unterwegsimkoreanischenD

Suspense-packed. Elusive. Tough - KDrama shows us a poker face in several ways

"Insider" grabbed me from the first minute. It was exciting and unpredictable, fascinating regarding the world of card gambling and convincing with a consistently top-class cast. The story is knitted around the ever topical issue of corrupt South Korean society. You will not find good and bad in the classic sense. Dark shades of gray on the gloomy side dominate the picture. The focus is on the sobering practice of substituting compromises for morale. And those who are not willing to compromise may experience violence. In this context, the KDrama is also brutal on a high level.

Can one person change the predicament of a corrupt society? In recent years, the KDrama has conspicuously often asked this question. Here the son tries to do the same as the father and at least tries... because: if you don't at least try, then nothing can change. So he wants to go to court and do his part there to ensure justice. Also undercover, if it may help. The question remains: Can one person change something about corrupt social structures? Does it help when illegal activities are uncovered? Or will everything in the end remain as it was, since new characters simply fill the vacant roles?

"Insider" focuses on the networking of politics, criminal prosecution and specifically institutionalized criminal organizations. Democracy has practically no chance in the face of these almost overwhelming networks that decide in the background and create facts. It's bitter to see. In particular, the handling of the law, which appears to be swung almost like a sword in the interests of the powerful, thus relentlessly destroying any hope of justice for honest people.

In this respect, "Insider" is more of a pessimistic story. I admit that I'm ambivalent about this overall quite brutal KDrama. It's repulsive but fascinating at the same time. The story ruthlessly unfolds its impenetrably entangled threads. It tells of outrageous machinations of the powerful and infernal manners in prison. Also about being mercilessly dependent on oneself. It tells of the desperate attempt to avenge injustice.

The dramaturgical leitmotif running through all of the 16 episodes is quite concrete and also symbolic: the impenetrable poker face. Illegal gambling with cards dominates "Insider" from the first minute to the end. Especially at the beginning, the card game itself is in the foreground. As the series progresses, the viewer's perspective shifts to the meta level of casino management and what may be attached to it. But who is up to something here and who is on the side of the protagonist remains unclear until the end. Who or what should you bet on? KDrama also shows us its poker face and simply plays its cards unperturbed - one episode after the other, until the end.

In my opinion, the permanent increase in tension during the first 8-10 episodes, which are mainly focused around prison-life, is like a permanently increasing climax - and the most impressive (yet challenging) part. After that, the actual revenge campaign can only lose. Not because it is not also based on a high level of quality, but simply because this permanent increase in tension cannot be continued forever. In the meantime, the audience has so many open plot threads in their hands that they now want to be resolved before they completely lose track (and interest).

Kang Ha-neul as main lead is incredible. He embodies the difficult process of change in the personality of a highly motivated young trainee at court who involuntarily has to get to know the dark end of society up close. If he doesn't conform and play by their rule, he won't survive. However, if he survives in this dark parallel world, he can never be who he was.

But everyone else around him also keeps up the intensive field and contributes to the convincing overall performance. I was particularly drawn to Kang Young-seok, who practically excelled alongside Kang Ha-neul in the first half. It's unbelievable how he manages to embody the worst merciless willingness to use violence on the one hand and yet still somehow is able to win sympathy on the other. A strong, unforgettable performance!

Read More

About prince Wang So of Goryeo. A love story with wit, charm & affection. Makjang alert. Toxic, too

First of all: "Shine or Go Crazy" is a love story from head to toe with all the trimmings. Nevertheless, it is also about the dazzling historical figure of Wang So - King Gwangjong from the early hours of the Goryeo era. Thus it is a beautiful character study about the young prince, who at last became king, but who had by far not been the preferred prince of choice as far as the future throne was concerned. How did HE happen to become not only king but such an outstanding one as well - one who is NOT automatically (as so often) a jumping jack for his ministers, eunuchs and palace ladies? Who or what motivated and inspired his rather grounded, almost visionary, innovative, citizen-oriented policies?

This KDrama offers a (possible) answer to history, as well as an epic love story, playfully sprinkling disguise of origin and confusion of gender.

