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Sweet, But Worlds Apart From Its Predecessor…
For those unaware ‘Hoshi Kara Kita Anata’ ( alternatively known as ‘ 星から来たあなた’ or ‘ My Love From The Stars’) is adapted from ‘ My Love From The Star’ starring Kim So Hyun ( ‘ Dream High’, ‘ Secretly Greatly’ and ‘ It’s Okay To Not Be Okay’) and Jun Ji Hyun ( ‘ My Sassy Girl’, ‘ The Legend Of The Blue Sea’ and ‘ Jirisan’).
‘Hoshi Kara Kita Anata’ focuses upon the same basic plot premise as its predecessor . Mitsuru Higashiyama ( Fukushi Sota- ‘ BLEACH’, ‘ Omukae Desu’ and ‘ Avalanche’) is a seemingly ordinary university lecturer, apart from one fact: he’s not human.
Stranded on earth during the edo period, Mitsuru has been forced to blend in with humans for more than 400 years whilst keeping his abilities and identity low-key.
However, everything changes for Mitsuru when he encounters popular and seemingly haughty actress Sasahara Tsubaki ( Yamamoto Mizuki - ‘ Tokyo Alice’, ‘ Perfect World’ and ‘ Ningen Kowai’). Tsubaki and Mitsuru soon find their paths crossing in more ways than one, as Mitsuru finds it harder to keep his secret…
As mentioned previously, ‘ Hoshi Kara Kita Anata’ is based upon the popular Korean series ‘ My Love From The Star’ and was initially written by award-winning screenwriter Park Ji Eun ( ‘ My Husband Got A Family’, ‘ The Producers’ and ‘ Legend Of The Blue Sea’).
However whilst there are certainly some intriguing things to note about Amazon Prime’s Japanese adaptation ‘Hoshi Kara Kita Anata’, it’s admittedly hard not to notice where the screenwriting felt inconsistent even as a standalone piece.
Naturally this isn’t entirely the fault of writing problems alone. A limited duration length did naturally restrict the abilities to explore plot lines, or counterplots in detail. On the other hand whilst time can be a limiting factor for any production or adapted series, it was still noticeable for viewers that ‘ ‘Hoshi Kara Kita Anata’ did little to adapt itself to its limitations.
Whilst the series did admittedly draw greater attention upon the potential romantic relationship of main leads Tsubaki and Mitsuru, the overcommitment for attempting to tie in several unexplored subplots in a short space of time could often make the events of the narrative feel somewhat sporadic and desultory . As a consequence this allowed restricted and limited opportunities in order to explore characters beyond their surface level.
The acting quality of the series is admittedly variable dependent on scenes. Fukushi Sota and Yamamoto Mizuki were fairly decent as our main leads, though surprisingly, despite the talents of both respectful actors , Sota and Mizuki’s onscreen chemistry felt somewhat lukewarm at best.
Admittedly this wasn’t entirely the fault of the actors. Despite several attempts in order to reiterate the importance of the romantic relationship between the main leads in ‘ Hoshi Kara Kita Anata’, there were few and far distinguishable or emotive moments in the series where the audience could truly understand the importance or relevance of this relationship.
Of course whilst there were several heartwarming exchanges and insights into the characters at times, the paper thin roles of the main characters could often impact their presence onscreen.
Despite Tsubaki seemingly being an actress who has suffered under false stigmas and stereotypes , it was hard to truly pinpoint moments where audiences saw Tsubaki as a dynamic character, mature or at least be explored with more vulnerable sides. Similarly, whilst Mitsuru is seemingly a character who has carried a seemingly arcane burden of being stranded as an extraterrestrial on earth, Mitsuru rarely seemed to be affected, develop or being given opportunities in order for viewers to digress his current persona or past.
In addition to our main leads, there is also an array of side characters. Whilst some of these side characters are necessary to a certain extent in the events of the series, ‘ Hoshi Kara Kita Anata’ rarely fleshed out the significance of these particular characters , built up their presence onscreen or at least foreshadowed or tied in certain actions or events surrounding their appearances to make them memorable for the audience.
Then of course there’s the question of pacing with ‘ Hoshi Kara Kita Anata’. As mentioned previously, ‘ Hoshi Kara Kita Anata’ was limited from the outset with having to compact a storyline into a space of ten episodes. Whilst the narrative is certainly expedited by mainly focusing upon the romantic aspect of the main leads, this also manifested as a double-edged sword with execution.
Pacy, engaging and allowing opportunities in order to allow the storyline to progress, but rarely did this allow time for ‘ Hoshi Kara Kita Anata’ to build upon its characters, plot line or a sense of conflict, dilemmas or obstacles for the main leads. Indeed whilst the drama did attempt to throw in several conflict points by the final part of the series, the finale felt somewhat anticlimactic as a result.
As for the filming quality and cinematography , ‘ Hoshi Kara Kita Anata’ is admittedly average. The quality, whilst not bad per say, was unimpressively fuzzy in certain scenes for a production released under the name of a top company such as Amazon Prime. In addition to this the absence of a sleek gradient, versatile camera angles as well as absent palettes schemes and even a lack of subtle motifs were prominent as the series progressed.
The OST for ‘ Hoshi Kara Kita Anata’ was sparsely used in the series. Notably when music was present in scenes, it was often faint and synchronic; attempting to place emphasis on characters or scenes, without always leaving an impactful punch by the end of episodes. Arguably one of the few memorable tracks found in the series was GReeeeN’s ‘ Ryusei no Kakera’; an avant-garde yet surprisingly upbeat melody which played as the drama’s main theme song.
Acknowledging a drama as a standalone piece is always quintessential when talking about adaptations. Admittedly ‘ Hoshi Kara Kita Anata’ did add its own idiosyncratic touches to the storyline by bringing on board the talents of Fukushi Sota and Yamamoto Mizuki as the main leads. On the other hand it’s hard to deny that the chaotic bricolage of the drama’s inconsistent narrative, characters, pacing and filming, couldn’t help but make the series feel as though it failed to live up to legacy of its predecessor and past incarnations. An average and easygoing binge-watch, but perhaps not a worthwhile investment.
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Reviewing A Classic In Retrospect; Kore-eda’s Philosophical Experiment…
Looking back in retrospect ‘ After Life’ ( 1999) is one of those movies which few Asian film enthusiasts know about unless they’ve been told or stumbled upon it before. Admittedly it’s understandable as to why ‘ After Life’ is often buried in the past- it’s heavy-going and arguably slightly dated within its filming techniques and appearances, but there’s also something oddly distinctive about director Kore-eda's approach to the movie.
The premise is simple enough: what happens after death. However contrary to a heavenly or a hellish after place which exists in so many other religions, Kore-eda a takes a visionary approach to the afterlife where the dead stay in a house for a week and are given the choice to hold onto one memory out of all others to preserve as they enter the afterlife. Over the film’s duration length capturing just one week in this mystical plane, 22 recently deceased mortals visit the lodge each with their own stories to tell and problems to face.
Kore-eda recalled that during the screenwriting process he was inspired by the crucial importance of memories during the onset of his grandfather’s Alzheimer’s, leading him to become curious about ideologies and views of individuals. This process led him to interview reportedly more than 500 individuals about their experiences and which are embellished throughout the film.
However whilst the storylines present interesting food for thought from a teenage girl who wants to relive her experiences at Disneyland ( before choosing something more personal after an epiphany), an old libertine who decided to choose a surprisingly sentimental memory and others choosing simple daily pleasures ( such as a bus ride) in different seasons, ‘ After Life’ often struggled to tackle these experiences in more sentimental depth. This is mainly because whilst there are many intriguing characters, there’s little time to actually give them screen time to be explored more thoroughly.
Throughout the duration of the move there are only three characters onscreen to be given dominant screen time; Ichiro Watanabe (Taketoshi Naito), a 70-year old businessman who died in the wake of an unsatisfactory life of menial work , and his afterlife guardians , Takashi Mochizuki (Arata) and Shiori Satonaka (Erika Oda). Whilst later revelations provide a climatic ( and then anti- climatic) revelation towards a shared link between Takashi and Watanabe, the build-up and resolution often lacked a more intriguing drive to viewers due to its slow pacing being intertwined with its shared other residents onscreen .
Of course this isn’t to bring down ‘ After Life’ entirely as in addition to its more philosophical and profound themes found in the storyline, Kore-eda is a masterful planner with the film’s cinematography also. Enlisting the talents of Yamazaki Yutaka ( who had previously won awards for his artistic filming in documentaries) through shooting on a 16 mm film as well as famous photographer Sukita Masayoshi in flashback sequences through a 8 mm, and 16 mm film in monochrome, ‘ After Life’ is visually memorable. Minimalistic filming techniques of snow, long empty halls and unoccupied rooms present a great contrast to the clever representation of the modern Japanese way station through limbo to the afterlife ; a reflection of the inescapable and fascinating mundane reality of the afterlife. Just as the rest of the film offers profound moments and should be counted by interpretation, the ending offers a reflective experience also.
So what is left to take from ‘ After Life’ ; is it a movie worth watching or is is overly dull and pretentious? ‘ After Life’ is a movie which even for the most erudite viewer is borderline mind-numbing at times with slow burn dialogue and cinematography dominating screen time. Of course this isn’t to say that the film is bad or unwatchable. Director Kore-eda’s imagination is reflected throughout the film’s palettes and concept, with poignancy reflected in each memory, as well as deeper questioning as revelations to come light. By far more intriguing food for thought than entertaining or exhilarating, ‘ After Life’ is not an easygoing movie and will likely not be to everyone’s personal tastes or likes. However those willing to delve into the film’s philosophical experiments and experience, will likely commend the film for being an intriguing piece of Japanese film history.
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Undeniably, Seo Kang Joon truly stole the show within his dual performance as callous hearted businessman Nam Shin, and of course our loveable and naive robot main lead Nam Shin III. Whilst most actors struggle to make subtle assertions for audiences when they are playing dual characters, it was intriguing to note from expressions and body language, the evident difference between human and robot Nam Shin. For audiences, it truly felt as though we were watching two different actors onscreen with Joon’s effortless transition from naive Nam Shin III in one scene with his bodyguard , friend and later love interest Kang So Bong (Gong Seung Yeon) to the sardonic and cynical Shin in the next moment.
Seo Kang Joon was naturally asset to his brilliant persona as both Shins in the series, however, it was also thanks to the fairly well-written characterisation of screenwriter Jo Jung Joo that allowed Joon to fully innovate his acting skills and array of emotions onscreen. As audiences, we are supposed to note the clear differences between both Shins as characters and our sentiments towards them. The human Nam Shin is put forwards to be cynical, selfish and aloof, whilst ironically the robot Nam Shin III maintains a benign sense of innocence and altruism throughout the series. Whilst it did feel a little enforced for us to stereotype human Nam Shin as “ the one we aren’t supposed to like” and Nam Shin III as the “ favourable hero”, it was surprisingly well-tackled how screenwriter Jung Joo subverted from this obvious “ black and white” framing by slowly explaining previous flashbacks and its foregrounding behind the personality split of our two characters.
