Seol In Ah’s performance, it had life and energy, whereas Kim Min Gue struggled to give depth to his more reserved character.
Shin Ha Ri’s family added the warmth and acceptance missing from the others. It’s a common theme that the wealth that is deemed so desirable comes at the cost of dysfunctional family relationships. But here the obligatory overbearing rich parents/family were not too forceful, just enough to provide a reason for our male and female leads to flex their muscles and prove their credentials.
The serious emotional interactions, which happened towards the end of the drama, were convincing. Kim Se Jeong especially made a good job of the hospital scene with Ahn Hyo Seop. But the ending was weak and unsatisfying, it just fizzled out without any real impact and needed to be much stronger to justify the build up given earlier in the episode.
The cinematography is okay, but nothing special. The colour palette was pleasing, with bright, engaging colours and an endless parade of cool clothes.
One of the things I really liked about the subs in this one was what I think is the literal translation of Korean sayings, which totally cracked me up. Thank you Choi Su In! Absolutely loved, “A face like a company perk” and “Like putting lipstick on a pig”.
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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A cyclone disaster area
I’ve just struggled through a public education broadcast on behalf of the Korean Meteorological Administration with a driving snowstorm plot and a dreary fog romance. And to be frank I deserve an endurance medal. Right from the opening credits the beige-through-brown colour palette screamed mediocrity and to give it credit, it advertised itself correctly, even down to the sickly sweet soundtrack. Don’t be deceived by its listing on Netflix as a “Charming, Romantic, Comedy”, it’s not.The main problem was that everything was sacrificed to a dominant plot structure that drove the action and permitted no deviation. I felt as though I was on a tourist bus with a punishing schedule—and on your left… now on your right… no time to stop, move on, move on… I was stepped through the paces at a rate that ensured I skimmed the surface and had no time to stop and investigate the depth. Then, at the end, the plot just sort of drizzled and fizzled out leaving a last episode full of slushy melting snow.
The sacrificial lamb for this plot-centric drama was any sort of credibility. The inflexible structure required all couples to be in step with each new twist which meant they were pushed through emotional hoops with no believable motivation and the whole thing reached a ludicrous, eye-rolling climax in episode 13 and went downhill from there. Neither of the main couples had any sense of relationship, all behaved self-centredly and took staggering, unrealistic, unilateral decisions without any prior discussion. The characters changed direction at the drop of a hat and I lurched along with them in increasing disbelief and incredulity. The result was not mature adults dealing with complex relationship issues but volatile, petulant teenagers throwing temper tantrums and fits of the sulks. But this is not a story pitched at a young audience. It is talking to an older audience that will either be married or thinking about it. In which case, some sort of approximation to reality and maturity are sort of essential.
There was a great deal of out-of-character dialogue and far too many unbelievable situations and artificially manufactured crises. If they were all to try and illustrate a theme, I’m afraid I missed the point, because the messages were confusing and random. Although there were interesting ideas surrounding relationships and marriage to be explored there was no discernible coherence.
The storyboard and editing was confused with multiple unnecessary time jumps, presumably to try and create some tension. The whole of episode 11, for instance, was a cyclone disaster area that ended in the same place as it began after whirling through a series of haphazard time shifts and an inexplicable tour of the local zoo. I was left with a sense that I had walked in a circle and gained nothing.
Unfortunately, one of the problems of office centred dramas is the difficulty in providing visual stimulation. Flat and stilted scenes with static positioning of actors delivering their lines, didn’t help with the dense dialogue. There was little to stimulate the senses or provide kinetic energy. Even the camera angles and lighting were unimaginative. It’s a director’s responsibility to think of innovative ways to keep viewing interest and the direction by Cha Young Hoon was at fault. He is a very experienced director, but he made a dog’s breakfast of this series.
The actors tried hard with the lacklustre script they were given. The most convincing of the scenarios, both in terms of the writing and the acting, was the one between Lee Sung Wook and Jang So Yeon as the older married couple. They both put in a credible and mature performance.
The weakest performances were the main couple. Song Kang was not particularly convincing in the role and looked uncomfortable. Park Min Young started strongly but didn’t go anywhere and the fixed expression on her face became wearisome. And their chemistry was less than convincing.
There was some nice (damned by faint praise) cinematography, but given the opportunity to film the weather they could have done much more with it.
As for it being a comedy, I don’t remember laughing but I do remember curling up in sympathetic embarrassment for the actors having to act the script.
On the vaguely positive side… I learned a lot about weather forecasting.
