amrita828
Italy
Shining Inheritance fits both definitions. There's envy, greed, a dead man walking, 10 trillions lies, missed encounters by a microsecond, corporate plotting, memory loss, love polyhedrons and such a dose of odious behaviours your becoming a virtual assassin would be justified.
But before you decide you hate the genre and turn the page, let me say this drama is strangely and acutely addictive. It took me 4 weeks to pant through the first 7 episodes and less than 1 to watch the remaining 21 (granted, with a little fast forwarding here and there).
The plot is very consistent. Every narrative line comes to a conclusion and justice triumphs. Delicate subjects are touched here, and I appreciated this the most.
I maintain the whole story could have been easily condensed in half the time and the dialogues thinned, if only the characters had stopped repeating the same sentences like an echo and the word money had been uttered one thousand times instead of one billion. There will be moments in which you'll question your choice of dramas, but at that point you'll be so implicated in the crime… ehm, plot, drop it will be harder than exit a gang.
The acting mark is the result of an arithmetic mean. The beginning is not encouraging at all, with exaggerations and wooden deliveries all over the place, but it improves a lot in going. It's as though the actors had been attending Theatre Class while filming. With a notable exception: Yun Joon Suk, who plays the autistic brother, is impressive all through, and makes the drama shine in depth and emotion every time he's on screen.
I'm usually only mildly interested in the cast's attire, unless it's so distracting it prevents me from fully enjoying it or it is integral part of the narrative intent. But grandmother's grey wig - I truly hope it was one - looked so disjointed from her skull I watched all her scenes brandishing a comb. Not that Lee Seung Gi's hairdo was much better: now and then it truly looked like it was about to migrate towards warmer shores. I prayed he would be caught in a sudden downpour to flatten it but, alas!, the sun shone brightly on him. There's improvement in this department too, though, and if you fall for the very pretty main couple, the deed is done.
Two words about the music. I had a hard time coming to terms with the blend of Bach's adagio and K-pop, the first being too solemn and fit to a mass in Latin and the second too… pop. Once again, it's the little brother who saves the score with his very sweet piano piece dedicated to his Noona.
So here's my little piece of advice: watch it. Resist the urge to drop it after the first episode, contain your puzzlement in the second and third, wipe your sweat to the 7th and you'll be hooked. Completing it will give you a sense of power and the feeling you have truly watched The Drama of All Dramas.
What does not kill you, makes you stronger.
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I had my reservations before beginning this show, since I'm no fan of religiously oriented stories. Should you hesistate for the same reason, rest assured that, aside from the beautiful temple that plays as a setting and a few sutras read in the background, the monk hero is less religious than me - if possible.
In fact, here's one of those rare examples in rom-coms where the leads have physical desires. That a monk has to take more icy showers than your average CEO to suppress his wordly lust is an entertaining concept. Not to mention that, if you're a fan of Yamapi you may find this habit of his very pleasing.
As I said, there's a lot to laugh about while watching. Indeed, I'd say this is a rom-COM, where the comedic aspect wins over the romance. The romantic aspect, on the other hand, is seesawing, and I found myself laughing at the couple, hating the couple, loving the couple, re-hating it and re-loving it. There are in all respect more couples to enjoy here, even though I personally loved the side characters as a whole, not paired, if that makes any sense.
Don't expect some deep characterization because, in perfect from-manga-to-live-action style, the stress is on the characters' present actions, rather than how they came to this point. Hints, however, are given now and again, and I personally found those touching and well played out.
Out of the lot, I found the best acting performance to be that of Satomi Ishihara, solid, elegant and believable. A pity her character undergoes a few unwatchable tests that made me cringe on my womanly seat, but that's the plot and the actress won the challenge whether she had to be spunky or sad.
Yamashita's character requires him to be hilariously robotic, something he does very well, since he manages to convey quite a lot through his eyes. I appreciate this trait of him and loved it here. This monk can stretch your patience to its limits, but it turns out he's truly endearing and I'm very happy at his decision by the end - and I'm not referring to the very end.
Music? Nothing to talk about.
I think I'll rewatch this one day, either because I'm a rewatcher by nature or simply because it managed to draw me out of a slump with some welcomed laugh and a deserved (?) Yamapi fix.