Without spoiling too much for viewers, the human Nam Shin isn’t intrinsically someone who is intrinsically “ evil”, ( though certainly not a virtuous figure either ) but an individual trying to retract from years of emotional and psychological neglect by both his parents. From a young age, Nam Shin has been forced to grow up fast by being wary of others ( thus Lee Joon Hyuk’s character Ji Young Hoon being one of the few friends that Nam Shin has in the show) and having his innocence and naivety stripped away from him at such a young age.
In contrast Nam Shin III was built upon the memories of the “ innocent” Shin by his mother and scientist Oh Ro Ra ( Kim Sung Ryun). Shin III was brought up in a complicated, yet fairly familial environment by Ro Ra and her scientific partner David ( Choi Deok Moon) with a sense of emotional stability and respect kept between the trio. This is what makes Shin III an oddly likeable, and heartwarming character; he grows to develop his own individualistic core, free from machinery and wires unlike many of the “ humans” in the series based upon his emotional and human experiences. It is because of this that the human Nam Shin gradually grows to detest Nam Shin III; his machine counterpart that still reflects a life that he never had of innocence and being loved openly by his mother.
The relationship and obstacles which occurred between both Nam Shins was easily the tour de force of the series, however, a notable problem which did arise within the portrayal can probably be found in a later and hard-hitting plot twist for both characters. Although it does notably effect Nam Shin III more based upon his circumstances, it felt a little lacklustre in the grand scheme of the show to not consider Nam Shin’s own reaction towards this news in more emotional manner by allowing us viewers to get rid of the previous barricades or isolation around him and actually allows us to see him as an individual, rather than a plot mechanism.
On the other hand, it is important to not forget the brilliance of Gong Seung Yeon’s role as Shin’s bodyguard So Bong. Although arguably a little less in the limelight due to her simplistic role in manner of speaking as the “ love interest” of the series, Seung Yeon was able to capture something truly brilliant within her development of body language and general ambiance around Nam Shin III. As a character, So Bong is used as the archetype of the “ fearless female lead” and for a major proportion of the series, screenwriter Jung Joo plays upon this role for So Bong for all it’s worth.However, there was something oddly heartwarming behind So Bong as a character and her growth at times throughout the series. Initially starting as dishonest and an opportunist, So Bong’s relationship with Nam Shin III is intricately complicated, yet oddly allows us her to reveal her true self as a kind-hearted advocate of the robot. Additionally it was certainly refreshing that So Bong did not fall for the cliche trick in K-dramas of being in a love triangle with human Nam Shin, even notably accepting the fact that regardless of whether Nam Shin and Nam Shin III were identical, she’d always hold more faith in Nam Shin III due to his purer principles.
Naturally this does draw us onto whether the relationship between a robot and human was too problematic within its promiscuous undertones, or notably heart-rendering within this series. Whilst it does draw in some ethical questions which did feel a little glossed at times within the drama , the relationship between So Bong and Nam Shin was fundamentally the ideology of “ boundless love” for both characters, as well as surprisingly well-developed with the ridiculousness of the setup . It was refreshing for once that the two love interests were given time to actually develop a bond as friends before moving on with their relationship. Fundamentally, whilst the romance factor could have fallen into the trap of becoming an unnecessary quality in the series of interesting science-fiction elements and high budget CGI , it instead helped the strength the bonds and character development between the two main lead’s overall.
However, despite being enjoyable, the series was not flawless within its execution; minor plot inconsistencies became apparent in the storyline, and for those with analytical minds, it may appear additionally frustrating that the characters do not evidently address the elephants in the room of these evident mounting problems arising into their view and refusing to do anything for the sake of “ plot development” in the storyline . Nevertheless, the final ending of ‘ Are You Human Too?’ was surprisingly bittersweet for audiences, with an intriguing ending scene which was purposefully symbolic .
Therefore it is undeniable to probably take away that ‘ Are You Human Too?’ did have a brilliant premise, undeniably brilliant CGI which did not undermine the more serious moments of the series and fairly decent characterisation as well. In terms of acting, Seo Kang Joon was certainly fairly brilliant ( alongside his costar Seung Yeon), in his dual role as Nam Shin III/ Nam Shin with an ability to beguile audiences through both of his performances.Yet whilst it would be fun to claim that all the acting and characterisation in the show was top-notch, there were a couple of notably questioning moments and cliche story-writing, not least through Park Hwan Nee’s role as Shin’s fiancée Seo Ya Na and the moustache-twirling “threat” of the series, Seo Jong Gil ( Yoo Oh Sung) and plot inconsistencies to be wary of. On the other hand, there’s no denying that overall ‘ Are You Human Too?’ was a well-written romance and as science-fiction and fantasy drama, which is certainly worth watching as an escape from ordinary conventions.
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The Eternal Search for ‘ Happiness’…
Against its seemingly antithetical title screenwriter Hang Sang Woon and director Ahn Gil Ho’s‘ Happiness’ attempted to mirror similar issues from prejudice, isolation and loneliness which occurred particularly during the COVID-19 pandemic period. The unusual combination of genres highlighted a hellish fight to not only escape from the “infected “( the mysterious disease ravaging the population and leaving the infected in a zombie-like and feral state with few lucid moments ), but surprisingly a bittersweet love story between its main leads also .
The TVN drama presented an odd accumulation of fast-paced thrill and tension through its plot twists as well as tender and bittersweet scenes by taking a moment to slow-down the storyline and allow viewers’ to contemplate and soak in events. Yet like most intriguing fusion-genres in execution ‘ Happiness’ could sometimes not escape certain pitfalls of writing errors and character-drive along the way.
Of course ‘ Happiness’ offered viewers a fairly impressive lineup of acting abilities and most notably our main cast. Actress Han Hyo Joo brought forward Yoon Sae-Bom to life through adding an unlikely sweet charm to her onscreen persona ; a professional counter-terrorist operative whose pursuit of happiness by moving into a new apartment proves only to be a blunder during the events of the series. Sae-Bom’s reactions and interactions with others throughout the series could often feel prosaic during early episodes; initially driven for the “sake of plot “ rather than upon reflection of viewers getting to understand more about the female lead through subtle character growth . Nevertheless as the series progresses Sae-Bom provided to be a major asset to the plot and allowed some time to focus on developed sides of Sae-Bom’s personality from altruism to stubbornness in order to present some focus on the importance of humanity and depth within the female lead.
Costar Park Hyung Sik’s reprisal of an intriguing role was highlighted through his onscreen persona Jung Yi-hyun ; a suave and observant detective investigator who had shared-history with female lead Sae-Bom from their school days and provided to be one of the first key characters to come across findings of the mysterious disease during a case. Yet whilst Yi-Hyun was undeniably an intriguing character he could often suffer from the fate of many main characters through becoming an inherent “ plot device”; necessary to keep the storyline moving, but sometimes lacking in more subtle character development. Naturally Yi-Hyun did have golden opportunities to be explored in more depth during some key moments in the series but this could sometimes lack greater exploration.
As far as the chemistry between our main leads is concerned ‘ Happiness’ admittedly was a bumpy road- good onscreen chemistry between Hyung Sik and Hyo Joo could often fall victim to more staid cliches and setups which did not always weigh up against the more heavy-hitting moments of the series. Naturally later episodes took a little more time out to focus on some subtle relationship development between the main leads but often this was interwoven with more serious scenes and storyline moments also.
the supporting characters of the drama also have an intriguing part in events of the drama from Han Tae Seok ( Jo Woo Jin); a discharged military informant agent to the residents of the apartment ( some of which are admittedly less well-defined than others.)
Ahn Gil Ho plays upon subtle palette changes and lighting tones throughout the mis-en-scénes of the drama - key scenes crafting an important ambience throughout the series through this setup and pragmatic choice of OST, whilst some quintessential moments admittedly lacked the same ingenuity when required.
‘ Happiness’ offered viewers an intriguing concept with a dash of profundity and romance in between its zombie-style thriller setup- it isn’t inherently terrifying , but director Ahn Gil Ho and writer Hang Sang Woon are able to add a touch of suspense and sweetness in an intriguing and pacy storyline. The writing could sometimes wane through the pressure placed initially upon odd tropes, cliches and setups( especially for our main leads) during early episodes.( Alongside the heavily dominant setting of the apartment growing slightly bland.)However later scenes spent time focusing upon the storyline in more depth; brilliantly brought to life by our main cast’s dynamic performances by our main leads and the interwoven cinematography of the director. The ending was admittedly filled with a few loose ends but did deliver a sense of completion for the series. Overall whilst ‘ Happiness’ wasn’t without its more evident writing faults the drama offered an intriguing storyline with contemplation with a good cast and intrigue for viewers, as well as allowing room for philosophical thought towards the true definition of happiness in life.
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In between raving hype surrounding the main cast and the plot, screenwriter Son Eun Hye’s ‘Dali And The Cocky Prince’ has erupted quite a stir amongst avid drama watchers praising the series as ‘’dynamic’’ and ‘’fresh’’. However, this boils down one ultimate question; “Is ‘Dali And The Cocky Prince’ actually worth watching, or is it a classic case of an over-hyped production?”
The series applies the basic romantic comedy formula of ‘’ opposites attract’’; Moo Hak( Kim Min Jae) is a confident and nouveau riche social-climber, whilst Kim Da Li (Park Gyu Young) was born into “ old money” and is a naturally talented art exhibitor and critic . During a trip to an art exhibition in the Netherlands Da Li and Moo Hak end up encountering one another for the first time . Soon afterwards Da Li finds herself struggling to keep her art gallery afloat and consequently through several setups become indebted to Moo Hak. However (typical of romantic cliches) Moo Hak and Da Li begin to fall in love…
One of the greatest strengths of ‘ Dali And The Cocky Prince’ comes through Kim Min Jae and Park Gyu Young’s onscreen chemistry. In between some of the more questionable line deliverances at times Min Jae and Gyu Young’s pairing was dynamic and fun, but ( playing to the drama’s strengths and downfall as a consequence of testing viewers’ attention spans) slow-burn.
Actress Park Gyu Young’s performance and stylist helped to convey a sweet and charismatic charm surrounding the female lead. Da Li is refreshingly not your typical ‘’spoilt princess’’ female lead archetype. She is kind-hearted, an afficionado of Modigliani and has a natural artistic flare which has long been nurtured by her parents ( her namesake evidently being famous Spanish surrealist painter Salvador Dali), but as a child of a prestigious family, she often finds herself lost in cloud cuckoo land when dilemmas regarding the museum are raised. Whilst aspects of Kim Da Li’s past and background help to explore her character in more depth and do help to present her goals, personality and motives, Da Li undeniably did often feel shoehorned into the role of the ‘’ victim’’. (Especially in later episodes as more revelations come to light.)
Of course, the ‘’victim’’ trope isn’t always necessarily a bad thing in a series. It can help to explore characters in more depth and it did present some more raw moments for otherwise seemingly impeccable characters. For example Da Li is not truly made aware of her attempts to bury her head in the sand until Mu Hak acts as her personal anchor to ground her back to reality. However, whilst praise must be given to presenting Da Li as someone who gradually faces reality with grace and charisma, it seemed odd that the series didn’t present more opportunities for the female lead to take her first steps through more independence and personal growth rather than being enforced into the role for the “ sake of plot tension”.