Overall this was an incoherent mess. A superficial look at marriage and relationships that merely spouted clichés whilst scratching at the surface. It was a very disappointing performance from the writer Eun Kyung, who made a much better job of “Dr Romantic”. If you want a more cohesive exploration of issues surrounding marriage, with a shower of humour and some sunny romance, then try “Because this is my first life”.
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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Under the Queen’s Umbrella
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Wall to wall hard-core intrigue and girl-power
I’m not in general a great fan of historical dramas centred around court intrigue, but if that’s your thing then this one is pretty good. Kim Hye Soo makes it so in her desperation of Queen Im Ha Ryung. Add to that beautiful performances by other female actors, in particular, Ok Ja Yeon as Royal Consort Hwang and Kim Hae Sook whose cold calculation as Queen Dowager Cho is chilling and believable, and you have a strong women drama par excellence. This is a drama that examines how and why women take power and exploit it.The writer, Park Ba Ra, has no other dramas listed against her name on MDL. If she is new to drama-land she is definitely someone to watch. Her ability with female characters is reminiscent of Kwon Do Eun (Search WWW, 25/21) a writer whom I always watch out for. However, they share the same propensity to under-deliver on male characters. Whether that’s a weakness or a deliberate strategy so as not to bring competition into the mix is unclear. But the result is disappointing male characters. They are likeable but lack depth and contrast, or in the case of antagonists, are fairly one-dimensional. The male characters here are lightweights in comparison to the women and are merely the pawns shunted around the board in an effort to reach the goal of becoming a court piece.
The first three episodes had me enthralled but then it started to become a long political power struggle and very little else, with no real character interactions and developments and I found myself enduring it rather than enjoying it. But Kim Hye Soo is such a compelling watch that I had to continue.
With so many characters the plot was way too complicated and unwieldy. It often introduced minor characters as a convenience. Also, characters with vital information conveniently disappeared for long periods of time and failed to pass on that information even to their allies. This had an undermining effect on the credibility of the action and increased the perception that the characters are merely there to serve the plot. This drama contains a handful of really strong characters and imo it would have been much improved with far less characters (particularly the princes and consorts/concubines) and the time saved spent on developing core characters. This would have streamlined the action and given it more way more depth and credibility.
In amongst the wall to wall intrigue are a few lighter moments of quasi romance that sit uncomfortably alongside the wailing wall of desperation. They were also totally unbelievable in terms of the expected behaviour of noble, unmarried girls.
The mainstay of this drama is the towering presence of Kim Hye Soo, whose intensity doesn’t drop below deep saturation from start to finish. Impressive? Yes, very. But a little shade in the blinding light helps you to endure the intensity for longer. By half way through I felt like I’d been enduring questioning by the secret service for eight hours and all I wanted to do was curl up and sleep. However, even though this is not my type of drama, I recognise that in its genre it is outstanding, hence the generous rating.
What my rating means: 8+ A great drama with interesting content and good writing, direction, acting, OST, cinematography. But didn’t quite have the requisite sparkle to bump it into my all-time fave list. Worth watching.
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Good Job that’s over…
Full of the usual inconsistent characters, ridiculous plots and incredible coincidences. What do I mean by that? Well characters that are action heroes one minute and goofballs the next; plots that require people to do things which in real life simply would not/could not happen and are so incredulous that it is impossible to suspend disbelief; coincidences that require huge manipulation of motive or span 20 years etc. And what’s with the fantasy element that never went anywhere but hung around like a fart.Having said that, these things are par for the romcom course and I found this one better than usual for the first two episodes. The comedy was not too cringeworthy, the characters were not too annoying and there was a lot of fun to be had. But then, starting with episode three, everything got explained to within an inch of its life, the script became unbelievably clunky, it morphed identity into a hilarious (in all the wrong ways) melo-mystery and just went downhill from there.
Clunky like it’s a story being told by an eight year-old—and then the man goes… and then she does… and then they… oh yes, I forgot, before that, he said… Yes you get the basic story but all the subtlety is lost in translation. It feels just like: we’ve got this plot worked out and now all we need to do is move the characters around and give them some explainy lines. That’ll work…
I don’t think either set of romance couples did it any favours either. Their collective chemistry was about as exciting as a study in inert gases; definitely no fizzing potassium or sparkling magnesium anywhere in the vicinity. In fact the whole thing was an organic chemistry demonstration on the various properties of wooden.