----------------- SIDE NOTE: --- Wang So, 4th son of Goryeo King Wang Geon, and later King Gwangjong
During his 26-year reign at the end of the first millennium, King Gwangjong laid solid foundations for the next four centuries. To this end, he introduced some popular reforms for the common people (yet unpopular among the nobility). Above all, these concerned slavery. Additionally he instituted the national civil service exam, which allowed people to serve the country according to their ability. Introduced during his reign, too, were so-called "Daebi-won" - medical centers for the free care of the poor. Finally, he secured the borders of the empire with military measures. Throughout, he consistently had to deal with opponing noblemen ... and eliminated them uncompromisingly. "Shine or Go Crazy" is a dignified multimedia monument to his rulership, that in general rather focused on the needs of his ordinary citizens than aristocracy.

The KDrama "Shine or Go Crazy" (as well as "Moon Lovers" who deals with King Gwangjong, too), offers a conclusive explanation for this King´s particular career. Whether this is historically justified by sources, I could not find out yet. In any case, Prince Wang So becomes tangible and understandable with the help of this fictional setting: The KDramas tell his story as at a young age being banished from the palace and sent to the mountains - thus hopefully avoiding a bloody prophesy from coming true. There he lived a life beyond the palace intrigues, yet close to nature and its existential everyday struggles for survival. Like that, his everyday life inevitably came quite a bit closer to that of the ordinary people of his time. This socialization in 'freedom' and largely grounded normality shaped him in a completely different way than his (numerous) direct and indirect siblings within the palace walls and thus makes him a resolute and popular monarchical free spirit. At the same time, this lays the right foundation for placing a completely unorthodox, unexpected and inspiring commoner´s love at his emotional side. Like that the fictional K-Drama helps to on the one hand understand the sharp edges of his disappointment because of parental rejection as well as his self-doubt due to his curse. On the other hand, however, this is balanced by down-to-earth experience of authentic affection and love. Historically true or not, the extrordinary historic personality of prince Wang So is painted in an impressively tangible, comprehensible way.

------------------- SIDE NOTE --- Trading at the time ---
An aspect of historical detail that's (in general rarely) brought into focus in "Shine or Go Crazy", too, is the importance of thriving international trade at the end of the first millennium. Throughout Korean history, life on the peninsula (not only, but also in KDrama) is rather isolated and self-centered. In this story, at least, business relationships with the immediate neighbors and with the rest of the world are given some space, at least to some extent.

-------------------- SIDE NOTE --- Balhae / Late Balhae
Also rarely a topic in the focus of KDrama is the Korean history BEFORE Goryeo - the time of the three kingdoms Silla, Goguryeo and Baekje. In "Shine or Go Crazy," the female protagonist is a princess from the Late Balhae Kingdom in what is now Manchuria. This dates back to one of five kingdoms that in 37 BC united to form the kingdom of Goguryeo. The first Goryeo King Wang Geon (posthumously Taejo) at his time attempted to reconquer the former territories of the original Goguryeo Empire and thus set his kingdom on proven, solid ground. Balhae being one of them, had previously fallen victim to the Para-Mongolian Kitan. Some (many) Koreans from ancient Goguryeo, who formed the ruling Balhaen elite, escaped to Goryeo - with the crown prince, the nobles and parts of the population. The female lead is set in this context (and also personally associated with an alarming (fictitious) prophecy regarding the future of her people.)

------------------------------------------------------------------------------------------------------------------


Back to the (love) story between the 4th son of Goryeo King Wang Geon and the Balhaean princess, who is an independent prosperous business woman.

In proven KDrama style, there are subplots with their own stories and characters with their own motives, who courageously get involved in the (love) life of Prince Wang So. The political stage is intransigently characterized by malevolent power intrigues. There aren´t any scruples anywhere. Upright people hardly exist, loyalty and dependence being mixed up and confused. There's a lot of bad stuff going on everywhere. It gets pretty ´toxic´, too.

Set in this context is the affectionately and also humourously told relationship of young prince Wang So with a smart, proficient, quite self-confident lady in a double role in disguise as young man. These encounters inspire and enhance Wang So´s pragmatic world view. The dynamic between them is fun to watch - with wit and charm, since his queen of hearts is sometimes hidden behind a veil and sometimes in men's clothes. At times, Wang So has to seriously doubt his gender orientation (... not that this would have deterred him...).

Ah. Yes. The ending... Reviews I had read often blamed the ending. I was ready for the worst. Probably that was a good thing. Like that I was pleasantly surprised as I had expected even worse. In fact, whether I liked it or not, the ending made quite a lot of sense to me. (After all, this is about a historical character - the prince becomes king and has an archetypal task that is greater than himself - during his reign, Gwangjong sets the course for future generations.) Nevertheless, KDrama land even got us a little candy at the very end, too.