Of course this naturally brings us onto our second topic of debate; male lead Jin Moo Hak. Expected of his namesake from the title Moo Hak has become accustomed to a wealthy of hedonism and money since his tiny family run-restaurant turned into an international food conglomerate through successful business ventures. Kim Min Jae walks onscreen with an air resonating Jay Gatsby; gaudy suits, satisfaction over materialistic purchases and truly buying into his own ideology that money can truly buy love and happiness.
Moo Hak is arguably the perfect foil and counterpart to Dali; arrogant, haughty and overly confident (which both provides to his advantage and lands him in hot water throughout the drama) but not without his more “ redeeming” character traits either. For example Moo Hak is undeniably a hardworking and charismatic entrepreneur, as well as gradually more empathic as he comes to see ( from Dali) the importance of genuine and authentic relationships that money cannot buy. On the other hand Moo Hak ( similar to the female lead) is very much enforced throughout the series as a plot device; existing to create a splash of tension and jealousy to keep their potential romance “ interesting”, but often dismissing more intriguing elements of Moo Hak’s journey and success along the way.
‘ Dali And The Cocky Prince’ really did not shy away from reimbursing all the overused tropes and cliches you’ve seen before from the “ foreigners” to the the infamous “ drunken escapades of your main character”, “ mistaken identity” and even the “ shower scene” find their ways multiple times throughout the drama.
However one dreaded creme de la creme of cliches which appeared in the storyline occurred through the issue of the “ love triangle” setup between Moo Hak, Da Li and her “first love” second main lead Tae Jin ( Kwan Yool). In the expected setup that you can imagine, Tae Jin and Da Li ended their relationship on an “awkward note”. (Pining and unrequited love ensues for Tae Jin as the “ impartial female lead” is milked by screenwriter Eun Hye throughout the subplot.) Then to add the cherry on top of “ tension for the sake of tension” there’s also the unrequited feelings ( which are often played for comical foil than actual heartache) of Ahn Chak Hee ( Yeonwoo) who often “bickers” with Moo Hak over her feelings for him and leading to numerous comical misunderstandings.
Thankfully Eun Hye only added these “ tropes ” as a side storyline with an major plot shift to a “ thriller mystery” subplot soon taking frontal stage as the focal point of the drama. In between these scenes there’s a notable shift on other characters unexplored in this latter half.
For example there’s supporting character Won Tak ( Hwang Hee) who is a hardworking police officer with a sibling like relationship with Dali, and Moo Tak’s quirky secretary Yeo Mi Ri ( Hwang Bo Ra). Whilst admittedly both characters were often the root of “ plot motivation” or “ comical foil”, they admittedly did add a sweeter note to the darker subject areas of the drama.
Then of course there’s the last topic surrounding director Lee Jung Sub’s take on the cinematography. Whilst honestly it did feel as though Jung Sub had some more evident missed opportunities with playing with the artistic creativity of the plot, there were admittedly some brilliant scenes and aesthetics carried through adding a warm palette to the romantic-comedy. The ending was admittedly trope-induced; not bad per say, but lacking more fluid coherency towards the characters’ own choices and decisions in the final act.
So what’s left to say about ‘ Dali And The Cocky Prince’ ? Is it worth watching or is it an “overhyped” drama? The biggest thing to say about the rom-com is that the drama accommodates from lighthearted to more serious to suddenly lighthearted again, and isn’t afraid to interplay the cinematography more subtly with this.Our main leads had good chemistry and it was surprisingly sweet to see the “ polar opposite” trope executed once more. On the other ‘ Dali And The Cocky Prince’ isn’t an inherently original or brand new concept with tropes and cliches often weighing down more intriguing story elements, characters and even the ending (to a certain extent). The drama isn’t entirely “ original ” as a consequence of this screenwriting decision and whilst the comedy may vary for viewers, the drama is certainly a decent and sweet enough rom-com.
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The Drama That Will ‘ Reset’ Your Expectations…
Time loops and time travel in drama screenplays can often be a tricky subject to execute and director Sun Mo Long and co-director and screenwriter Lao Suan’s ‘ Reset’ was no different. Nevertheless whilst the series did fall victim at times to its own loose pacing and some tediously dragged out plot points, ‘ Reset’ offered viewers with a fairly suspenseful and intuitive take upon the niche of time loops.
The series revolved around Li Shi Qing ( Zhao Jin Mai) and Xiao He Yun ( Bai Jing Ting); two young bus passengers who find themselves involved in a fatal accident. However rather than perishing to their seemingly predestined fates, Shi Qing and He Yun find themselves trapped in a “ Groundhog Day”-style time loop. As Shi Qing and He Yun attempt to go to great lengths in order to avoid being involved in the accident, the main leads discover that fate has an odd way of catching up with them even when they least expect it..
‘ Reset’ notably incorporated multiple genres into its storyline. Suspense and mystery greatly dominated the events of the narrative , whilst elements of potential romantic chemistry lingered on the sidelines. However surprisingly even during lighthearted moments of the storyline, screenwriter Lao Suan did offer certain opportunities to flesh-out and explore its side characters and antagonists with some surprising heartfelt and tour de force moments also.
As for the pacing ‘ Reset’ was admittedly a slight mixed-bag. Whilst the series could be very quick-paced as well as knowing when to offer respite, the beginning did suffer slightly under the weight of tedious scenes, dialogue exchanges and tension. Admittedly whilst certain elements were necessary for building up the events of the storyline , this did bring about a somewhat laissez-faire structure with pacing often feeling slightly tedious or loose. The finale of the series was admittedly filled with some unexpected turns, but did lack an element of regimented structure by instead feeling somewhat dragged-out.
The acting of the series was admittedly fairly good. Whilst there were some less impactful deliverances of dialogue and interactions onscreen, the main leads did arguably offer brilliant performances. Bai Jing Ting delivered a loveable charm to his onscreen persona as game designer He Yun, whilst Zhao Jin Mai notably had a sweet and charismatic air onscreen as Li Shi Qing.
The chemistry between the duo onscreen could often feel somewhat stunted in parts. Whilst there were some surprisingly heartfelt exchanges between their onscreen personas, the questionable kiss exchanges and affectionate moments between both main leads at tones could admittedly feel insipid at times.
As for their characters, ‘ Reset’ was a strange amalgamation of dynamic writing opportunities for its side characters and antagonists , whilst its main leads could often lack opportunities for being truly fleshed-out. In particular, this became noteworthy with main female lead Li Shi Wing; naive, seemingly fractious and somewhat altruistic but lacking any greater sense of depth or character development throughout. Arguably whilst viewers did see some greater writing opportunities with He Yun and his own personal drives, the main lead did suffer a somewhat similar fate with being underdeveloped.
The cinematography of the series arguably remained one of the drama’s most stunning attributes. Through the directing reigns of Sun Mo Long and co-director Lao Suan, ‘ Reset’ did offer viewers with a notably stunning array of slick and professionally cut editing and scenes. The OST was admittedly just as pleasing with scores and tracks that whilst slightly generic in parts, did help to reflect the mindset and set the tone for the events of the storyline.
Sun Mo Long and Lao Suan’s ‘ Reset’ offered viewers with an intuitive and surprisingly suspenseful take upon the old trope of time loops and time travel. In execution, the series is admittedly weaker with lacking character development for its main leads and somewhat inconsistent pacing, but the slick cinematography and opportunities to see unlike side and antagonistic characters grow did offer some great takeaways from the drama also. Overall whilst ‘ Reset’ was not a drama without some prominent flaws , the series was admittedly a fairly good watch and engaging with its audience.
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‘Tomorrow’; Death Meets Satire In Rowoon’s Latest Fantasy Series…
Mortality is never an easy subject to tackle in dramas. Based upon the eponymous webcomic (‘ 내일’) by Llama, fantasy series ‘Tomorrow’ decided to bring forth the topic of death in a powerful smorgasbord of social issues and topics. Instead of reimbursing the old cliché of grim reapers being harbingers of doom and death, ‘Tomorrow’ rebrands its morbid psychopomps as fashionably suave members of the Crisis Management Team, attempting to save certain unfortunate souls from suicide.
The series focuses upon an alumnus from a prestigious university, Choi Jun-Woong (SF9’s Rowoon-‘Extraordinary You’, ‘She Would Never Know’ and ‘ The King’s Affection’). Struggling to land himself on the job market, Jun-Woong’s life is changed forever when he ends up encountering angels of death Goo-Ryeon (Kim Hee-sun-‘My Fair Lady’, ‘Angry Mom’ and ‘ Alice’) and Lim Rung-Gu (Yoon Ji-on-‘Dear My Room’, ‘Be Melodramatic’ and ‘Jirisan’ ).
Waking up outside of his corporal body after an accident, Jun-Woong discovers that he has been physically rendered in a comatose state. He is given the choice by Director, Jade Hwang (Kim Hae-sook- ‘Precious Family’, ‘My Father Is Strange’ and ‘Inspector Koo’): he can choose to be trapped in his unresponsive body for three years, or he can work with them in a ‘’half- dead’’ state, reducing his comatose state to six months and then landing any job he wants after he wakes up.
Woong is assigned to the Crisis Management Team alongside Goo-Ryeon and(, by default of being her protégé,) Rung-Gu. As the unlikely trio attempt to work together as a team, Jun-woong soon discovers that his new position is far from being a walk in the park.
Adapted to the small screen by novice screenwriters Park Ran, Park Ja Kyung and Kim Yu Jin, ‘Tomorrow’ places heavy emphasis upon prominent social messages and themes.( Including sensitive issues such as suicide, the trauma of war, inequality, bullying, the generational trauma of South-Korean comfort women, depression, peer pressure and eating disorders.)
Without a doubt, ‘Tomorrow’ is a varied accumulation of satire, provocative angst and mirthful wit. Although the series was often tactful within its approach to various subject areas and themes (in particular helping to offer light-hearted respite in-between heavy-hearted points of the narrative), the screenplay could admittedly feel somewhat out of place at times with its attempts to balance between hard-hitting messages and comic relief.
Of course this is not necessarily to say that the comedy shouldn’t have existed at times. Certain issues tackled in ‘Tomorrow’ were certainly supposed to be heavy-hitting and the requirement for an interim of slapstick comedy or comical exchanges was certainly necessary. (In particular, this was shown at times by Park Ran, Park Ja-Kyung and Kim Yu Jin being able to strike a surprisingly harmonious balance for most of the series through the kaleidoscopic array of themes and contrasting tones for their audience.)
However despite certain commendation certainly having to be given to the trio of screenwriters for their consistently provocative themes and tones, ‘Tomorrow’ could sometimes feel as though it disengaged between its plot and themes. To explain this further it is important to reiterate that comic relief was often quintessential within the screenplay in order to offer respite from darker themes and subject areas.
