Danceny
Through the Darkness attempts to blend two contradictory approaches: half of it presents the typical thriller based on high tension, grandiloquent music and sordid sequences showcasing the killers' perversity; the other half lingers on the methods and psychology of the people investigating the cases. Yet when it should have reached a convincing harmony between the two, it only offers a discordant patchwork; instead of capitalising on the charisma of its characters, it withdraws from them, leaving us with unfinished portraits. Though it achieves a serviceable result - a watch one wouldn't regret -, the lost potential disappoints.
Very early, the drama establishes a strange, even cruel dissonance between its characters and its direction: while the former cares first and foremost about the victims and their families, the latter constantly interjects with scenes of criminals preparing, accomplishing and rejoicing about their murderous deeds. Those segments prove both lengthy and recurring: from the beginning to the end, never are we spared from their night prowling, their chilling excitement, their violence. Although the gore is blurred and the killings themselves omitted - stopping short of the blow -, I found that fascination with the acts jarring… and quite reminiscent of the media-induced voyeurism denounced by the characters.
In a telling moment, a reporter is praised for her refusal to seek gruesome details, replacing them with a tribute towards the victims, identifying them as individuals with families, professions and hobbies and not simply abused, dead bodies. Yet that instant is but fleeting: soon the killers grace our screens again, gleeful, while the victims remain footnotes, worthy of our time only as prey for those men.
In fact, the series' highlight lies with the various interviews of the killers. From them, it derives the most impressive performances. This bothers me greatly. That those sequences would turn out memorable and compelling was a given; that they would be unmatched by the last episode questions me. Despite the characters' convictions, the drama failed to offer us an overall story meaningful enough, captivating enough to trump voyeurism. There is nothing in the narration sound enough to offset its rotten pull; everything else pales or buckles in comparison.
As much as the actors beautifully portray their roles, the substance behind them is missing. We have intriguing sketches of characters, of relationships… but more? The investigations - the killers, in liberty or in interviews! - monopolise so much screen time, what is left doesn't allow to truly delve into the personalities of the people we supposedly follow. All we get is shallow, underbaked, at times even trite, such as the Nietzsche conversation. In a show concerned with psychology, it should have been the starting point to a greater, more profound depiction of the toll criminal cases take on investigators, as well as the unhealthy interest medias and audiences sustain with depravity. At it stands, a worrying number of characters enter the picture then vanish without holding much narrative weight.
I look back at the time spent with the execution of the murders and wonder what could have been, had it been extended to Song Ha Young instead? If those segments had been less accurate recreations and more him envisioning how it could have unfolded, trying to better understand the minds of the culprits… thus tying the investigation with interrogating how far - how low? - must he go to help catching them. In other words: illustrating intimately the characters' turmoil in place of this disconnected, distant stance where their conflicts unfold in brief, offhanded conversations, each months apart.
To me, the suspense was misattributed to the fact of catching the culprits where it could have reposed on Song Ha Young's profiling reports and comprehension of the killers' psyche. Hence, countless scenes of women being stalked and murdered, of their assassins maniacally smiling; hence, out of place, pompous music to accompany tense sequences; hence, the glossing over of the characters' thoughts beyond the surface. Those elements can be found in many other thrillers and often, better done; furthermore, the use and reflection of real events made such attempts at tension wasteful.
This flaw frustrates me the most: not seizing what would have elevated it among myriads of other crime series, that is, heartfeltness and a cast to be commended. Though the writing felt underdeveloped, though the framing felt too remote, the actors still brought to life their characters in a credible manner. Perhaps overly so and the quality of their performances misled in expecting more… regardless, it is what kept me engaged. In particular, Kim Nam Gil's remarkable portrayal of Song Ha Young. If I were to single out one reason to recommend or remember the drama, it would be him, and him alone. What a refreshing and endearing male character! In a sea of male arrogance, egocentrism, loudness and violence, what a relief! I wish more fictional men resembled him.
(Sidenote: what a bunch of unsubtle, distasteful product placements…)
Very early, the drama establishes a strange, even cruel dissonance between its characters and its direction: while the former cares first and foremost about the victims and their families, the latter constantly interjects with scenes of criminals preparing, accomplishing and rejoicing about their murderous deeds. Those segments prove both lengthy and recurring: from the beginning to the end, never are we spared from their night prowling, their chilling excitement, their violence. Although the gore is blurred and the killings themselves omitted - stopping short of the blow -, I found that fascination with the acts jarring… and quite reminiscent of the media-induced voyeurism denounced by the characters.
In a telling moment, a reporter is praised for her refusal to seek gruesome details, replacing them with a tribute towards the victims, identifying them as individuals with families, professions and hobbies and not simply abused, dead bodies. Yet that instant is but fleeting: soon the killers grace our screens again, gleeful, while the victims remain footnotes, worthy of our time only as prey for those men.
In fact, the series' highlight lies with the various interviews of the killers. From them, it derives the most impressive performances. This bothers me greatly. That those sequences would turn out memorable and compelling was a given; that they would be unmatched by the last episode questions me. Despite the characters' convictions, the drama failed to offer us an overall story meaningful enough, captivating enough to trump voyeurism. There is nothing in the narration sound enough to offset its rotten pull; everything else pales or buckles in comparison.
As much as the actors beautifully portray their roles, the substance behind them is missing. We have intriguing sketches of characters, of relationships… but more? The investigations - the killers, in liberty or in interviews! - monopolise so much screen time, what is left doesn't allow to truly delve into the personalities of the people we supposedly follow. All we get is shallow, underbaked, at times even trite, such as the Nietzsche conversation. In a show concerned with psychology, it should have been the starting point to a greater, more profound depiction of the toll criminal cases take on investigators, as well as the unhealthy interest medias and audiences sustain with depravity. At it stands, a worrying number of characters enter the picture then vanish without holding much narrative weight.
I look back at the time spent with the execution of the murders and wonder what could have been, had it been extended to Song Ha Young instead? If those segments had been less accurate recreations and more him envisioning how it could have unfolded, trying to better understand the minds of the culprits… thus tying the investigation with interrogating how far - how low? - must he go to help catching them. In other words: illustrating intimately the characters' turmoil in place of this disconnected, distant stance where their conflicts unfold in brief, offhanded conversations, each months apart.
To me, the suspense was misattributed to the fact of catching the culprits where it could have reposed on Song Ha Young's profiling reports and comprehension of the killers' psyche. Hence, countless scenes of women being stalked and murdered, of their assassins maniacally smiling; hence, out of place, pompous music to accompany tense sequences; hence, the glossing over of the characters' thoughts beyond the surface. Those elements can be found in many other thrillers and often, better done; furthermore, the use and reflection of real events made such attempts at tension wasteful.
This flaw frustrates me the most: not seizing what would have elevated it among myriads of other crime series, that is, heartfeltness and a cast to be commended. Though the writing felt underdeveloped, though the framing felt too remote, the actors still brought to life their characters in a credible manner. Perhaps overly so and the quality of their performances misled in expecting more… regardless, it is what kept me engaged. In particular, Kim Nam Gil's remarkable portrayal of Song Ha Young. If I were to single out one reason to recommend or remember the drama, it would be him, and him alone. What a refreshing and endearing male character! In a sea of male arrogance, egocentrism, loudness and violence, what a relief! I wish more fictional men resembled him.
(Sidenote: what a bunch of unsubtle, distasteful product placements…)
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