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I consider Eriko Kitagawa one of the best drama scriptwriters. She has the ability to pick up an ordinary event and make it into an unpredictable twist, all with a subtle calm pace which makes you restless. This plot is made of little hints: a word, a glance, a brief scene. There's no abundance of words, each line carries its meaning into the silence that follows.
And the actors get inside their roles brilliantly, creating around them an aura of mystery which makes you grope in the dark as to who did what and why.
The cinematography is scanty and sober, totally devoid of gloss. With the exception of the very effective close-up shots of the characters and the use of the light, it doesn't rely on beauty. Oh, the actors are beautiful all right. Kimura Takuya and Fukatsu Eri in particular are wonderfully intense, together as well as individually and play their part so well I was left speechless more than once.
The same scantiness applies to the music. Used with economy and without much variety, it manages to create the right expectations at exactly the right moment.
When all this is said and done, I am left with only one question: did I personally like this drama? The answer is: no. Did I fall in love with any of the characters? No. They intrigued me, fascinated me even, but I didn't like any of them, and felt somehow totally detached, despite the high-voltage chemistry between the leads.
I marathoned through the drama in 2 days, which is proof of its being a very well built thriller. Once started, you want to know. However, because I felt neither identification, nor true compassion or love for these people, it's as if I had read a very interesting and brilliantly written essay on human nature but was happy to see it end. The ending came to me as the only possible solution: a destination this journey was destined to land to.
Therefore, I recommend this drama to only a few people. Forget brightness, sunny love, suspend judgment and value this for its intrinsic quality and you will appreciate it. If you're not ready for a trip down dark lane, I suggest you stay well away from it.
I am certainly not going to repeat the experience.
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It tells an ordinary story in a refreshingly modern way, without giving up on those elements we inevitably associate to k-dramas and make them into the shows we are all addicted to: a love triangle or square of some sort, love obstacles of various nature, parents who meddle but without being completely unreasonable or out of this universe evil and a corporate sub-plot.
I wouldn't call this a romantic comedy. I think it's more of a life drama. There's romance, of course, and there's a mature, clever humour, but both these aspects are rationed throughout the narration in a sedate and yet very effective way. This is why I believe I do, I do isn't for you, if what you're looking for is a typical rom-com. The pace may deter some, and others could find the raised issues uninteresting or controversial.
I loved it because it offers the viewer a range of different points of view on subjects which are very common in real life, and not so common in the Korean drama world; there's no judgment involved, no stance is presented as better than the other. It's up to you to decide what you would do and how you would react in a similar situation.
A life drama is only successful when the characters are well outlined. And this is the true strength of I do, I do. I myself was amazed at how gradually and yet fiercely I got attached to some of the characters, mainly the two leads. They are both so well portrayed I ended up identifying without having a trait in common with either one.
Acting is spot on. I consider Kim Sun A a guarantee. I may not like all the dramas she acted in, but it's never been due to her. She enters the character in such a plausible way, she does not create fictional characters but real persona. Always believable, never predictable. And let me add how wonderfully satisfying it is when you finally land on a drama with an intelligent, self-assured, successful female lead who does not passively accepts events but make them happen!
The character of Tae Kang has been an amazing revelation for me. A cute thing who looks like a puppy and acts like one is all I believed he was in the beginning. I was very wrong. He's tremendously endearing and such a blend of childlike enthusiasm and caring maturity I couldn't help but being completely captured by him. My admiration goes to the actor for capturing the essence of his character and portraying it in such an adorable way.
The chemistry between those two is also a work-in-progress. Their feelings grow as the characters grow. We fall in love with Tae Kang the moment Ji An does, not before. I loved this aspect the most, as I am usually very frustrated by knowing a truth which the characters will be oblivious about for three quarters of a drama.
The secondary characters are normal people. They make mistakes, they gossip, they laugh, they get angry. With the exception of "madame CEO" - and her horrid taste in figurative art, allow me to add - I liked them all. Everyone has an arc and a role in this story. They are not thrown in just in order to fill empty spaces.