My criticism, however, refers to the soundtrack! Unfortunately, this is the first time I definitely have to complain! Shallow songs can have their time, I don´t mind. But in this case (at least in my acustic sound system) as soon as romantic vibes gently started to develop, an inappropriately dull, meaningless song (in my perception) acustically dominated the scene and thus insensitively destroyed each and every moment (again and again). A real shame! (I would like to hope, that this was just due to my technical device...)

Read More

In the first half, the KMovie is actually a one-man show. And that, I think, is the strongest part

"#Alive" is a variety on hip zombie stories. First things first: it doesn't have much new to offer in this respect - zombies as a plague that spreads fear and terror, a horde that you want to shake off or destroy, like disgusting, annoying vermin. Well, that's not why I would recommend this KMovie.

I also don't think that you have to overstrain the reference to the Covid pandemic and the sometimes grueling current lockdown experiences that come with it.

Even fans of the horror genre won't be really happy with "#Alive", because "horrifying" can surely be done even better.

So why am I mentioning the KMovie here? The script revolves around surviving in an almost hopeless situation. However, the focus is not mainly on the action, but rather on the quiet moments in which the protagonist is ruthlessly thrown back on himself. There he is alone with himself and his inability, facing his insufficient survival skills, his loneliness and hopelessness ... and finally the desire to leave this world.

Oh Joon-woo isn't a born hero - perhaps he was trying to be in the day-long, night-long computer games, with his joystick in hand. But then the Internet connection is gone, no water supply, no food, no one can be reached. The self-chosen isolation in his room with his virtual game world, which has shaped him to this day, is one thing. Real isolation with real threats and no virtual team is something completely different. It's about that juxtaposition and the painful process of waking up to a NOW that's so different from the gaming world. Ultimately, the impulse comes from outside, which helps him to venture out of his safe cocoon into the real and thus truely threatening world.

However, the movie isn´t anti-technology. On the contrary, in playful creativity technical gimmicks, old and new, give the story new impetus again and again.

In the first half, the KMovie is actually a one-man show. And that, I think, is the strongest part. It's never boring. Actor Yoo Ah-in once again uses the chance to show what he's made of. In this way, the viewers accompany him through his very personal Hall of Pain, and there he hardly omits any physical form of expression. For this he has meanwhile been awarded the Cine 21 Award for best actor. After almost half the distance he gets support from Park Shin-hye, who embodies a character who pursues a completely different survival strategy - namely, she has one, even if she also reaches her limits with it. As is well known, more than one person form a group and a group develops its own dynamics, which can do more than each individual on their own. Here too. Both of them grow together. Heroes are rarely born as such...

Read More

Exciting, yet gloomy thriller. The murder case being tried by a jury is just a kick off for more…

"Blind" is a fabulous, exciting, somewhat dark thriller.
"Blind" weaves its fictional story around 'survivors' of brutal child abuse and severely traumatizing exploitation as kids. These 'survivors' meet each other and their perpetrators 20 years later as adults. Each of those involved tried in his/her own way to come to terms with the past and lead a more or less normal life. Not only the abusive childhood, but also its psychological effects on their later life are a severe issue - and become a topic here. In addition, in this context complex interdependencies between the perpetrators of the time are dissolved and - against the background of a brutal variant of public vigilante justice - the original roles as perpetrators and victims are turned upside down.
"Blind" is haunting. The focus is on a murder case that is being tried by a jury. More murders follow. The dramaturgical setting is to some extent perhaps a bit reminiscent of an Agatha Christie novel - insofar as suddenly almost everyone in the case-related group of the selected jury could be the perpetrators... the distribution of roles between judges, investigators, victims and presumed suspects is also becoming increasingly opaque and fatefully intertwined. To pretend that one can turn a 'blind' eye to what used to be is no longer possible. Everyone must now look at the past and (even if it is perhaps a little late) bear the consequences. Magnificent.