Yep, I’m not really a fan of Korean romantic comedy, especially when it has an identity crisis and thinks it’s a crime melodrama, but somehow I keep coming back to them. (There’s a real shortage of good dramas at the moment.) This is the worst one I’ve actually completed but just because it was only 12 episodes and the last two were really hard going. I keep hoping that they will be better than they are. I live in hope but I’m not sure how long I can hold out.
Off to another genre—
What my rating means: 1 - 3+ Totally unbearable, but often compulsively watchable as you really can’t believe that it can be this bad.
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An insightful look into messy relationships
Sorting the proverbial wheat from the chaff of MDL low-rated dramas is always hard. But this is one of those totally underrated dramas that probably got low marks because it does not portray mr and ms perfect living HEA. Instead it explores the messy dynamics of grown up relationships and the strange choices we sometimes make that lead us into places we did not even realise existed.If you’ve been round the clock a couple of times there’s going to be moments in this drama that bring a wry, knowing smile to your face, that are probably totally inexplicable to the inexperienced. And that’s what makes this drama work for me: the writer knows what he is writing about and it shows.
It explores the blindness that exists in all of us when we fail to realise that other people, even those we are intimate with, live in a world that is separate from our own. They are different, yet we do not clock those differences but make assumptions about what they think and feel based on what we ourselves experience, or the mistaken perceptions we have of them.
The reasons why people stay together isn’t always obvious and the hidden needs which outweigh the disadvantages, hurts and confusions are given an airing. The drama reveals and explores the overinflated price we are willing to pay to hang onto our emotional vulnerabilities so that we don’t have face them and what happens when we decide not to meet the cost any more.
Four characters, in two couples, with fundamental flaws are forced to face themselves, learn about their partners and embrace the responsibility they bear for their three-wheeled relationship going round in circles and falling apart.
This is an awesome cast, totally capable of revealing the comedy and the pathos with equal ease. Lee El and Son Suk Ku, who appeared together in the brilliant My Liberation Notes, are joined by Bae Doo Na and Cha Tae Hyun (who is new to me). They all have a handle on how to unroll a character and dig into the murky undercurrents and here is no exception. Although they all add something to the night sky, Bae Doo Na outshines the other stars in the constellation. Her ability to take you through the whole range of emotions and fully realise the character written in the script is outstanding.
Ultimately it’s an optimistic drama that manages to keep its head above the heaviness that such a topic could fall into, and that’s credit to the writer Moon Jeong Min who ensures a healthy vein of dry humour runs through the storyline. It carries the viewer through the difficulties that the reality of the situation demands and offers some light relief in whimsical arguments often fuelled by jealousy and competitiveness. In the hands of a capable cast, this is just a delight.
The script is sometimes patchy and meandering, and the symmetries that kick in about three quarters through are almost a stretch too far, but tbh I was willing to ride with it because it was so well acted. It can be whimsical and the number of coincidences goes from being off-putting to sort of deliberate, such that the whole thing is an intricate tangle of relationships which ravel and unravel around each other.
Moon Jeong Min’s insight into the female characters is praiseworthy and if anything, he wrote them better than the male characters. He was ably assisted by the director, Soo Hyun KI, who struck the right note with the melo such that when it needed to bite the impact had not been forestalled by previously overcooked emotions. Each character had their moment of intensity and it did not go to waste.
Overall this drama is not outstanding but well worth watching. If you are looking for dreams, go elsewhere, but if you like an honest view on messy human relationships between ordinary people with a dash of insight it will not disappoint.
I’m torn about the rating, but because there are so few K-dramas that successfully deal with this topic in a realistic and sensitive manner, I’ve decided to be generous
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Points for trying.
The plot sequentially introduces you to the suspects and invests in their stories such that you are drawn in to empathise with their choices. This is an approach which tends towards slice-of-life and resists the temptation to tell half-stories in order to either demonise or create saints. But it is at the expense of tension and suspense. On the whole the drama has a consistent pace which lacks the expected adrenaline hits, but makes up for it with a deeper characterisation than is normal for a crime drama. This is the strength of the drama and what keeps you watching.However, there are some insurmountable credibility gaps for me in the script, which often feels like a couple of naive wannabes imagining what grown ups do. It was in desperate need of a butt ton more research and a great deal of beefing up.