The music isn't unforgettable, but I must confess the main theme is addicting and the instrumental pieces very well chosen.
This isn't a drama I will run to re-watch as soon as it's finished airing. However, it has many delicious, thought-provoking and poignant moments I'll be more than happy to immerse in again in the future. I recommend this drama to everyone who likes a solid, modern script, unusually believable characters and a no-nonsense plot.
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Have you ever asked yourself what's more important in a drama? Plot or acting? Can a good performance turn a mediocre plot into something unique? Fated to Love You answers this question with a decisive Yes.
Let's have a look at this plot. Aside from it being a remake of a popular Taiwanese drama, this is a collection of old clichés: doormat girl meets obnoxious rich guy, an incident of some sort occurs and compels them to live under the same roof, meddling – and maddening – relatives, random humour, misunderstandings, birth secrets, the 'other girl' and the 'other guy', all spiced up with a lot of noble idiocy (although this might be one of the few cases when the noble act is frustrating but comprehensible). It's not hard to see why I treaded on this very makjang field on tiptoe.
Therefore, my overall 9 has to be ascribed entirely to the impeccable acting and one of the best thought of OST of songs I've come across. Try out the first 10 minutes of this show, and you'll have no doubts the whole thing is going to be played on style, rather than plot substance. The performance of the whole cast is brilliant, but the two leads manage to outshine everything and everyone.
What could have resulted in two trite, annoying characters in lesser hands, becomes one of the best matched couple in melo/romantic comedy. Even when their plot-line drags – and it does, here and there – they are both able to sustain the silence and make it resound.
Jang Hyuk… wow, the man can act. Yes, I suppose this is a very superfluous statement for the many of you who know him, but this is my first time and I was enchanted. The character he creates here has no grey areas: Gun is so over the line he goes from hysterically funny to heartbreaking in the space of a few minutes. At times the two aspects are interwoven, and the viewer gets glimpses of his pain through his laughter. But his best trait in my opinion is that he doesn't give a dry fig about what people think of him: he goes on doing what he believes is right in the craziest of manners.
It doesn't hurt that the actor is seriously hot. Seriously. When he cuts his hair – this is not considered a spoiler, is it? - I was so distracted here and there I forgot to watch the drama and just watched him.
This said, Jang Na Ra is downright brilliant. For the first time in my drama addicted life, I loved a 'weak' heroine. There's a special quality about the rendition of her character that turns her weakness into strength, and her compliance into endearing sweetness. One can see why Gun falls in love with her, because the viewer experiences the same. Possibly, we all know from the start that Kim Mi Young will eventually change, and yet she keeps her true, generous nature intact. With her beautiful, huge eyes she speaks volumes and her chemistry with Jang Hyuk on screen is tangible.
Notable mention for Song Ok Sook, aka Mi Young's mother. I enjoyed every minute of her antics and rejoiced in her relationship with both her daughter and her son in law.
I already mentioned the music. As a rule, I only like instrumental pieces in dramas. I'm making an exception here not only because the songs are beautiful, but because each piece is chosen with the utmost care, emphasising in turn the fun, the suffering, the romance, the absurd. Isn't this what an Ost should do? Perfect score from me.
Because I believe the plot to be absolutely secondary in this drama, I'm sure it lends itself very well to future re-watching.
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It took me 5 days of mind wrecking just to decide on an overall rating for Empress Ki. The eternal reviewer's doubt whether it is fairer to value a drama using the brain or the heart is maximized here: this is an epic tale where almost every single aspect is at the same time exceptionally good and glaringly bad. In trying to elaborate this, what follows may become very long, and for this I apologize in advance.First, the pace.
If you are preoccupied by the length, be assured the rhythm of the narration is so fast you'll come to the 51st ep. wishing you could have another 10. There isn't even one moment of boredom among the hundreds of little and big events that follow one another. By the end of each episode, I sat there wide awake wishing it wasn't already 4 a.m. and I could watch another. The downside of such a fast pace is that it never gives you respite. I wanted to linger, now and then to bask in the sweetness, or simply see these people being happy for a while, but it was not to be. Every time an issue is concluded the next is ready to shatter that glint of satisfaction it was so hard to finally obtain. The infamous last 10 episodes I've read many criticize, could have been the most poignant part of the drama if they hadn't been so incredibly rushed, to the point that events seem to make little sense. As a matter of fact they do make a lot of sense – with the glowering exception of the silly Maeback botch – but you have to think the entire journey over in order to see it.