----- SIDE NOTE: ---Child abuse - a sad and highly topical issue in South Korea ---
The thriller obviously saddles its story on the unspeakably sad topic of child abuse, which due to its unbroken topicality has increasingly made it into South Korea's series and film productions of recent years (among others "Children of Nobody" and "Mother" as drama or "Miss Baek" and "Bring me Home" as movie.) Many a well-established member of society prefer to look the other way when unbelievable deals are being made concerning minors, as long as they might even benefit themselves. And any 'survivors' can be glad if they manage to split off the traumatic experience to some extent - nevertheless most often PTS comes right along. Usually, those ´survivors´ until old age are psychologically still stuck in that desperate helplessness and inner agony of the past.
A South Korean government study from 2021 reveals, that abusive trafficking in minors has been rampant and even increasing in recent years. There is an acute need for action regarding more effective education in all public areas - from prevention to investigation and criminal prosecution up to employee training. A big problem with this: usually police officers or other officials are directly involved and work together with the traffickers, who specialize in the ruthless exploitation of minors. If the children and young people survive this, the psychological consequences of these deeply traumatizing experiences will be very hard - if at all - to be overcome. They are left helpless at the mercy of adults (who actually should take good care of them) and utterly hopeless in the face of a society that turns a blind eye to their torment. The only thing that is left: feeling betrayed and/or obviously of no worth whatsoever...
--------------------------



PS:
It may be that in reality a larger task force would have been set up to investigate the serial murders of the jury members. In my opinion, however, the KDrama didn't take anything away from keeping the circle compact in order to tell the story in its essential entanglements in a powerful way.

P.P.S.:
At last, I don't want to leave a pleasant detail (I think) unmentioned. We have seen it so often in KDramas: within the social ranking in South Korea, the older colleagues are obviously allowed to rebuke the younger ones with a shove, a kick or a snap on the forehead. (In view of my German socialization background, that is unheard of, but ...) In "Blind" one can now observe (among other things) that a transformation in this natural ranking behavior may be starting to happen within the younger generation: a colleague police officer in "Blind" actually gives back to his colleague and stands up for himself. So far, I have seen this rather rarely, if at all. Until now, as a rule in comparable situations, the fist usually remained in the pocket. In the mass consciousness, KDrama is relating to, starting 2022 such physical rebuke might obviously no longer be tolerated as a matter of course. Stand-up-for-your-rights seems to/wants to become possible - like a wind breeze of change coming up within a hierarchical tradition since centuries chiseled in stone...

Read More

Filming standard à la Hollywood meets melodramatic narrative, emotionally firmly rooted in SK soil

“The Moon” could have easily been titled “The Dark Side of the Moon”. At least we as audience learn quite something about it... But it's actually about much more. The KMovie is delivering action within the high-tech world of space travel. On top of that it is touching, thought-provoking and thus gnawing at fundamental, existential and political questions, too. We get a remarkably balanced production between ´international´ filming standards à la Hollywood and a melodramatic narrative with its emotional roots firmly planted in South Korean soil. So eventually, this lunar expedition is neither/nor, as this KMovie offers something in between. For hard-core fans of Hollywood blockbusters it might be offering too much melodrama. For the hard-core KMovie fan it might not be enough. Well, I simply enjoyed it as the lunar expedition as it is.

The focus is on the ambitious national program that South Korea has recently set up in terms of space research (you may check side note below). With its technological innovations, South Korea is starting to present itself as an increasingly self-confident G7 space power. That is where this story is coming from. And it is against this background that the particularly high level of filmmaking effort must be seen, by which the experience of space is brought almost hyper-real within the audience's grasp.

The special ambience is staged first-class thanks to the applied highly developed audiovisual filming technology and expertise. Seemingly, the production team has spared no effort or expense - with 3D rig camera recordings, premium HDR video technology, Dolby Cinema technology (for the first time in a KMovie), innovative spatial audio technology and sophisticated rendering processes for the finest color nuances. The demand was for high-end cinema quality. And it is surely impressive. Everything in this distant, highly technological, alien world, far way within the orbit of the moon, comes as close to the audience as it can get.

Despite the enormous spatial distance, dense emotional intensity is provided, even though the protagonists are located so far away from each other. This delicate emotional bridging, requiring high-end performance skills, has been the big challenge on the actors´ side. In addition to the proven, first-class veterans Sol Kyung-gu and Kim Hee-ae on the ground at the rather clinically clean setting with high-tech computers and screens of both Aerospace Centres Naro and NASA, especially Doh Kyung-soo (D.O.) offered magnificent top performance as an astronaut lost in space. Mainly those three create and maintain an impressively emotional density (in addition to the overall action).

The plot of "The Moon" revolves around South Korea´s international profile as capable space power, while the eyes of the world are set on their (fictive) second trial of a manned lunar mission. Whereas unfortunately it didn't work out the first time... It's also about politics and tons of money. And in the end, it's all about survival... or rather, whether a human's life in the face of groundbreaking missions for humankind is worth ignoring chains of command, nationalities and costs.