On the other hand, it did become noticeable at times that the series would often fall victim to divulging deeply into comic exchanges. This would often divert attention away from building-up the narrative events and characters, or alternatively struggling with the opposite problem by failing to allow a necessary brake or moment of light-hearted respite for audiences to grapple with events or characters. ( This seemed to flare at times later in the show in episodes such as ‘’Someday, Because Of You’’. Although the episode tackled a heartfelt subject area and was surprisingly bittersweet , it often felt as though the prominent meanings behind the messages in the episodes weren’t as reinforced as they could’ve been.)
Of course, this is not to make out that the entirety of the writing for ‘Tomorrow’ was inadequate or unwatchable in any way. Although perhaps certain issues ( in particular mental health and eating disorders) were perhaps
not fully explored by the screenplay or given speedy outcomes , ‘ Tomorrow’ often placed a certain level of open finesse with addressing issues and helping the audience and the characters coming to terms with them.( In one of the later episodes of the series entitled ‘’Spring’’, the audience were supposed to be particularly hit home with an onslaught of emotions with the controversial and historical subject area of Comfort Women, focusing on a dark chapter in South-Korean history.)
Naturally this brings up the discussion surrounding character-writing within the adapted screenplay for ‘Tomorrow’, as well as the performances by the main cast. Perhaps one of the most notable roles in the drama is given to main male lead Choi Jun-Woong, played by idol-actor Rowoon.
Rowoon has often been the subject of intrigue and debate with his previous career trajectory as the ‘’ leading man’’. Nevertheless, Rowoon offered a fairly consistent onscreen performance as the main male lead and it is fair to say that for many viewers, this could easily be seen as one of Rowoon’s best performances yet. As the main character of the narrative and storyline, Jun-Woong embodies what many would probably classify as the ‘’everyman’’ trope.Of course, this wasn’t a bad approach per say. It is sometimes common in fiction to see a main character become a medium for the audience, especially with a character being uprooted from their mundane, everyday life and being placed in an unfamiliar world or setup.
For main lead Jun-Woong, this was evident through being caught between two worlds: the afterlife and then the everyday mortal world. ( This was also shown arguably through Woong being conflicted in initial problems with common problems of interview and job struggles and then again with attempting to navigate his new role as a member of the Crisis Management Team .)
However, this also brings up an intriguing debate with regards to Jun-Woong’s character-arc. It shouldn’t come as a surprise that Jun-Woong is purposefully supposed to be flawed at times. Naturally this did not always enforce Woong to be placed as ’ heroic’’ figure at all times within the series.
He had his evident flaws and ‘ Tomorrow’ placed heavy emphasis upon some of Woong’s values feeding into an evident critique of social conformity by South-Korean society vs developing subjective morality and beliefs. ( In particular the screenplay would sometimes bring this idea up in early episodes with Woong’s shared social views on issues such as bullying, before contrasting this in later episodes with the main lead developing his own values and standpoints.)
Although it certainly allowed Woong to act as an embodiment of social views, it is noticeable that this often forced Woong into playing “ certain roles” in order to propel the storyline. Again, this isn’t always a bad writing decision but it did often feel as though there were some poorly tied loose ends such as Woong’s own personal struggles with his situation, his backstory and personal goals were often disregarded until the ending of the series.
In addition to the casting choice of Rowoon, it is hard to ignore Kim Hee Sun’s performance as grim reaper Goo-Ryeon. Hee Sun’s acting career has been eclectic and while respectfully her acting performances have varied, the actress’ pink dye job certainly helped Kim Hee Sun to embrace her suavely mysterious onscreen persona as the female lead. Alongside fellow costar Yoon Ji-On who played her laidback mentee Rung-Gu, audiences will likely find themselves tearing up and laughing at the antics of the two characters’ interactions and appearances onscreen.
As an onscreen character, Goo-Ryeon is arguably one of the most enigmatic and intriguing characters in the series. She is often fairly detached from overtly emotional displays like Woong but she is impassioned by her cause to help others. Initially viewers are supposed to remain uncertain of Ryeon’s onscreen presence. In particular, her unconventional acts of tough love towards the main lead and those she is seemingly supposed to save will bring about topics of intriguing debate for viewers.
However as the series soon reveals, Ryeon’s root cause for her actions are sourced from genuine sincerity for her position as a member of the Crisis Management Team, especially as a result of her complicated backstory. Naturally as a consequence of this writing point, ‘ Tomorrow’ placed heavy emphasis upon her mysterious backstory in the latter half of the series, similarly echoed to a lesser extent with side character Rung-Gu also.
Despite both characters having their fair share of traumatic and difficult backstories, it often felt as though Ryeon’s character arc felt a little rushed in particular. . Of course while audiences certainly did see a few hints of foreshadowing at times earlier on in the series ( in particular with Ji-On’s trauma), it certainly felt as though some of these backstory revelations and plot twists could’ve been developed or built up. There was a lot for viewers to digest with regards to Ryeon’s past and her important connections to other characters but due to an anticlimactic buildup, the momentum of these events rarely felt as though that they had reached their entirety even by the finale.
Aside from the main characters, it is also important to mention about some of the reoccurring characters of ‘Tomorrow’ also. Model-actor Lee Soo-hyuk ( ‘ Vampire Idol’, ‘The Scholar Who Walks The Night’ and ‘ Doom At Your Service’) starred as Park Joong-Gil, the straight-laced head of the Humanitarian Management Team who shares a complicated past with Ji-On, as well as Kim Hae-Sook playing the role of the Jade Hwang, the head director of the afterlife and the bureau of grim reapers. The supporting characters certainly had their necessary roles to play in the events of the narrative. In particular during the later events of the series, viewers are given several surprising backstory revelations but admittedly these side characters felt as though they deserved more screen time or interactions with the main cast in order to build up their character arcs slightly more.
Then of course there is the discussion surrounding the execution of the series. Perhaps it is important that ‘Tomorrow’ decided to offer viewers with a fairly systematic approach; introducing viewers to main lead Woong’s predicament and his unlikely alliance with the main leads, the new dilemma or issued faced in the episode, the reactions and causes of debate for the characters and viewers, the dilemma reaching its climax and then helping to resolve or bring a conclusion to the events of the episode.
This approach by the trio of screenwriters certainly allowed the screenplay to tackle a wide array of issues and problems. However, it certainly did not come without its problems either. A lot of the storyline’s early plot objectives were rarely sketched out aside from the “ mission of the team”, leading seemingly important events or obstacles for the main leads being disregarded at times and then being given half-baked conclusions by the ending of the series. As a consequence, the ending of ‘ Tomorrow’ will likely leave viewers with mixed-feelings; bittersweet and certainly offering a denouement to the events of the storyline but rarely tying off all loose ends or bringing a complete feeling of satisfaction for viewers also.
Stylistically under the leadership of directors Kim Tae Yoon (‘Another Family’, ‘New Trial’) and Sung Chi Wook ( ‘Special Labor Inspector Jo’,‘ Kairos’), ‘Tomorrow’ was often caught up in an impressive onslaught of aesthetic shots and glossy gradients, with mood lighting and tones helping to add emotional turbulence and significance for characters and viewers in certain scenes. Perhaps one slight nag with the cinematography came through a lack of consistency. Rather than attempting to stick to a particular consistent form of filming or shots and tying these scenes and moments with the worldbuilding and lore of ‘Tomorrow’, the extravaganza of surrealist scenes and panned shots heavily influenced by big-budget movies felt somewhat disengaging from the screenwriting and world building at times. Nevertheless it is fair to say that ‘ Tomorrow’ did boast an impressively stunning array of imagery and scenes.
The OST for ‘Tomorrow’ was comprised mainly of a collection of modern pop tracks, varying somewhat dependent on personal tastes. Perhaps there may be certain songs such as the surprisingly upbeat rap song ‘’Red Light’’ by J.don and the morosely lovelorn ballad ‘’My Loneliness Calls You’’ (‘’나의 외로움이 널 부를 때’’) by Suran which will appeal across the board for viewers.
The sixteen-episode webcomic adaptation will offer viewers with a surprisingly heart-wrenching mixture of social commentaries, traumatic character backstories and comic relief. At times, ‘Tomorrow’ often struggled slightly with maintaining a harmonious balance between its writing and messaging. ( This often lead to parts of the storyline feeling rushed or lacking a sense of completion such as the ending or certain character arcs.) However for those looking to indulge in a fantasy series beyond the surface level with some prominently current social and critical commentaries with a touch of traditional Korean folklore and mythological beliefs in the modern world , then ‘Tomorrow’ will certainly offer viewers with a good watch.
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Be My Boyfriend; Sugary Teen Romance Tale, With A Trope-Filled Plot...
As a byproduct from the same makers of the similar sugary-sweet series ‘Secret Mistake’ , the short series ‘Be My Boyfriend’ ‘ is a fairly formulaic high school romance tale where ‘’ popular girl’’ Oh Ji Na ( Lee Shi Woo) forces mundane student Lee Seungmin ( Shin Hyung Seung) into a contractual relationship to drive away old flame Ku Hyung Tak ( Im Sung Kyung). The series certainly wasn’t unwatchable and had an initial sweet romantic setup , however, the series was formulaic with a predictable storyline and cliches throughout.
Naturally, it is important to address that the majority of the cast were either novice actors such as Shi Woo, Im Sung Kyung and Hyung Seung , or have only had a few minor and supporting roles like Jung Bo Min ( who played Joo Min Ji) and Kim Byeong Kwan over the years. (This is not to condemn casting choices or actors merely because they don’t have experience.)
Whilst there were a couple of questionable acting moments ( especially with several line deliverances from Byeong Kwan during “ comical moments”) it certainly wasn’t dire for viewers to watch either. In fact, as rookie actors, Shi Woo, Im Sung Kyung and Hyung Seung were fairly suitable as our main leads. That aside, it is prominent to address the bigger issue of characters and their overall presentation within the series.
Perhaps the most notable character to address is the female lead of the drama; the labelled ‘ goddess’ and ‘ popular girl’ Oh Ji Na. With these notable character archetypes constantly referenced nearly every two seconds in the opening of the show, it is fair to say from Ji Na’s initial introduction, she’s fairly narcissistic in the beginning . Yet as this is a ‘ typical and life-changing romance story’, Ji Na begins to reveal more behind her layers as the series moves on, by her gradual affection towards the male lead.
However, the most notable problem with Ji Na as a character occurred within her lacking sense of imperfection . Whilst admittedly there is the argument Ji Na is easily shot down by her jealousy and inability to accept her feelings( especially with Seungmin), Ji Na rarely seemed to understand or take responsibility for her own mistakes and hurting others in the process. A good example of this scene can be found early on in the web series when Ji Na becomes envious over Seungmin hanging out with her ” best friend” Seong Ha Na ( Choi Yu Ju). Whilst admittedly given the context this was revealed to be a misunderstanding and Seungmin was undeniably at fault to some extent ( as well as Ha Na) , it seemed unfair and hypocritical that Ji Na was openly disparaging about Seungmin ” spending time outside the contract ” with Ha Na in a possessive manner, when she was also spending time with Hyung Tak. Seungmin did initially point this out, however, Ji Na allowed this to become a dominant argument upon ” Seungmin in the wrong” rather than sharing the responsibility of her actions.