Which leads me to the script and its characters.
This isn't a journey to begin in search of historical dependability, not in the details, at least. Little to nothing is known about the woman who became the Empress of Yuan before she entered the palace as a tribute from Goryeo, and there isn't much information about the single steps that were taken in order for her to sit on that throne. The writers have taken many liberties both in characterization as well as chronology, but I personally think they did a great job in always making those steps exciting and suspenseful and when you reach the end you will realize the plot is rounded up very well, with a couple of exceptions. This is why I think knowing a little about Empress Ki's true story in advance can actually enhance the watching and explain the choices some of the characters make.
For instance, we can assume Crown Prince Ta Hwan was exiled to Goryeo when he was only a teenager, which perhaps will make you judge his character with some indulgence. King Wang Yoo of Goryeo, on the other hand, is by all means the most fictionalized of all the main characters, so much so that knowing his true story is not only unnecessary but extremely counterproductive. My humble advice: stay well away from the true known facts about him if you want to enjoy the drama.
When history is taken into consideration, a lot of the twists invented by the writers acquire significance, since the opening scene tells us in advance where we are heading and curiosity is all on how they'll get there. History also explains why so many characters in this drama change side, go from good to bad, from bad to worse or are suspended somewhere in between. It obviously does not explain or justify the fact that everyone speaks Korean, but I am aware that having the huge cast speak different idioms would have rendered the watch almost impossible.
To this drama I own the realization that I possess a dark side too. There have been moments when I wanted to see blood and wished some characters would not only be killed, but killed with pain. It's such an alien feeling for me, it shocked me. It goes to the credit of writers and actors to make me hate with such an intensity, but I'm not sure I want to experience that kind of emotion again. Attachment and love to some characters, though, was equally intense and I swam in it with gusto. It's going to take a very long time before I can get these people out of my system. While it kept me highly entertained in the first half, in the second this drama almost broke my heart. It has very little to do with characters dying or living, and a lot with them losing their innocence. At some point I almost wished the leads had died on that exile island and remain forever what they used to be, before being scarred and marred by that terrible imperial palace, "a place with no blood, no tears and no mercy". to quote Lady Park.
When it comes to the much talked about love triangle, I must say I jumped on Seung Nyang & Ta Hwan's ship very early on and never wavered. I could not see or feel any chemistry between Ha Ji Won and Jo Jin Mo and while my brain kept on telling me these two characters had a lot in common and it was logical for them to fall for each other, my heart never agreed. In fact, my heart unyieldingly refused to accept it. Ha Ji Won and Ji Chang Wook, on the other hand… I could have watched them waltz one around the other for the whole 51 hours run without complaining even once. Some of the most poignant moments in the entire drama involve these two and they are the main reason why I enjoyed Empress Ki so much.
This said, the love triangle was not only central to the story, but dual purpose too. Because on final analysis the true seesaw is not between a woman and two men, but between a woman and two countries. The issue of eradication underlines the whole narration and should never be forgotten in order to understand Seung Nyang's choices. This is, after all, her story, how she's initially forced to abandon her country and her roots and gradually develops an attachment to her adoptive one. The more she distances herself from Goryeo, the more the story focuses on China and takes the viewer along.
Spectacular acting by Ha Ji Won - no news here, not for me, at least. I doubt any other actress would have pulled off such a role with that seeming ease; Ji Chang Wook - yes, I'm just a little obsessed with him right now, after seeing him in two very different dramas I loved and being impressed by his ability to convey such a varied range of emotions. His Emperor is so controversial I could write a review only on him, but let's go on; Baek Jin Hee – Danashili, my most hated and beloved villain was terrific too and Jin Yi Han, who possibly didn't deliver the best performance of his career, but whose charisma alone made him into an all time favourite, unforgettable Tal Tal. The rest of the cast did great too, although I was more impressed with the young actors than the older ones.