Breathless action on unusual terrain. Intense scenes in an isolated space capsule 380,000 km away from earth, surrounded by darkness and severe cold. Desperate helplessness. The struggle for the 'right' decision – what´s actually the measure of what is right? Maybe ultimately just what I can live with in the end?







----------------------------------------------------------------
SIDE NOTE: --- KSpace ---

Korean movie oder drama productions set in space have so far been few, and for good reason. The KMovie “The Moon” from 2023 as well as i.e. the KDramas “The Silent Sea” (from 2021) and “Ask the Stars” (planned for 2023) are, so to speak, a start. They reflect current (or better: hoped for further) developments regarding KSpace.

After rather unsuccessful endeavors at the beginning of the new millennium, South Korea as the 13th country to have its own space center by now, is increasingly well positioned in the KSpace segment. 2021 was marking the first attempt to launch their own test satellites into the orbit by their launch vehicle Nuri, which had been developed over the past ten years. Yet it failed. Nevertheless, in 2022 and 2023 it succeeded at last. Three more Nuri launch vehicles are already scheduled to be launched into orbit by 2027. According to the plans of the country and the Korea Aerospace Research Institut (KARI) at Naro space center, South Korean spacecraft will be collecting data on the moon in 2032 already. Additionally, the country has Mars scheduled for 2045.

Read More

The actors put their heart&soul into it. Soundtrack + camera provide a unique ambience. A Classic.

"All In" is a timeless classic from the early days of KWave. Via main plot and various sidelines involved, you dive into the subculture and parallel world of back room and casino gamblers. In the course of the story, the glitter and glamor of the casino world increasingly take their place, all the way to Las Vegas.

Besides the gaming milieu, the series provides insights into the life of simple, poor young people in the late 1990s, which were shaken by the Asian crisis, and offers interesting local color. The well-established KDrama leitmotif 'Orphanage' also has its place here again. Soundtrack and camera capture the action in an atmospheric and impressive manner.

The actors put their heart and soul into it. In the case of "All In" the milieu-specific ambience was supposed to appear as authentic as possible. Therefore, in advance of shooting Lee Byung-hun and Son Hye-gyo (as adults of the main protagonists) went through an intensive training program, including in a casino in Las Vegas: Lee Byung-hun concentrated on virtuosity Card shuffling techniques and the eye dramaturgy of professional players at the gaming table (he won the Grand Prize at the Baeksan Arts Awards that year, as did the drama itself). Song Hye-gyo, on the other hand, was trained as a croupier and not only convinces when she sorts the chips at a breakneck speed.

The opening scene with a helicopter over the Grand Canyon alone is reminiscent of the beginning of a blockbuster à la Tom Cruise or something similar. "All In" isn't just romance, it's also packed with plenty of action, including brawls and gunfights. It's also about friendship among men. As a milieu study of the gamer's world, it's ultimately about gangsters and mafia, too. (Perhaps it is no coincidence that "the godfather" has a guest appearance in the story: it is shown as a movie in the cinema that shaped the youth of the protagonists.) But of course it's also about great love - in the progress of the 24 episodes facing one obstacle after another - it´s makjang after all...

At the time (2003), this KDrama triggered a veritable All-In-Syndrome in South Korea. The filming locations on Jeju Island became a hotspot for fan tourism. The ratings on public television back then are legendary (at around 47 percent).

Read More

The KMovie is carefree, harmless and heartily. However, it is not trivial.

"Dream" is about team spirit as a positive force that allows a group to excel itself. The KMovie is carefree, harmless and heartily. However, it is not trivial, as it sides with those commonly referred to in society as the weak.

You shouldn't expect too much, then everything works quite well. Obviously, IU and Park So-joon are the show's carthorses. But that doesn't do justice to the rest of the cast, who all contribute their unique esprit. “Dream” comes across as teamwork through and through.

Although it was filmed at original locations in Budapest, somehow, in my opinion, the casting (unfortunately) often enough doesn't work so well, when Korean productions are dependent on actors from different origin. For whatever reason. Even if it's only supporting roles or extras in this case, they seem to be rather amateurish. Hm.

All in all: “Dream” is a KMovie for high spirits and light fare. Not intrusive. With a few flaws here and there. However, also with some well-placed, wonderful and valuable messages in passing.