For instance, I’m totally underwhelmed by the credibility of the FL being the CEO. With her attitude she wouldn’t have survived the first 5 nanoseconds, let alone three years. A CEO of a large company is constantly beset by politics and aggression, both internal and external. The purpose of their job is to lead from the front, forge a path through the political crap and preserve the integrity of the business whilst moving the company forward. You have to be a fighter, not someone who bows down to internal critics and arrives at a crucial board meeting with nothing concrete prepared other than an apology, only to be saved by some random and an emotional plea. Give me strength… This one dug a hole as deep as the Mariana Trench in the believability stakes for me, which I found really hard to get past.
Then there is a load of stuff around the journalism sub-plot. Without going into spoilers it was so clumsy and obvious that in some places it just undermined the characters making them look unprofessional, incompetent or incapable of fulfilling the role the plot demands. Okay (maybe) in a let’s-suspend-our-disbelief thriller, but in something claiming cred in the slice-of-life stakes, it’s a real non-starter.
This type of stuff is totally unnecessary. Are the writers just incapable of writing a strong, competent female role? Because a good script writer will find credible ways to work their plot rather than undermining the belief the viewers have in the characters.
Oikawa Mitsuhiro was laughably awful as Goto, but otherwise there were some nice performances. The script really held back from plumbing the depths so all the characters were not too far from bland, but within that the actors managed to capture the empathy of the viewer.
If you want PP at its worst then you will find it in the costuming of the FL. Most of the time she looks like a frumpy sack of potatoes. Who wears this stuff? As her costumes all look suspiciously like mature age maternity wear for a fundamentalist sect I was wondering if Yoshitaka Yoriko was pregnant at the time. There are occasions when she wears a belt, however, it’s never tight and the dress looks 5 sizes too big, so I’m still undecided on that one. Imagine turning up for the shoot of Ep6 and seeing that black and white monstrosity hanging up for you to wear. You’d be seriously thinking about breaking the contract.
I began to really take appreciative notice of the soundtrack about half way through. The composer is Yokoyama Masaru and his entry on MDL lists a long history of composing for drama and film. Here, he uses an edgy, contemporary style, utilising synth, strings and pianos with a dash of atonal emphasis, non-melodic structures and gritty rhythms. It really helps to create some tension and provide an undercurrent of texture in a crime drama that has it’s focus elsewhere.
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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Beautifully crafted but ultimately lacking the magic ingredient to make it really great
There is so much to praise about this production. In particular the cinematography and soundtrack are outstanding. The acting is good, the characters are appealing but the requisite sparkle, which can only spring from a really great script with insightful dialogue, was lacking. It’s not that it was bad, rather that it was ordinary and it wouldn’t have been so noticeable if the rest of the production hadn’t really shone.The beginning in particular requires patience. If you need to be instantly captivated, forget this one. At the start it was pretty fragmented with nothing much to grab the attention. When you start writing a novel you can usually just dump the first two chapters because they are about writing yourself into the story and the first couple of episodes have that sort of feel. But persistence at this point will pay off in the end.
For the first third, many of the scenes are very short and there isn’t really enough personal interaction to pull you into the depth of the characters or reveal their uniqueness. The dialogue is sometimes quite fanciful and self-consciously poetic and is not always in keeping with the character speaking it. Time and effort is spent with the soundtrack and cinematography which would be better heaped on the relationship interactions. Imo, you need to engage the viewer with your characters from the get-go, then there will be time later for more emphasis on production values. There is not much to hold onto at the start and as a viewer I had to do a lot of work to generate the emotional connections. But later on it pays dividends as the actors slowly reveal the inner world of their characters.
I was not always convinced of the connection between the younger and older versions of the characters and it didn’t help that the actors playing the young versions, didn’t really resemble the actors playing the older ones. And neither did their character traits feel properly aligned. This is the fault of the director (who also wrote the script) as presumably the casts from different time periods didn’t meet each other on set.
Ok having said all that, let’s get into what was great about this drama.
Once used to it, I loved the interweaving of the past and present. The past shed light on the present and vice-versa and it was cleverly done by the author. At the start I was a little confused but soon settled into the structure of it. Memory loss again… which this time was put to good use and if it wasn’t such a hackneyed and clichéd trope I would have enjoyed the role it played here more. It was less of a plot device and more of an emotional device to create an unfolding of intimacy.
The soundtrack is something special, very thoughtful and inventive. There are so many different songs, many of them in English and the use of Bach’s theme from the Goldberg Variations is so poignant.
Beautiful cinematography. With a rich, deep, saturated colour palette in sombre blues and greys. Blue is the signature colour that runs throughout particularly in the clothes and the lighting. Replete with a liberal sprinkling of exquisite compositional set shots using carefully selected colour, form and space. There was also a clever use of aerial and space imagery and an absolutely stunning dance sequence.