A word needs to be spent on the villains. There are a lot of them here, all evil for different reasons. A few of them are very consistent; others are such since the beginning, but the viewer is manipulated to the point of thinking otherwise; some suffer from inexplicable 180° turns. What they all have in common is the unyielding conviction they never did anything wrong, which for me is the saddest trait of this drama and even when they got what they deserved, I was left feeling… empty. Their evil logic is at times extremely lucid and makes the line between good and bad blur.
Music is the hardest aspect for me to rate and perfectly mirrors this drama fluctuating between good and bad. The instrumental pieces are hauntingly beautiful and extremely powerful. Listening to them with closed eyes might be the biggest spoiler of all as to how this story is going to end, which is an achievement in itself since an Ost exists to tell the story via music. The songs, on the other hand, were not only very annoying to my ears (personal taste) but also inserted too abruptly at times when not completely random for the scene they soundtracked. I ended up using good old maths: instrumental 12 + songs 5 = average 8,5.
To come to such a high overall score despite the glaring shortcomings of the script, I took the whole picture into consideration. A 51-hours long story that manages to keep the interest alive till the very end is commendable in itself and the fact that I already know I will definitely re-watch it in the future is proof of the high level of emotion it made me feel. Furthermore, this is not a book, and the visual means is used at its highest, with stunningly beautiful sets, costumes, colours and camera work. If you are able to suspend belief at times and focus on style and emotional impact, you'll no doubt enjoy Empress Ki as much as I did.
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It's clever, thought-provoking, surprising and entertaining. It engrosses the viewer from the very beginning, accompanying one through a journey which is at the same time thrilling and disquieting.
The direction seems to have the quality of a dream in mind, what with the dark colours mixed with splashed of blood red, shiny yellow and electric blue. The acting follows the same pattern, constantly over the lines, like a classic theatrical piece, with exaggerated costumes and close-up shoots of frozen expressions.
Characterization is strong too. The main characters and the recurring secondary ones are vivid, clear cut, each one growing and yet remaining the same in substance.
Liar Game is a perfectly staged metaphor of life, with honesty vs. gain at the centre of it.
The music is perfectly chosen, building up when required by the scene, retiring to the background when more attention from the viewer is needed.
Rewatching is almost necessary, to pick up on elements overlooked on first viewing and to concentrate on the overall atmosphere and acting of the show.
Highly recommended.
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I hate hockey, therefore I was very hesitant before starting it, a good two years ago. But I soon realized that this particular sport was a narrative necessity, being a rude, violent one, but played by people with a lot of heart.
Pride is a sweet love story, between a man whose name means Spring and a woman who's called Autumn. They are totally different in almost everything, to the point they become complementary and fit into each other's life like two pieces of a jigsaw puzzle. He has his way of pulling her out of her shell, and she has her own at showing real strength is not the physical one.
They are a pleasure to watch together. As I said before, Kimura does not disappoint, he's a great actor who knows how to charm the audience. I'm very partial to Yuko Takeuchi, I can't help being completely captured by her voice, her elegance and blend of ingenuity and wisdom.
Aki and Haru - Autumn and Spring - are one of my favourite drama couples, with tons of sparks crackling between them whenever they are on screen together.
The music doesn't need a review. The entire OST is by the Queen. Like them or not, they have been one of the greatest rock bands in history. And they fit the drama to a T.
I have already watched Pride twice and a third view is definitely in my plans, therefore I'm ready to give it a very high re-watch value and recommend this show to everyone.
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This is possibly the weirdest and most surprising dorama I've ever come across. Nothing is what is expected, or what it seems.
It's just as hard to define its genre, because while it could be listed as a science fiction drama, the fantasy part is just a device to make a very human, touching and very present message come across: are we really capable of cherishing our lives? Do we truly appreciate all the little and big things thrown onto our path or do we give them for granted?
Were I to base the overall rating only on how much I liked it, I would give it a 10. But it's undeniable that it doesn't deserve it on the cinematographic level: the shooting quality is average at best, it reminded me of those catastrophe movies from the 70ies, like Poseidon, or Empire of the Ants, often naive, with some ludicrous special effects. And it certainly does not shine for its photography.