Read More

Fight for human rights. A story written with the blood of latest Joseon history. Highly valuable.

Definitely worthwile! "Nokdu Flower" offers a historically remarkable epic with a strong performance. The KDrama excels sort of. It almost seems as if the entire team was all too aware of the ambitious challenge to adequately capturing this short but crucial sequence of Korean history.

In the second half of the 19th century, exploitation, famine, a corrupt, incompetent government and weak kings had eroded almost all belief in the existing system, in aristocracy and administration. Then there was the opening of the country to world politics and trades, for which the corrupt Joseon also proved to be profitable. In this historical KDrama it's not so much about the political intrigues around the palace, but about the landowners, administrative offices and Yangban in the provinces as well as the rebellion of the desperate rural people, who simply can't take it anymore.

The struggle for democracy in Korean history, like elsewhere in the world, has been quite bloody. That was last in May 1980 in Gwangju, when the democratic aspirations of the people were brutally crushed by the military. This was so during the student independence movement in 1929 in the fight against Japanese oppression. And that happened in connection with the Donghak movement, too, which had caused quite a stir throughout the country between 1860 and 1894. "Nokdu Flower" is deliberately very close to the front lines of those uprisings for democratic reforms, which then had been for the first time organized on this scale. This forms the perfect background for dramatically intertwined relationship dynamics of two half-brothers, (whose father is one of the particularly exploitative provincial officials who bleed the people dry), as well as the daughter of a merchant, who is used to deal with anybody, even the Japanese, for high profit.

The road to democracy on the Korean Peninsula is definitely rocky. To this day, the reactionary forces are still strong. "Nokdu Flower", however, represents a powerful, unforgettable symbol for the spirited struggle for freedom. The Donghak movement is often seen as the first patriotic Korean movement, since it was also about counteracting the increasing e. g. Japanese influence. But more than a patriotic struggle, initially the Donghak movement was actually about an idea that is bigger than family of origin or nation: It's about ​​basic human rights. (An idea that, not too long before that, had also stirred up the European continent)

Matter follows spirit. And this spirit was shaken up in the rural population of Joseon by a new religious movement: Choe Je-u (1824–1864) created a new faith in 1860: Donghak, which roughly means "Eastern Wisdom". Drawing from Confucianism, Buddhism, Taoism and Shamanism, it sees the divine spirit at work in human beings - in ALL human beings, without distinguishing between class or gender. Additionally, it sees the world as moving in cycles - with a whole new world just waiting ahead.

Nevertheless, it is blood that paves the path to a new era. Eventually, the results of the first Donghak peasant rebellion included a treaty. The "Gabo Reform" recognized the new religion, and among other things, the lowest classes were freed, widows were granted the right to remarry, and penalties for corruption and abuse of office were introduced. Unfortunately, there followed a second peasant rebellion...

This is a story written with the blood of latest Joseon history, sort of.
Overall, a highly valuable production.







--------------- BY THE WAY... ----------------------

...the traditional Korean national dish BIBIMBAP is closely linked to Jeonju and to the Donghak uprising. The heart of the rebellion was in Jeolla province with Joenju being the provincial capital. Among farmers who did not have the time to prepare countless side dishes, it was common to simply mix whatever there was with rice and spices. This food proved its worth, especially when it came to feeding the rebels in their brave fight for new values ​​and a more just future.

... the TITLE TRACK is actually a popular folk song that goes straight back to the peasant uprising. "Nokdu Flower" actually means 'blossom of the mung beans', but here it refers to the nickname of Jeon Bong-jun, leader of the peasant rebellion.

"Bird, bird, blue bird,
bird, bird, blue bird,
Don't sit in the mung bean fields.
When the blossom falls
the farmer goes to cry.

Bird, bird, blue bird,
Jeonju Gobu Nokdu bird,
why don't you fly away
The pines and bamboos are green.
We thought it was summer
yet it's bitterly cold and snowy."

The blue bird refers to the Japanese - they shouldn´t have any business in Joseon and should go away. Joenju and Gobu are legendary places of the uprising. Nokdu refers to Jeon Bong-jun´s nickname and the riot. However, Nokdu, the mung bean, also refers to an important agricultural product and food. Falling blossoms indicate a bad harvest. The 'summer' stands for the first uprising, the 'cold winter' for the second. The song was probably born during the execution of the leader Jeon Bong-jun and has since become a nationwide folk song in several different versions.