The best performances came from Mitsushima Hikari and Satoh Takeru who added a depth of poignancy to the interactions that produced some beautifully moving moments. Overall, this is well worth watching and will leave you with a sweet taste in your mouth.
What my rating means: 8+ A great drama with interesting content and good writing, direction, acting, OST, cinematography. But didn’t quite have the requisite sparkle to bump it into my all-time fave list. Worth watching.
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A nasty little tale full of nasty little people
I had heard that there were dodgy gender dynamics in Japanese dramas (I’m pretty new to them) and if you want a taste, then this is totally for you. I watched it to the end to make sure that I had a handle on the full intention of the author and was unsurprised to find that it was a male writer indulging in male dominance and submission fantasies. Where women are submissive, obedient supplicants who like to be all but raped. Where they are totally gullible, have no power over their own emotions, need to be told what’s good for them and go along with everything the man decides because they can’t help themselves. Oh dear, how inadequately sad. An insult to both men and women.Don’t get me wrong. I’m not put off by mildly explicit sex scenes, nor do I frown on consensual power playing in the bedroom. But there was a scene at the start that was not along those lines. It was abuse masquerading as masterful and fed into the myth that women secretly like to be raped. And later we learn it’s not the first time that the ML forced sex on a woman and even that on this occasion it was deliberate. However much you might like power play in your sex, engaging in it with an almost stranger, without prior consultation or a safe word, or even consent to being tied at the wrists, is not consensual sex, it’s abuse. It is the submissive that should hold the power, but here that was not clear at all and the viewer was left with the distinct impression that it was the dominant who held all the cards. However much, afterwards they tried to smooth it away and pretend he is a nice guy really.
My problem is not that this behaviour was included in a drama. My problem is that I am being asked to think that it is acceptable behaviour in a romantic drama between leads that I am supposed to identify with. And that shitty, abusive behaviour is acceptable as a basis for both starting and continuing a relationship. The ML character is a nasty piece of work and had red warning flags all over him; anyone (man or woman) capable of doing that once is capable of doing it again.
So, please explain to me how a woman could ultimately feel safe, respected and an equal partner with a man who has behaved despicably towards them. Because believe me, that’s what they need to feel to give themselves freely.
Hmmm. Do I want to watch a romance drama where I really don’t have any respect for the leading couple or what they stand for? It was very hard to engage with the story without any sympathetic characters to latch onto.
Ok, having said all that, what was it like as a drama? Not that good to be honest. The writing was very mediocre and played into stereotypes by the bucketload. There was a whole load of repetition that became tedious as it did not move the story forward at all except to explain motives that were totally obvious anyway. A little of it here and there would have been acceptable but wholesale chunks of it, like all of episodes 6 and 7, were not. A better writer would have been able to reveal the subtly changing emotions sufficiently so as not to have to explain them in exceedingly clunky thought speech and would have structured the story differently to avoid going over the same ground. The whole thing was not improved by the quality of the acting and directing, which was very ordinary.
The best thing about it was the cinematography. There was a beautiful sharpness and clarity to the images and nice camera angles and a good choice of locations lent itself to some impressive scenery.
What my rating means: 1 - 3+ Totally unbearable, but often compulsively watchable as you really can’t believe that it can be this bad.
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A never ending struggle to the end and not just for them…
I'll apologise in advance, this isn't going to be my best review I simply can't find the enthusiasm to go into any depth.I never thought it was going to finish. And by the time we did end up at the beach, I was less than interested and definitely not convinced. I felt like I’d been dragged kicking and screaming through a series of fragmented plot-lines, rushed developments and overused clichés. Amnesia once is unfortunate, twice is unforgivable and tbh I got to the point of hoping to be touched with it myself…
The actors battled hard against an ever loosening plot, but were unable to save it falling apart into a weird time-loop at the end. The costumes were very pretty and far too clean, and the cinematography was also pretty.
An attempt to be epic that simply became unmanageable.
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Everything-in-one-pan sort of comfort food.