It is wrong to deny that Ji Na doesn’t entirely grow outside of her cliche shell either. Ji Na does become notably a more tolerant person over the course of the drama by standing up for Seungmin against Hyung Tak, as well as not relying upon the male lead to entirely fight all of her battles as a strong-willed individual . However , one notable factor which was never truly explored in the series in favour for Ji Na being the ” high school popular girl” was exploring more about her past and reasons for joining the idol agency.
This transitions us onto the main lead of the series Lee Seungmin. Introduced under the ‘ loser’, and ‘ normal’ archetype with a ‘ heart of gold’, Seungmin is naturally head over heels with the ‘’ goddess’’ Oh Ji Na and becomes determined after signing the contract to earn her affections. Seungmin did have a more fleshed-out backstory than Ji Na, with a complicated family scenario of his mother dying prior to the events of the drama and residing with his single-father.
On the other hand, Seungmin’s reactions and growth over the course of the series often felt very minimal . Whilst it was refreshing to see that Seungmin considered his own feelings for Ji Na before signing the contract, he was often overly oblivious and complacent towards the growing affections of Ha Na at times also. The relationship between the two characters took a fairly predictable turn with the established setup and cliches along the way. As Seungmin has harboured feelings for Ji Na for awhile, it was a fun dynamic to see Ji Na also growing to fall in love with Seungmin for his kind soul.
Of course, perhaps the biggest elephant in the room in the beginning of the series appears within the character Hyung Tak. Notably controlling over Ji Na , fractious within his behaviour towards Seungmin and appearing seemingly as an “antagonistic force” of the series, Hyung Tak was immediately established as the ‘ aloof and popular sportsman’ of the school. Hyung Tak admittedly did have some more exposure as not entirely as a ” terrible person” over his guilt for leaving Ji Na when they were dating and forgetting special events, as well as being the first to take the reigns to locate Ji Na when he becomes aware that she is being stalked. On the other hand, Hyung Tak oddly went from being a predominant character in the series to a fairly minor presence. There was nothing entirely wrong with this as the show was attempting to focus more upon Seungmin and Ji Na’s relationship, however, this often led to Hyung Tak feeling poorly fleshed-out as a character.
The ending of the web series was fairly predictable and typical of a teen-romance setup; not bad or terrible per say, but not entirely original either.
‘Be My Boyfriend’ isn’t an initially ” terrible” show. The romantic pairing between the characters was oddly heartwarming against the more notable cliches and a new array of promising actors were introduced through the novice cast lineup. On the other hand, the web series was undeniably predictable and cliche-ridden within its setup , immature dialogue and conservative archetypes upon ‘’ Korean high schoolers’’, often felt poorly-written. Certainly not unwatchable, however, the majority of the web series was foreseeable, making ‘ Be My A Boyfriend’ a web series which can easily be swept under the carpet for the next romantic drama out there.
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Even Ji-Kyung’s Makeup Skills Couldn’t Hide The Blemishes Of This Drama...
Before reviewing this series, it is important to note that makeup is an interesting, yet rarely tackled topic tackled within Korean dramas. Although over the past few years, we have seen shows like ‘beautiology 101’ (2016) and recent contenders such as ‘True Beauty’ (2020-21) , ‘Record Of Youth’ ( 2020) and ‘ Sunbae , Don’t Put On That Lipstick’ (2021) tackling or mentioning this topicality within their storylines , it is often commonly used as a subtle setup placed in favour of the romantic undertones or a romantic pairing within and drama .‘ Touch’ is no exception to “catching on” to this recent symbiotic trend of makeup and romance in one series. The show focuses upon a former - idol called Soo Yun ( Kim Bo Ra) who suddenly decides to become a makeup artist under the tutorage of makeup connoisseur Jung Hyuk ( Joo Sang Wook). The premise was oddly not a terrible setup in the grand scheme of romance dramas; not original within its concept, but surprisingly not provoking the series into uncharted territory of being “ unwatchable” at first either. It would seem the intrinsic flaw of the show boiled down to three major inconsistencies ; characterisation, pacing and ultimately the portrayal of Soo Yun and Jung Hyuk’s relationship throughout the show.
Addressing the first point of character-writing, it’s interesting to analyse exactly where the series went wrong overall within presenting this supposedly “ dynamic” relationship between the two leads of the series .
Soo Yun plays upon the typical “ underdog” trope by being talented and hardworking within her previous goals to become an idol, but ultimately letdown by a rigged and unfair system. Whilst it was an interesting notion to point out a critique in the otherwise “ fluffy and cutesy” drama towards the elements of injustice in the K-Pop industry, it didn’t really deliver a finer impact for viewers upon Soo Yun as an individual. In fact, Soo Yun was often a difficult character for viewers to truly feel emotional attachment towards as we are exposed to so little about her actual reasons or intrinsic motives at all within the drama, and even why she chose to become an idol in the first place. Consequently, the same problems aspire within Soo Yun’s choice to become a makeup artist. This is undeniably quite a specialist field which requires even for novices, years of talent, training and experience to land a small job in this industry , not least in a renowned company . With presumably little background in this field prior to the events of the series or aspirations shown beforehand towards makeup ( up until meeting the male lead as an idol), it is hard to truly define what drove Soo Yun into making this career choice and suddenly becoming her “ dream” without any previous passion towards makeup notably in the first place.
If this wasn’t problematic enough, Soo Yun has few true defining qualities which make her prominently stick out as a character. Aside from her questionable career paths lacking drive and motives, she was simply too staid within her decisions and actions at times to notably motivate the plot or relate to as an individual. This is not to suggest that a female character should be constantly boisterous, short-tempered and outgoing in order to be “ well-written” ( as this can be just as worse for falling into other cliches) , however, a well-written character often has something prominent or memorable about a certain personality trait, flaw or expression which instantly attracts or make them to appealing to an audience.
A good and notable example towards Soo Yun’s lacking depth and character writing as an individual is prominent within her reactions and behaviour around her abusive, former boyfriend. Most characters in a series dealing with this traumatic issue would probably struggle to open up in a relationship again or at least react emotionally towards often being cornered by someone who made your life miserable. Instead Soo Yun is incredibly passive towards the notion for a major proportion of the series, only “ reacting” to her experiences when it was necessary for the plot and later in an attempt quickly wrap up this storyline, “ forgiving” her former boyfriend. This was a hard notion to understand both within exactly how Soo Yun was trialed by these events as well as holding onto moral dignity as well. Although actress Kim Bo Ra was decent enough within her performance, it intrinsically felt devoid of expression and depth due to her poorly-written character.
Moving on to our next main protagonist , is Jung Hyuk, the main male lead of the series. Ambitious, eccentric and a perfectionist when it comes to makeup and natural beauty, he is pointed out to be an incredibly talented makeup artist by the characters of the series. Although San was terrible within his role, his character was in poor taste to say the least.
Initially Jung Hyuk appeared as a character who had the potential to learn and grow from his previous mistakes and aloof behaviour over the course of the series. Before moving onto a deeper criticism towards made Jung Hyuk a poorly-written and manipulative male lead, the one thing which the plot did do pretty well with Hyuk was showing viewers his motivation behind becoming a makeup artist unlike Soo Yun. On the other hand, one thing which prominently was not risen in this show was the issue over masculinity for a man in this field . Whilst there are notably younger male artists in this line of work in the series, considering the presumed age of Hyuk and having been in the industry for awhile, it would seem evident that over the years Hyuk has often faced discrimination or challenges towards his masculinity over appearing too “ effeminate” within his love and passion for makeup. This has long been a prominent, sociocultural issue in South Korea over images of masculinity as well as the divide over makeup becoming a “ social norm” against both genders, something which could have easily been mentioned or raise in the harsh and competitive world of the makeup industry presented in the series.
Yet the most evident problem with Jung Hyuk can be found through his notably controlling and harsh behaviour over the course of the series. This is something notably present within Hyuk’s psyche both within the workplace and his inferior treatment of the female lead for his own gain in the beginning of the series, as well as his horrible treatment of women in past relationships. Although most dramas would often attempt to show merely how the relationship between Jung Hyuk’s ex, Ji Yoon broke off over rows, what was disconcerting about “ Touch”’s dealing of the issue was introducing a serious issue of domestic abuse. In itself, the concept can be an interesting problem or critique of social issues in a series to explore, however, what was difficult to justify about its portrayal in the drama must have been the attempt to “ gloss it over” without pointing out that it is a serious and problematic issue.
If this isn’t problematic enough it gets worse when we assess the relationship between the two characters in the drama. It wasn’t primarily to do with the age difference between the characters, as often this aspect can often deepen relationships by learning to understand one another through generational differences. Instead, it was notably hard that the series did not truly build upon this relationship at all with an odd transition from “ master and apprentice” to “ lovers” without really transgressing over that threshold beforehand in the show. As individuals, it was hard to truly root for Jung Hyuk when he was principally portrayed as a greedy megalomaniac in both work place and his “ relationship” with Soo Yun, whilst Yun notably as a victim of a similar relationship in the past, seemed to insecurely and worryingly fall for the same trap in an almost “ subservient” manner than actual affection .
In the background of the problematic pairing exited Kang Do Jin (Lee Tae Hwan), an idol and a friend of Soo Yun who naturally entangles himself into becoming a cliche component of this love triangle. Arguably, Do Jin was the one fairly likeable character of the series who actually against his seeming vanity had a good- heart by helping out the female lead in numerous ways. Yet due to the poor pacing of the series, there was little time to truly focus or deepen Do Jin as an actual individual.
Overall, “ Touch” is a series which desperately tries to use the typical and cliche setups of romance in the workplace, but soon find its unravelling by poorly-written characters, an uncomfortable romantic pairing, questionable messages towards prominent issues of abuse against women and plot inconsistencies as well. Although it had a certain edge of “ fluff” within its setup and ending , the direction of the storyline felt aimless and lacking in a greater sense of storyline and development
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Our Beloved Summer; The “ Break Up” Story With A Twist…
The “ break up” story is a trope in rom-coms which is timeless. Main lead meets main lead, a love story ensues only for the characters to end their relationship through an acrimonious breakup. However whilst Lee Na Eun’s screenplay alongside the directing reigns of Kim Yoon Jin offered viewers a fairly heartwarming coming-of-age tale with an element of mystique , it is important to establish that the drama rarely touched upon new subject areas or topics either.In the past Choi Woong ( Choi Woo-shik) and Kook Yeon-Su(Kim Da-Mi) were high school classmates and polar opposites. Whilst Yeon-Su was an intelligent, hardworking and top-achieving student, Choi Woong was a laidback teen during his high school days; caring little about being a low-ranking student and being focused upon his artistic abilities instead. By a whim of fate, Yeon-Su and Woong discovered that they were chosen as the main subjects (,out of wide selection of candidates,) for an indie-style filmed-documentary.
Even after the documentary finished filming , Woong and Yeong-Su’s mutuality for one another soon grew into sincere feelings as the duo began to date during their college years. However, shortly after finishing their respected diplomas, the former sweethearts went their separate ways with the intention of never meeting one another again,but, fate has an odd way of bringing people back together . Several years into the future , the documentary has become gained a viral cult -following and consequently both main leads find themselves reunited once more.