Read More

Compelling, complex vendetta, expressive play, impressive spirit & cunning plot development

KDrama Orbit starts into 2023 just as the year 2022 had been – full of productions with their fingers put right into the sore of wounds of society, savouring its imbalance with relish. "Payback: Money and Power", again, is one of those. It offers an exciting, astute, complex and clever story about revenge against those giants, who can hardly ever successfully be confronted by legal means. Money helps… those... who want to have things turn out the way that they prefer… who can afford to have things turn out the way that they prefer... who have a strong vision, too.

The underlying premises are pretty sobering, yet well-known territory in KDrama land:
-The system (democracy and the rule of law) serves the money, not the people, because the people who fill the system with life can be bought.
-Power and money are inseparable.
-Hierarchical class thinking is far from overcome. The value of a person's wealth directly determines their value as a human being.
-Huge fortunes and legality rarely go hand in hand.
-The good news for the wealthy: money can buy you justice (and law).
-The bad news for the ordinary: Life is unfair.
-With legal means (alone) justice is not a given.

"Payback: Money and Power" bluntly takes all of these premises and blends them in a vendetta against Goliath revisited. Therefore, David first becomes a Goliath himself. In this case, David's real name is Eun Yong. He has risen from a penniless, simple young man to become the CEO of a private-equity fund who successfully speculates astronomical sums of money. Together with a team, that for him is family, too, he takes on a financial cartel in which politicians and especially the public prosecutor's office are also involved. Thus, it is not played fairly. On the contrary: it is actually life-threatening.

So, at first glance the plot doesn't seem to promise much that's new. Nevertheless, "Payback: Money and Power" offers a dense, strong story, with expressive play and impressive spirit. The presence of the mimes in front of a rough, gloomy background is haunting. To be honest, I paused for a moment - not sure whether I really want to know and see everything or rather drop. Eventually, I couldn't help it, couldn´t let go of it. I WANTED to know and see. The impression, the KDrama left with each episode, was just too powerful... And I'm thoroughly glad about it. A great story. With a considerably cunning plot development. Despite the underlying bitter seriousness an invigorating (for all the refreshing poetic freedom - e.g. not everyone is as talented, tactically adept, self-confident and yet grounded in a good balance of heart, mind and soul as Eun Yong) and encouragingly optimistic perspective.

Oh, actually, here's another premise I forgot to mention at first...
-But what a relief that the law still exists... and also those few, who stick to it, believe in its value and power, and thus keep fighting for it with wits and passion...

Read More

Solid crime drama! Gripping! About an aged, cynical cop struggling in a dark, grim man's world

"Shadow Detective" offers solid crime thriller quality at a high level - gripping, dense, with South Korean Look&Feel!

As a Disney production, the series was produced explicitly for the international streaming audience. Accordingly, within compact 8 episodes the KDrama presents itself rather slim in terms of some characteristic dramaturgical, Korean-style storytelling elements. Nevertheless, a profound script, the committed cast and witty camera manage to create an enormous intensity and three-dimensionality.

"Shadow Detective" takes the audience firmly by the hand. The story does not have to come up with an excess of violence (as is so often the case with international, more masculine orientated streaming productions). I should mention, though, that it's primarily about older men in a man's world - and it's rather dark, grim, cynical.

Against the almost self-evident background of an almost unassailable, corrupt shadow world, the story focuses on the protagonist's inner struggle to do a reasonably good job as a detective despite the ailing system (... and to cope with aging).

Another season has already been announced.

Read More

Where it is particularly dark, even a tiny little bit of light appears immensely bright...

I ended my review about the first seasons with the conclusion: "I only recommend "The Escape of the Seven" if the mood is right - one that demands unfathomable beastliness down to the blood. If we get involved in this KDrama, then we will uncompromisingly be catapulted into a world in which a search for the good guys could very well be in vain..."

And obviously, things can always get even worse. At the same time, a wink of a conscience is actually making itself known here and there… very quietly, though. Regret and shame become concepts that are though stumbling trying to make themselves be heard. It's evidently not that easy, but maybe, who knows, it might not be impossible…

Still, the Seven can't easily get out of their skin. It´s way too serious what they had done and must be held accountable for. Even if they all go through their own processes and would perhaps like to choose a new path in some way (fortunately, people have the potential for healing and transformation), they can neither run away nor undo what has happened. In addition, they have made a pact with the devil... No matter which devil you get involved with, it rarely goes well...