I was trying to work out why this one blew up and got the attention it did. And I don’t think I was the only one, I think the whole company were probably a little surprised too. So what I came up with was that they managed to find the perfect recipe for how to appeal to the maximum number of possible audiences - a producer’s dream. And how, imo, did they do it?By cherry picking from all the genres and eliminating the potential bitterness before making a judicious blend of sweetness, with a twist of out-of-the-ordinary, that is just sufficient to stimulate almost everyone’s tastebuds. It has the ingredients of a melo without excessive wailing (well it does get a bit wet though, just note the title…); a romcom without cringeworthy comedy (mostly); a makjang without full-blown psychosis (just regular hysteria); a conspiracy without frustrating mystery (but a few too many conveniences), and a slice-of-life romance (plus free homilies) without the plodding reality.
It manages to be a very clever balance of light and dark. Nothing stands out as particularly noteworthy in itself, but put together it becomes great comfort food. Somewhat like all our beloved, over-rated national dishes that tempt the foreigner into disappointment because they expect Michelin stars and it turns out to be your grandma’s cooking.
Overall, it failed to really impress in the creatively inventive/awesome stakes but it delivered a solid script; credible good characters (aside from the ML being ex-special services, puleeeeease…he would have been breakfast); dastardly bad characters and some hearty performances, especially from the leads (and a personal favourite, the shameless rum flip, Grace, played by Kim Ju Ryoung). However it stumbled on the plot front probably because it had too many chickens on the rotisserie. It worked well until about episode eleven, but then the plot began to curdle in certain areas as the focus shifted more to the melo. By the last two episodes, it was shredded and went into makjang meltdown followed by a layer cake of all the genres piled on top.
So, to sum up, if you want the equivalent of a Jamie Oliver everything-in-one-pan sort of meal, you have found it. It’s finger-licking quality with good home grown meat and veggies plus a grating of cheese. Such a thing is hard to achieve so credit to those concerned. It’s the sort of comfort food you’re happy to come home to, but not up there for a gourmet night out or a revelatory culinary experience.
‘Nuff said. There’s already at least 6 pages of “reviews”, posted well before it finished airing!
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Gone with the Wind, My Dearest…
It’s worth noting that the genre tags on MDL are historical, romance, drama, melodrama and not comedy, because even though the start has all the hallmarks of a romcom, as it progresses it gets a great deal more serious. I didn’t find the transition in Episode 4 altogether convincing and that is probably because the contrast in tone and overall production style between the start and what was to come is so marked that I couldn’t reconcile them. By the end, the impression was that I had watched two different dramas. Yes I do get that the writer wanted a contrast between peace and war, but for me, the frivolous approach to the opening didn’t lay a credible foundation for what was to come.There is now a well established practice of sugar-coating a 21C story with pretty costumes and sets borrowed from an earlier era and dumping all the inconvenient things like the contemporaneous social rules and attitudes. The opening three episodes of this production sit very squarely in that camp. The costumes and sets are far too rich, clean and bright for the period and the social interactions are so far from the 17C that they had to script a line about how this village had lax attitudes to contact between men and women.
The story then transitions into sweeping epic mode and does a very creditable job of fulfilling the demands of flawed characters, poisoned chalices and lesser of two evils choices. At heart it is a love story and the character development of the two lead characters is the thread that binds it all together. This first part focuses more on how war and difficulty transforms our heroine from petulant, manipulative teenager to a strong and capable woman. And I suspect that the second half will focus on the male protagonist whose character also needs to grow somewhat.
The plot surrounding this love story is the politics of the time, which is given a creditable depth with a side serving of weeping melo. My gripe, which is not overly huge, is that the love story and the politics were not quite enmeshed enough for me. As a result it felt a little fragmented. The male protagonist was half-heartedly twisted into the political plot, which was correct for his character, but not helpful for overall cohesion.
I did enjoy the range of characters which offered the actors a chance to get their teeth into them with varying degrees of success. Namkoong Min can be smooth, slippery and enticing anywhere, and I think that Ahn Yun Jin stepped up to the plate with the later episodes, but her performance was a little patchy in places. Perhaps because of the irreconcilable styles I mentioned earlier. Another notable performance for me was Choi Young Woo as the barbarian general.
The music was a mixed bag. I liked the opening sequence, the low camera angle, the muted tones and the silence followed by strains of music that had echoes of history in it. But we soon graduated to the hackneyed swelling strings and a full-on Kolly-Bollywood dance. In general, the music disappointed. The introduction to the unsurpassable singer (Ryang Eum) in the story just felt ordinary to me, although later instances were more convincing. There were however, some good OST ballads, mostly used for the ending credits.
Overall, it would be churlish to call this production average. What stops it from being exceptional is the uneven writing that created a somewhat bumpy ride. However, it was good enough for me to want to embark on part 2 when it arrives.
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