The music goes from ordinary to completely random.
But characterization, dialogues and acting make up in heaps for whatever flaw. If you have read The Lord of The Flies by William Golding, this drama may remind you of it. Mix it with the most classical concept of Carpe Diem - seize the day - and you have Long Love Letter.
Kubozuka Yousuke is adorable here, at times childishly clumsy, at others emotionally intense. But it's Takako Tokiwa who really steals the screen, her character being the epitome of strength of will, sweetness and courage.
In fact, this drama is acutely feminine, like mother Earth herself.
The kids play their part very well, one ends up liking a quite stony Yamashita Tomohisa too.
I adored the ending. It makes this into one of those dramas one is emotionally compelled to talk about with someone, share opinions and questions. Like it or not, it doesn't leave you untouched.
So, by now you have 2 choices: decide that both the drama and the reviewer are deranged and leave it be, or watch it.
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Q10 is surreal, poetic, highly amusing, thought-provoking and surprising . It's brilliantly acted too, which adds to its delicious oddity. It doesn't have even one unpleasant character: they are all very weird and very human, at times histerically hilarious and at others wonderfully deep.
I'm not sure whom I would recommend this drama to; however, I'm certain it won't do for those looking for a rom-com, for an uncomplicated plot, for simple entertainment, for shine or for glamour. The one and only requisite to approach it, is to do so with an open mind. If you believe that people have each their own sound, that calling for help loud enough will make somebody come to the rescue, that death is just a way of thinking and that you achieve a goal because you want and not because you can, then "kiuto" is for you.
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As I said, this is an amazing drama. It's based upon a true story, which explains why I find it hard to rate the plot. The way it is narrated is quite unique: it uses the technique of flash forwards, making the viewer aware from the very beginning of the destiny of basically each character. This style can be very confusing at the beginning, to the point viewers may think they are watching the wrong episode; once established, though, it becomes highly intriguing, and one of the strong points of this drama.
Instead of depriving the viewer of the thrill to know what's going to happen, this method excite the curiosity to find out HOW it happened, and why.
If there were a separate rate for direction and editing, I would give them both a 10 without hesitation.
The acting is stellar. I'd go as far as to say that it's more suitable to an essay movie than a television drama. As a matter of fact, this is by the same director of the 2001 movie.
The cast is so convincing and the acting so intense, one truly believes to be watching the real story, instead of a screen revisitation of it. Characters' changes are portrayed subtly and slowly, giving the viewer time to understand and empathize.
I found myself talking to the screen more than once, praying one or the other of the characters would not make that choice which, I knew, would change the course of their lives forever.
The music is poignant and moving. Combined with the beautiful photography and the outstanding acting, it brought me more than once to the brink of tears - and I don't cry easily, if ever.
So why did I drop it?
Because I was empathizing too much, and it pained me. By the middle I was so involved in this story I would feel restless and anxious. Mind you, the show has got many sweet, touching and funny moments. I just couldn't take all the emotions anymore.
It is my intention to go back to this drama in future, maybe after a strong dose of surreal/hilarious/ridiculous shows, like a camel storing water before a long journey.
Hence the very high re-watch value.
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- Lev Tolstoy
I hope you can forgive me if my penchant for quotes invades a review. I have watched Osozaki no Himawari some time ago and loved it but never came around to write a review for it. Then I stumbled upon the words of Tolstoy and was immediately reminded of it.
The essence of this drama is, ultimately, the pursuit of happiness. It shows how this last can be found in the most unexpected places, with the most random people, doing things we would never have taken into consideration, if we hadn't been forced to do so by the circumstances.
The simple message this drama tries to send is beautifully conveyed, thanks to a wonderful cast that creates lovely characters and warms the heart. Ikuta Toma is perfect for the part: he's goofy and reasonable at the same time, I'd say he is the new element that unconsciously brings an otherwise sleepy community to a new life, while he himself learns to adapt and understand.
Jotaro's interactions with Kahori, wonderfully portrayed by a talented Maki Yoko are priceless, and their phone conversations are the sweetest thing ever. "Ore ore" will remain in my memory for a long time.