‘ Our Beloved Summer’ is a fairly lighthearted watch for the most part. Whilst the series does run highly upon certain elements of angst and melodrama surrounding certain relationship dynamics and unrequited feelings , Lee Na Eun’s focal drive of the series surrounded mainly the relationship dynamic between its main leads.
Of course, it’s wrong to say that ‘ Our Beloved Summer’ wasn’t entirely
absent from its more droning “lovey-dovey exchanges” and tedious romantic setups, but, in a series where the focal point surrounds a niche break-up story and potential love story ( which could either irk or appease audiences), satire is sometimes quintessential to helping break the ice. Director Kim Yoon Jin presented the series as a self-conscious reflection of popular culture influences and references. The insertion of evident allegorical homages to different genre films such as; I Know What You Did Last Summer’, 10 Things I Hate About You’, ‘ Pride And Prejudice’, ‘ Catch Me If You Can’ ‘ Love Actually’ helped to present the different emotional stages of the main leads’ relationship in an obvious yet admittedly intuitive manner.
Yet whilst Kim Yoon Jin’s clever usage of titles and filming will certainly not go amiss amongst viewers, there is admittedly one elephant in the room which should be addressed openly surrounding the series; , the pacing. For the most part, ‘ Our Beloved Summer’ is slow-burn. Whilst the average episode could last around an hour and did take time to focus upon certain elements of relationship and character building, the series could feel somewhat dragged out by the latter-half also.
Naturally it isn’t always necessary for a series to have a specific antagonistic force or evident end goal. However for a series to keep viewers engaged characters can often be presented with motives, drives and personal goals in-between the main storyline to give flare or help to flesh-out character building. Whilst we did see some opportunities for this to happen with certain characters, the main leads were rarely given a more dynamic or personal raison d’être as characters. ( Aside from the potential impositions of their relationship or character drive for the “sake of plot”. ) As a consequence, ‘ Our Beloved Summer’ could sometimes feel as though it was slightly conflicted and dragged down by its pacing. Instead of either compacting the series into twelve episodes or attempting to add a more decisive plot-motivation, cliche misunderstandings, misconceptions and niche setups began to arise as the storyline entered its final part.
Nevertheless, the main cast were fairly dynamic as our main leads. Choi Woo-Shik versatility as an actor is proven again within his charismatic performance as main lead Choi Woong; a formerly deadbeat student and a successful artist and illustrator in adulthood who has shared complicated feelings for female lead Kook Yeon-Su.
Admittedly, Choi Woong could often feel shoehorned into “ plot” moments and tension in order to keep the storyline “ intriguing” . ( Incliding through several main subplots .) Yet rather than allowing the main lead to become the reimbursed “ vengeful lover” or “ cold and aloof” trope, screenwriter Lee Na Eun adds an air of subtlety within his equilibrated character strengths and flaws. He has an endearing relationship with his father ( Park Won-Sang) and mother ( Seo Jeong-Yeon) as well as with his best friend Kim Ji Woong ( Kim Sung Chul).
Costarring alongside Choi Woo-Shik is Kim-Da Mi. The actress likewise presented her persona as main female lead Kook Yeon-Su with a dynamic ambience onscreen. At times, Yeon-Su initially could often feel like a carte blanche female lead; enforced to become the “ polar opposite” to Yeon-Su. However , ‘ Our Beloved Summer’ rarely shied away from giving golden opportunities for viewers to understand more about her as a character . Her misconceptions and labels placed upon her from others, a surprisingly heartwarming relationship with her quick-witted grandmother Kang Ja Kyung ( Cha Mi Kyung), as well as most notably coming to terms with her mundane office job , did allow some intuitive insights into Yeon-Su’s persona.
From being at one another’s throats in ‘ The Witch; Part 1’ to former-lovers in ‘Our Beloved Summer’, Kim Da-Mi and Choi Woo-Shik’s onscreen chemistry was undeniably one of the driving strengths of the series. However whilst Da-Mi and Woo Shik’s chemistry was sweet and heartfelt, their characters’ onscreen relationship could admittedly a feel a little shoehorned at times through plot and did place slight strain upon the written relationship feeling natural.
Kim Sung Chul’s role as Kim Ji-woong played a pivotal role within kicking off certain events of the series. Admittedly Ji Woong’s presence during initial events and revelations of the series could admittedly feel a little staid at the best of times but his involvement in later events of the drama is provided as necessary for plot-drive.
Then there’s also second female lead NJ ( Roh Jong Eui) ; a popular K-pop idol who becomes enamoured by main male lead Choi Woong after he doesn’t fall for her charms. Unsurprisingly, NJ’s role in the series was evident from the beginning to present an “ obstacle” within the battlefield of affections for the main leads. However , rather than reimbursing NJ as the “ jealous second female lead” archetype, the series does provide some golden-opportunities to explore some more depth behind NJ’s feelings as well as her personal-growth.
Director Kim Yoon Jin seemed to have a fairly tactful eye behind the camera also. Professional long distant shots and close-ups were cleanly cut , unobstructed and slick in order to delve into the characters’ mindsets and daily lives. In particular, Yoon Jin’s presentation of vivid palettes and tones stood out through the frequent usage of mellow-yellows, tonal whites and blues in order to bring about a hazy tone of nostalgia throughout the entirety of the narrative.
The OST was mainly subtle and predominantly composed of gentle instrumentals - sweet and helping for viewers to focus on dialogue ( instead of lyrics), but admittedly certain tracks delivering a more emotional and memorable impact also.
It was evident to see from the outset that ‘ Our Beloved Summer’ would attract a lot of intrigue and interest from its main cast; particularly A-listers Choi Woo Shik and Kim Da Mi’s dynamic onscreen reunion and performances. However despite the series offering a different take on old tropes and diverging from expected character archetypes with a touch of depth , ‘ Our Beloved Summer’ could sometimes feel weighed down by its predictable setups and inconsistent pacing in parts. Nevertheless, whilst ‘ Our Beloved Summer’ did not possess an original setup, the series was a surprisingly heartwarming watch also.
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Will This Series “ Raise” Your Patient Levels ?
Even by K-drama standards pushing the boat out from “ first lovers meeting again ” to “ let me treat your erectile dysfunction” is definitely a bold and risky concept to work with. However screenwriter Mo Ji Hye and director Kim Jang Han’s ‘ You Raise Me Up’ is arguably one of the most “gutsy” dramas in recent years by focusing on a risky subject area, combined with an oddly heartwarming and profound tale also.
Do-Young sik (Yoon Shi Yoon) works multiple part-time jobs at a restaurant bar that he perceives as “ menial” work and being unable to pass the civil service exam. A self-proclaimed “ loser” ( made even more obvious by director Kim Jang Han’s choice of ‘ Creep-Radiohead’ being played briefly in the background of the main lead’s inner monologue in episode one), Young-Sik lacks self-confidence both within his life decisions and his manhood. When he decides to consult a professional about his erectile problem, he ends up unfairly running into his first love and now a urologist Lee Ru Da (Ahn Hee Yeon).
In an attempt to prove her ex-boyfriend Ji-hyuk (Park Ki Woong), a successful high-flyer psychologist wrong about misconceptions of her first love ( after bragging to him about Young-Sik), Ru Da decides to make it her mission to “ boost his self-esteem”. However Ji-Hyuk’s wounded ego gets the better of him as he enlists himself to “ help” Young-Sik in order to “ expose” him. However as Young-Sik and Ru-Da begin to spend more time together sparks once more begin to fly between them…
As far as the acting is concerned our main cast are fairly good throughout the drama. Of course Yeon Shi Yoon never fails to impress his dual balancing act of adding comical goofiness as well as a more profound note to his roles . As a character Yong-Sik fits very much into the category of the “ unconfident and antisocial” male lead. Aside from his evident sexual problems, Yong-Sik struggles with his self-image as well as his obsession over pink.
Yet whilst Yong-Sik’s initial struggle and sexually suggested scenes aim for more comic relief than melodrama, it is undeniable that the series does offer some opportunities to explore a more complex edge to Yong-Sik’s background and self-loathing ( stemming back from initial trauma). On the other hand whilst the direction of Yong-Sik’s character was taken in the right direction to explore his kindhearted and altruistic side over the course of episodes and revelations, the drama rarely devoted itself to more possibilities and depth surrounding Yong-Sik’s traumatic past and psyche. ( Especially considering his more serious actions in the first episode as well as his repressed attempts to hide memories and associations.) For example an evident source of regret for Young-Sik is consulting his mother about his current occupation and life. Whilst it is understandable where these anxieties might lie due to feeling rejected, it felt odd that the series didn’t offer many opportunities for Young-Sik to at least attempt to consult his mother or address hus anxiety surrounding this head-on.As a consequence it often felt as though Yong-Sik was often shoehorned into the role of the “ pitiful” main lead; easy to feel sympathy for and to root for, but rarely truly escaping or at least shown to struggle more with his journey by his emotions.
Naturally this moves onto our female lead Lee Ru Da. Ru Da is the epitome of the stock “ successful yet regretful” female lead. Yet whilst she is played played with a sweet charm by Ahn Hee Yeon during more heartfelt moments, her character is admittedly a little hard for audiences to truly be won over by. Of course the female lead isn’t necessarily a “ heinous person” per say and whilst her flaws help her to feel more human amongst later revelations, it is easy to understand how screenwriter Mo Ji Hye’s intentions for us to “ root” for Ru Da as a character were often harder than perceived due to ambivalent feelings for the female lead by viewers.
The main reason for this indecisiveness stems from the fact that whilst a lot of “ revenge” romance setups stem from the cliche of “ revenge upon my ex”, Ru Da takes it one further by taking advantage of Yong-Sik’s feelings and mental state initially. Perhaps it wouldn’t be too bad if we could have understood more about Ru-Da’s oppressed emotions, her interactions outside of her romantic relationships ( with family, friends or other patients), reasons for staying with Ji-Hyuk for so long ( aside from the brief flashback from their “ shared past”) as well as exactly how and why she lost contact with Yong-Sik ( especially after effectively saving her life) , but a lot of these “ details” are often brushed over. Whilst the series did attempt to offer some more sympathy for her character through her “ emotions rising to the surface”, it was a little hard to indicate exactly how Ru-Da grew or developed as a character by instead reverting back to her younger-self’s emotions rather than trying to make amends through a sincere apology to Yong-Sik.
As far as the romantic setup is concerned ‘ You Raise Me Up’ the creme de la creme of tropes; “ the love triangle”. This naturally brings us onto one of the most easily dislikable second male leads seen in a K-drama in a long time; Ji-Hyuk. It isn’t necessarily the case that merely because Ji-Hyuk is the “ jealous ex” that he can get under viewers’ skin. Instead it is rather the case that Hyuk is conniving and manipulative and would rather allow his biased emotions cloud his judgement, rather than remain professional in his line of work as a psychiatrist. Of course whilst Ji Hyuk is necessary in the series to acting as the “ antagonistic foil” for Yong-Sik and does help to drive the plot as a consequence, a lot of Ji-Hyuk’s reasoning, goals and feelings often felt and domed throughout the series.
Then of course there’s arguably Yong-Sik’s most loyal friend in the series, Jennifer ( Kim Seol Jin). Whilst some viewers have remained uncertain towards the show’s tropes and cliches surrounding the transgender woman shaman, Jennifer did remain an instrumental supporting character in the series by offering Do Yong Sik positive advice such as to seek professional help, as well as giving Yong Sik guidance towards his own feelings for Du Ra. Perhaps the only thing which would’ve been interesting to have explored with their friendship would have been Yong-Sik consulting Jennifer about his attempted act in episode one. Whilst it may have brought some pain and hurt into their bond, it would’ve certainly cleared some more evident uncertainty within their friendship after this action.
The ending was admittedly sweet yet expected- not bad per say and offering things on a happier as well as arguably a slightly more realistic edge within the main leads’ life decisions , but slightly predictable also.
Overall ‘ You Raise Me Up’ is arguably one of the most quirky romance dramas of 2021 with an impressive cast lineup. The sweet and lighthearted premise adds a more bittersweet edge and whilst certain characters felt unexplored or shoehorned into certain roles ( alongside cliches), the main leads’ later decisions and revelations did add a touch of character development in between. Overall whilst not a flawless drama, ‘ You Raise Me Up’ is certainly a decent watch for those looking for something a little avant-garde, or more risky within K-dramas.
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‘ Snowdrop’; Where To Begin With One Of 2021/22’s Most Divisive Dramas…
It isn’t uncommon for dramas to sometimes land themselves in hot water over various scandals in South -Korea and JTBC and Disney’s ‘ Snowdrop’ is no exception to this problem . Of course, this shouldn’t prevent viewers from enjoying a series or affect the overall quality .
The storyline of ‘ Snowdrop’ was intriguing, the casting choices are certainly impressive and there are admittedly some surprisingly impactful tour de force moments also. On the other hand, it’s hard not to address one of the biggest elephants in the room surrounding ‘ Snowdrop’’s mixed-reception and controversy; the storyline’s time-setting and take upon historical events.
The backdrop of the narrative focuses upon the precursor events leading up to the historical 1987 political movement in South-Korea. Eun Young-ro ( Jisoo) is a student at Hosu Women’s University and the daughter of the director of the Agency For National Security Planning (ANSP) Eun Chang-soo (Heo Joon-ho). After a blind date, Young-ro ends up meeting the mysterious Im Soo-ho (Jung Hae-in). A man of few words and having previously studied abroad at a prestigious university in Berlin, Soo-Ho captures Young-ro’s interests with his like-minded tastes and philosophies . However after Soo-Ho stumbles through a window at the university, covered in blood and wounds, Young-ro is forced to face some shocking truths and revelations about her crush Im Soo-Ho…
It is important to note that whilst there are some inescapable elements of “fluffy” and lighthearted romance in ‘ Snowdrop’, venerable screenwriter Yoo Hyun Mi (‘Bridal Mask’, ‘ SKY Castle) and director Jo Hyun Tak ( ‘ Who Are You?’, ‘ SKY Castle’) mainly focus upon the network of political mind games and tension throughout the storyline . In particular, screenwriter Yoo Hyun Mi adds a notably sardonic tone towards political strife and satire in 1980s South and North Korea.
On the other hand, Yoo Hyun Mi often seemed unsure at times towards the direction of the drama. Whilst it isn’t out of the question for a series to attempt to relieve tension with lighthearted banter, niche setups and comic relief, the screenwriter could often overplay at times somewhat fractious comedy and scenes without interspersing this into the storyline with more tact. In addition to this there is admittedly a complex issue to bring up surrounding the wider controversy of the drama; the fictional take upon real-life events and figures.
The series often attempted to depict important figures and events with a certain artistic licence. Whilst it is arguable that a lot of the storyline events were only loosely based upon the memoirs of a former POW and were never supposed to be a “fly-on-the-wall” depiction of events , it is still a sticky situation when viewers become aware of the actual historical context. ( In particular, the drama’s somewhat “glossy” depiction of tragic historical figures, groups and events without acknowledging brutal realities. )
Controversy aside , ‘ Snowdrop’ admittedly offered viewers a fairly impressive casting lineup, specifically with BLACKPINK’s Jisoo, rising star Jung Hae-in and A-lister Yoo In Na drawing attention for viewers .
BLACKPINK’s Jisoo starred as the main attraction of the drama as main female lead Eun Young-ro. Whilst Jisoo’s initial performance was admittedly somewhat questionable, the BLACKPINK idol’s acting debut was certainly decent enough with an ability to capture an emotive edge to her character in later episodes.
Costarring alongside Jisoo was main male lead Im Soo Hoo as Jung Hae-in ( ‘ D.P’, ‘ Prison Playbook’, ‘ Something In The Rain’). The actor is no stranger towards taking on versatile roles and whilst there were moments that Hae-in’s delivered dialogue could feel somewhat stiff, Hae-in was able to add a surprisingly complex charm to his onscreen persona.
The chemistry between our main leads is admittedly mixed at the best of the times. Whilst the events surrounding Jisoo and Hae-in’s onscreen counterparts are quintessential towards the main storyline, the actors’ onscreen chemistry could feel somewhat stunted due to few opportunities in order to explore the scope of their characters’ onscreen relationship.
Yoo Hyun Mi’s pacing of the series was variable. Whilst she allowed some opportunities to see tension buildup and gradual events unfold, the attempt to drag -out plot points even in a space of sixteen episodes, could often lead to events of the narrative feeling somewhat tedious and dull. In particular, screenwriter Yoo Hyun Mi fell into a notable habit of inducing a tense plot point, climatically building up events only to deliver a somewhat anticlimactic and trope-induced result and then repeat. ( In particular, the conclusion of the series suffering from the full weight of Hyun Mi’s formula.)
Nevertheless it is noteworthy that under the directing reigns of Jo Hyun Tak, the filming of ‘ Snowdrop’ is professional, slick and stylistic. The oozing tone of gradients and camera shots helped to convey the tension of key plot points and in addition to the emotive OST composed by Kim Tae Seung, helped to present ‘ Snowdrop’ with an aesthetic flare.
Jo Hyun Tak and Yoo Hyun Mi’s ‘ Snowdrop’ is a series which will likely satisfy and displease viewers of equal measure. The controversy surrounding the drama’s depiction of historical events is an unavoidable issue. On the hand whilst ‘ Snowdrop’ did boast a star-studded cast, a venerable screenwriter and director behind the scenes as well as some emotional punches , the drama did admittedly still suffer under the weight of poor-pacing, predictable setups and lacklustre opportunities to explore characters and impactful events ( including the ending) with more depth. Controversial, emotive yet somewhat niche in parts, ‘ Snowdrop’ is a drama which whilst watchable, will still divide audiences greatly…
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How ‘ Ring’ Inspired A Phenomenon…
Gore Verbinski’s American remake ‘The Ring’ (2002) has arguably left a lasting impression on those who have initially seen the Hollywood movie of iconic ghosts with long hair crawling out of TVs and creating a moderately-successful horror movie with a quick formula. However the original 1998 Japanese version of the movie, Hideo Nakata’s ‘ Ring’ arguably outshines its American successor by remaining a flawed yet hidden classic that truly kicked off the wave of J-Horror onscreen.
The film focuses upon Reiko (Nanako Matsushima); a workaholic TV reporter and single mother to son Asakawa Yoichi ( Rikiya Otaka). Reiko comes across a a disturbing urban legend story about a VHS tape that has creepy occult images and puts a death-curse on the viewer. After it is finished, the viewer will receive a phone call, and within a week, will die. When Reiko watches it for herself and alongside leading man Takayama Ryuuji ( Sanada Hiroyuki) is determined to get to the bottom of the ominous tape.
Interestingly the origins of ‘ Ring’ were certainly different form expectations. Hideo Nakata and screenwriter Takahashi Hiroshi sourced the material from Koji Suzuki’s novel ‘ Ring’; a storyline that downplayed the supernatural for pseudo-science fictions and metaphors. However instead of taking Suzuki’s concept word for word, Nakata notably placed the storyline in the tradition of Japanese Yōkai and Yūrei stories with evident inspirations taken from horror classics such ‘ Poltergeist’ and ‘ Videodrome’ interweaving their way into the movie.
The executed storyline of ‘ Ring’ admittedly had its highs and lows. Indeed the movie is disturbing and well-composed cinematic shocks truly delve into the horrifying vision of Nakata’s ghost story. However with confusing narrative coils as the storyline progresses, it could sometimes make plot-progression tedious.
None so could this be so apparent with main female lead Reiko; an intriguing character, who as the main protagonist, had so much potential to be well-explored and learn to mature from her experiences. Instead Nakata could sometimes create an agonising experience of Reiko constantly flittering mood without rhyme or reason before suddenly taking the back bench for most of the events of the movie in order to make way for the unlikely swashbuckling hero of the hour Takayama.
It isn’t necessarily out of the question for the movie to highlight Reiko’s quest for help and clarity during her search for answers. However considering the relevance of Reiko as a main and quintessential character throughout the events of the series it seemed odd we rarely had opportunities to see Reiko become a more well-defined character as well as importantly, delve deeper into her initially estranged to “ loving” relationship with her son, Yoichi.
Nevertheless it is intriguing to note that whilst the plot did have many loose ends which were never truly clarified during the events of the movie, Nakata had a surprisingly artistic eye to small details throughout scenes. Lacking obtrusive shots created an immersive experience with viewers ( despite the low-budget) and helped to present focus upon evident metaphors throughout the film. Most strikingly this appeared in later events through a captivating shot on static of the well; a metaphor for the parallel isolation and alienation of its main female lead. Dark lighting or vertical structures further emphasised the kind of estrangement. Reiko and her son’s living quarters are filled with a shadow of melancholia; isolated from one another in a microcosm world devoid of warmth.
Even the soundtrack composed by Kawai Kenji captivated the ambience of the movie; sparse and rarely used until acting as a warning bell towards the few spooky atmospheric cues at tense moments thrown into the mix.
‘ The Ring’ is not a perfect film with a lot of bamboozlement and division towards the final cut. Nevertheless whilst it has arguably remained dated on its presented roles of characters and technology, there’s something ineffably timeless about the ideology of fear and suspense transcending generations in ‘ Ring’ with masterful execution by Hideo Nakata presenting one of the well-deserved classic primogenitures to the J-Horror movement.
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“W”- A Waste Of Production Value And Time...
Looking through these older reviews, it would seem apparent for most drama watchers that there are two extremes from reviewers of this show; those who cited “ W” as the best thing since sliced bread, and those who believe that it is one of the worst/ mediocre K-dramas ever produced .“W” revolves around our female lead Oh Yeon-Joo ( Han Hyo- Joo) , a rational surgeon who is fairly embarrassed about her father , the celebrity artist Oh Seong-moo ( Kim Eui Song) ‘s popular webtoon series “ W”. Things become strange for Yeon- Joo, however, when her father suddenly disappears and she is able to meet the main protagonist Kang Chul ( Lee Jong Suk) by stepping into his fictional world. Yet things become even stranger when Yeon-Joo and Kang Chul learn of a mysterious man who wants to erase the bridge between fiction and reality by somehow moulding them together. Together with Kang Chul, Yeon- Joo begins a journey both in reality and fiction to find her missing father and put an end to the intentions of this mad man once and for all.