What makes this drama so special, besides the adorable ensemble of characters, is the cinematography. Perhaps the Shimanto River Region is so beautiful one doesn't need to be a particularly skilled photographer to capture its charm on screen; whatever the case, the end result is stunning. If the intention of this drama direction was to promote the region, I must say they succeded: when I finally visit Japan, it will be one of the first places I put on my itinerary.
The music is lovely too, and I agree with Sewitches that the idea of having the whole cast sing the leitmotif is brilliant.
If you are the type of person who feels at ease in the countryside, who finds happiness in small things, this drama will appeal to you. On the other hand, if you need the dizziness of crowded cities with a lot of events going on, it may not. This is a relaxing trot, not a wild gallop.
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The reason why I write one is because I loved this show and wish to share the joy, so to speak.
I believe the best trait of this drama is in its script. Eriko Kitagawa - the screenwriter - does not disappoint.
It's a collection of memorable, beautiful quotes, whether about love, friendship, dreams or fears for the future. They make you pause and think.
And the screentime given to this disparate group of friends can really make your day, so universal it is in the world of friendship, be it in Japan, America, Europe or elsewhere. Change the names and perhaps the face features, and you'll be reminded of your own experiences.
It's truly difficult not to fall in love with Sae and Kai, so sweet is their love story, but it's just as hard not to laugh, dispair or rejoice with all the other characters.
Shibasaki Kou does such a wonderful job here, one soon forgets she has lost her hearing and can almost "hear" her talk.
In short: I can't imagine anyone being disappointed by this drama.
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I wasn't expecting anything less from the same screenwriter of Tatta Hitotsu No Koi, Sunao Ni Narenakute and Orange Days, nor from the same director of Winter Sonata, Sorry I love you and Bad Guy. They both did not disappoint.
The script is delicate and moving. It touches deep chords in the hearts of anyone who has experienced the loss of a beloved one at least once. It talks about the fragile, magic relationship between the living and the deceased: how hard it is to let go, to overcome regrets and remorses while still keeping the memory alive.
The photography is beautiful, it highlights that vague atmosphere constantly suspended between reality and fairy-tale. It helps that the two main leads are both beautiful to watch and just as convincing together. Hero Jaejoong might not be yet ready for complex line deliveries, but he's very expressive and, let's face it, a pleasure for the eyes. Han Hyo Joo, on the other hand is brilliant here, bringing up the joyful side this movie would otherwise lack.
I think I've written enough. If you are willing to watch a movie which combines the Japanese delicacy and the Korean intensity of emotions, give this one a try.
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It's perfect for a break from emotion-filled dramas, or for a weekly/daily 45 minutes of pure distraction.
As already pointed out by other reviewers, each episode is built upon a fix pattern, with a brief presentation of each locked-room case in which the improbable investigative trio gives us hints to solve the riddle. If you aren't a fan of serial doramas, you may find the repetition boring. Personally, now and then I like the familiarity created by schemes and patterns: it's... reassuring, and relaxing.
The actors do a great job. Sato Koichi's antics are hilarious, Ohno Satoshi's robotic ways surreal but very effective in creating a familiar character and yet leaving that trace of mystery which keeps the interest of the viewer alive. I'm partial to Toda Erika because every time I see her on screen she is different. This time it took me almost half an episode to truly recognize her; I once read that she's one of the few drama actresses, if not the only one, who is ready to act with no make-up at all. Her clothes are so discouraging it's evident she does not want to impress for her looks, but for her acting skills.
The editing of this show is original: it cuts scenes and music abruptly. In the beginning I thought it was a mistake by the segmenters, but I later realized it's a direction choice. While I wouldn't recommend this kind of style for every drama I watch, I think it works well here, where no room is left open for unnecessary detail and economy prevails over flowery narration.
The music is brilliant and works perfectly for the show. It combines some elements of the traditional detective/mystery serie a' la Ellery Queen with the contemporary pace and rhythm.
It can be rewatched, given some time has passed and you've forgotten
the intricacies of how the culprit did what (s)he did. I didn't mind the ending at all, I thought it was very much in line with the rest of the show. Suitable and therefore recommended to any type of viewer of every age.
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