Of course there’s no denying that “ W” has all the right markers of being a brilliant production; the actual premise was intriguing and gave food for thought(thanks to renowned scriptwriter Song Jae Sung -Nine: Nine Times Travel, Queen In Hyun’s Man and Memories Of The Alhambra), the show had a top-notch cast in particular Lee Jong Suk , Han Hyo- Joo) and having a high -production should have easily sealed its fate as an an instant blockbuster phenomenon.However, the drama’s biggest flaw can probably be found within its lacking abilities to “ pace and progress” storyline, plot inconsistencies ( including a bathos ending) and ( in particular) character progression.
By default our Oh Yeon Joo had the potential should have been a well-rounded protagonist ; highly-intelligent, stuck in a strange relationship with her father and having an even more complicated childhood than a lot of heroines in K-dramas . Yet, Yeon-Joo didn’t really have enough time or purpose aside from her “ assets” to the plot, to actually be deepened or grow as a character- she rarely acted upon her intelligence ( even in the webtoon world), was exposed to have really any emotional depth or relationships ( including friends) outside of her father’s circle and her job, and it was hard for a major part of the series to see any striking reason for her attraction towards Kang Chul ( apart from the fact that she “ had a crush on him” when she was younger) as an individual .
Arguably Kang-Chul was slightly better tackled upon this front of characterisation that Yeon Joo. ( His existentialism as well as darker personality traits from trauma to revenge play a major part in the later storyline, adding a subtle twist from the typical “ Prince Charming” trope typically taken on by screenwriters in this scenario.) Nevertheless, Kang-Chul often felt a little “ bland” as a love interest for Yeon-Joo. It is often hard to entirely pinpoint where this “ blandness” can truly be found , however, the most apparent feature within Kang-Chul and Yeon-Joo’s lacklustre relationship is that Kang-Chul never really goes out of his way “ to get to know” Yeon-Joo.
Naturally whilst some of this is obvious to the plot line, it seemed odd even for a webtoon character not to intrinsically try to strike up conversations or at least ponder the similarities and differences in personality and behaviour between himself and Yeon-Joo. Although Kang-Chul undeniably has reasons behind some of his actions , he often felt like an intrinsically selfish individual who often pulled Yeon-Joo into uncomfortable situations and emotional gaslighting over the course of the series. For a show which focused upon these two individuals as a couple, their relationship often felt too mismatched, lacking in actual depth and anticlimactic.
Sadly, however, the show didn’t really try to pragmatically “ flesh-out” their relationship, instead ironically focusing upon “ the overarching antagonist” who was sadly more disappointing than our main characters . It is wrong to entirely deny that the villain of “ W” wasn’t intriguing, as there was a lot of potential ( especially in later revelations) towards the antagonist being well-rounded, however, before even the halfway mark, the show’s later decisions with our antagonist greatly began to downgrade storyline and general interest in what was happening to our main characters. A bad writing move in any drama hoping to engage viewers through plot .
It’s therefore fair to say that “W” isn’t necessarily a “ dire ” show and actually has some praiseworthy factors including a good cast, screenwriter, production value and an intriguing premise. On the other hand, it’s fair to say that “ W” did let down a lot of expectations for viewers in regards to the fact it had such a good cast and premise as well- poorly - written and “ stock” characters ( particularly our villain), a dragged-out storyline and an incredibly lacklustre “ deus ex machina” finale, instead of ending the show on a natural and appropriate high note. Overall, “ W” is a perfect show if you’re bored and looking for something to binge watch without a second thought , however, if you’re actually looking for a fleshed-out story with well-written characters and an engaging storyline , then look elsewhere because “ W” is truly a waste of time.
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Do Boys Like Their Girls, Do Girls Like Their Boys , Or Do Boys Like Their Boys?
Based upon the manga ‘My Love Mix-Up!’ (消えた初恋) and adapted onto the small screen by screenwriter Kuroiwa Tsutomu and directors Kusano Shogo and Horai Tadaaki, ‘ Kieta Hatsukoi’ will likely put off a lot of mainstream drama watchers by its bizarre setup and seeming cataclysmic conglomeration of outdated cliches and tropes.
The premise revolved around high schooler and main male lead Aoki Sota ( Michieda Shunsuke) ‘s initial crush on supporting character and female lead Hashimoto Mio ( Fukumoto Rio). Mio gives him her rubber during an exam and Aoki is left to believe that Hashimoto has a crush on popular classmate Ida Kousuke ( Meguro Ren). When Sota drops the rubber by accident Kousuke picks it up and misunderstands that Aoki has a crush on him instead . Aoki decides to protect Hashimoto’s feelings by pretending that the rubber was his, yet rather than Kousuke deriding Aoki after rejecting him ( as Aoki expected), he finds himself in a sticky situation when Kousuke wants to “ get to know” Aoki more personally. However Aoki soon finds himself developing real feelings for Kousuke as they begin to spend more together.
Against the fear of the drama being a parody of itself ‘ Kieta Hatsukoi’ surprisingly does not reimburse the typical tropes and writing cliches in predictable ways. Diverged screenwriting takes on classic tropes will likely surprise viewers by sudden “ predictable screenwriting decisions” being changed by the decisions of characters and the route towards the developed relationships onscreen.
From an acting perspective ‘ Kieta Hatsukoi’ is fairly solid. There are admittedly some line deliverances throughout the drama which felt a little enforced or poorly delivered, but overall our main cast did help to present a charisma for their onscreen personas.
Michieda Shunsuke helped to present a sense of awkward charm as his onscreen persona Aoki Sota; a laidback high schooler, who finds himself involved in an awkward position. As a main character Sota has his strengths and weaknesses; authentically he’s your typical “ awkward teen”- misunderstanding scenarios and hates getting into awkward social situations whilst having only one truly close friend through “ Akkun” ( Suzuki Jin). On the other hand one of the biggest problems at times with Sota’s character drive was that whilst we were supposed to understand his “ conflicting” feelings for Kousuke, there never really felt like they were moments where we were able to see thus transcend gradually onscreen.
To explain this further and without major spoilers one of the greatest character-drives for Aoki surrounds his initial feelings for Hashimoto before seemingly falling for Kousuke despite their “misunderstandings”. Whilst it isn’t out of the question for individuals to be ineffably attracted to someone, it seemed odd that as viewers, we never truly reached a more emotive epiphany in the series for Aoki’s feelings for Kousuke being explored in more depth. Additionally there’s the issue surrounding Aoki truly feeling like an actual “ teenager” in the series aside from sometimes being shoehorned into the cliche of the “ whiny teen”; we rarely get to understand more about Sota’s background and family and whilst we are presented with a little indication into his fairly casual-bickering relationship with his mother in episode 2 ( the voice belonging to actress Mitsuishi Kotono) , we didn’t have a lot of opportunities to explore or understand more about Sota’s family dynamic.
Of course this isn’t to critique Aoki’s character entirely. Whilst some of his flaws felt more enforced than others ( not least of all often being the root-cause of conflict between his potential chemistry with Kousuke), Aoki coming to terms with his feelings for his classmate was surprisingly sweet as well as his friendship with his former-crush Hashimoto. Upon the former character mentioned Hashimoto and Aoki’s friendship surprisingly did not play on overt stereotypes or cliches- Hashimoto did not hold “ contempt” for Aoki , just as the male lead did not hold a grudge against his former-crush either. Admittedly whilst it’s understandable that the series didn’t want to draw-out Aoki’s initial “ feelings” for Hashimoto, it often felt as though the topic was swept under the carpet for a major proportion of the seriesm rather than being used as a plot-drive to present a greater growth between the friendship of Aoki and Hashimoto.
This naturally brings us onto the main love interest of the series and main lead Ida Kousuke. Played with a stern yet laidback charm by Meguro Ren, Ida Kousuke is the archetypical “ all-round-ace ” student. He’s a popular classmate, academically smart and sporty. Initially this leads Aoki to believing that he is Hashimoto’s crush and seemingly his “rival in love”. Kousuke is admittedly shoehorned for a major proportion of the series as the “ polar opposite” of Aoki; rarely flustered, sociable and suave. Aside from Aoki’s seeming initial misconceptions of Kousuke being slightly aloof, Kousuke proves himself to be a genuinely good person both within his brief yet insightful relationship with his mother ( Matsushita Yuki) in episode 3, as well as his childhood friend Todoya Shun ( Mochizuki Ayumu).
However admittedly where Kousuke often felt as though he could’ve been explored in more depth revolved around his seeming “ hero’s complex”. It’s revealed that Kousuke’s initial inability to say “ no” to others made him struggle with turning down Aoki’s feelings. However consequently Kousuke often struggled with elements of understanding Aoki’s anxiety or stress in different scenarios which naturally could put a rut in their onscreen relationship. Whilst this personality trait was briefly explored near the ending of the series it felt as though it could’ve allowed more opportunities to see symbiotic and mutual growth for both main leads; Aoki struggling to grasp his feelings for Kousuke, and Kousuke finding himself attracted by Aoki’s kindhearted actions. The relationship between both characters admittedly is drawn upon “ misunderstandings” and “ plot tension”, but the ending helped to present a heartwarming outcome for both our main leads.
The main side characters of the series are Hashimoto and Akkun; both of whom provide themselves to be good friends in need to Aoki. Whilst no major spoilers will be given towards the direction taken with both characters their arcs and development time admittedly did give way to some underdevelopment by the ending of the series, whilst whilst sweet, lacked a satiable build.
As a consequence of the diverged attention between only two plot lines in particular ; our main characters and then the subplot, the series would often fall into a staid and cyclical pattern of rarely diverging in episode formula; a new “ obstacle / climactic conflict” to “ get in the way of the main leads”, and then suddenly a “ quickly thrown-in solution ” to “ resolve” matters. Admittedly it isn’t entirely uncommon for dramas to fall into a status quo episode structure the series rarely used opportunities to explore a more dynamic buildup. This led to some episodes’ pacing ( especially by the latter-half of the series) often feeling anticlimactic and lacking sound-resolve.
The cinematography of the series is admittedly basic at best- whilst minimalistic shots did arguably help to capture the simplicity of Aoki and Kousuke’s overt onscreen relationship against warmer palettes and shades adding a romantic tone, it felt as though the series could’ve facilitated camera angles more towards conveying the characters’ emotions openly or invoke pathos through the captured scenery of the series. Certain tracks of the OST were admittedly a little generic in between scenes but during more emotive scenes the lack of lyrics and emphasis on instruments, did help to convey the characters’ feelings during certain some of these moments onscreen.
Overall ‘ Kieta Hatsukoi’ was a heartwarming and sweet drama. The second-half up until the finale was admittedly on a slight downwards slope in comparison to the first-half with certain writing elements and characters failing to meet dynamic buildup. However it’s undeniable that decent acting by our main cast as well as an intriguing main couple helped to present a charismatic charm towards our main leads which for those looking for a fairly sweet and heartwarming romance storyline, then ‘ Kieta Hatsukoi’ is perfect for lighting up your mood.
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