The second season cleverly manages to build on the first one with fresh dynamics, while still giving the emotional rollercoaster ride a new direction. Sophisticated dramaturgical twists included. It's amazing to notice ourselves suddenly sympathizing with one or the other of the loathsome Seven...

In addition, the KDrama is vividly displaying the frighteningly diabolical (not too distant) future scenarios of our increasingly digitally depending information society, that in the worst case scenario, could become completely helpless in its interconnectedness...

Overall, I think “Escape of the Seven” is even winning with its second season. It offers a special KDrama experience that has it all - for all those who don't shy away from the abysm of the human species. And as is well known, where it is particularly dark, even a tiny little bit of light appears immensely bright...

Read More

Political thriller, eloquently dealing with SK´s struggle for true democracy. Inspired. Profound.

Election campaign is a fight. But what rules should be applied? Do you inevitably have to hand in your ideals and ethics at the entrance as price for political success?

Critical processing of South Korea's recent past - the democracy movement - is still in its infancy, because the dictatorship just finished a few decades ago and its proven structures within conservative circles are still resonating today. Increasingly, however, this topic is also taking up its media space. The political thriller "Kingmaker" sets a bold milestone by taking on a dazzling, comparatively upright, almost exemplary political personality, who for a long time seemed to have no chance in his sincere, ambitious fight for real democracy: Kim Dae-jung. He was the first opposition candidate to be elected President of the Republic. He is also the only South Korean to ever receive a Nobel Prize for his work on democracy and human rights. Some call him the Nelson Mandela of Asia...

In particular "Kingmaker" tells (in the plot prepared with some poetic freedom) about the early years of his political struggle and the arduous path that ultimately led him to the Blue House. The focus is less on his biography and more on what he still stands for in the eyes of most South Koreans today: real democracy. Or rather, against what he wanted to compete: the conservative, elitist, political cronies who stand in the way of progress and justice, if it is not in their own interest.

In the service of the electoral success, Kim (like so many politicians on this planet) was probably tried more than once to sanctify the 'good' purpose in the sights of many a morally questionable means. This difficult balancing act between an upright political attitude and one's own venality in a pact with a promising "devil" is illuminated and processed here in an impressive way. The temptation of a promising shortcut to success usually comes with a price that has to be paid sooner or later. (The internal struggle of 'for' versus 'against' shapes the decision-makers in South Korea with their well-established, conservative, shadowy networks to this day. This is actually writing daily history. And the TV and movie productions are full of it, too.)

The status quo - submission to the apparently influential 'more powerful' - is contrasted with a historically real personality. In order to convey the emotional dilemma in a dramaturgically clear way, Kim's campaign strategist of the first hours, Eom Chang-rok, was stylized as the main character and staged fictionally. In fact, little is known about him other than that he is said to have been brilliant and downright genius.

The story is about Eom Chang-rok's intelligent crisis interventions, solution approaches and election campaign strategies, some of which are in stark contrast to Kim's idealistic democratic values, that are always geared towards serving the people. The audience is confronted more than once with the question of whether the end might justify the means. Isn't the power of the people just a well-meant illusion after all? Wouldn't it be more efficient for the state leadership if a few (more or less) smart people decided for the many others in a short decision-making process? "Kingmaker" touches the foundations of political morality and ideology.

However, the KMovie also touches on very human weaknesses: the need for approval and the temptation to be seduced. These weaknesses are truly human and have to be dealt with by everybody - somehow, someday.

"Kingmaker" is a moving political thriller set in recent South Korean contemporary history about the stumbling blocks and challenges of true democracy. A democracy, that requires responsible, mature and accountable citizens. A democracy, that will always be challenged by the forces and networks operating in the shadows, whose goal is to incapacitate the citizens and instead rule for their own personal benefits.

An unpleasant subject, indeed. Yet the KMovie is eloquently dealing with this crucial issue for any democratic society.
A brilliant approach to this topic as well as to a younger chapter of South Korea´s history.
Inspired storytelling.
A profound production.

Read More

An inverse function... Consider the journey the reward. Truly captivating.

Two core components of KDrama characterize the recipe of "Secret": Firstly, the rich and powerful can obviously get away with anything. Secondly, a secret not only changes those who know about it, but eventually comes to light. Yet the brilliant mixture of this pastry makes the difference: the fatal initial constellation of the relationship dynamics is so cleverly shifted, twisted and tricky in several emotional loopings that the emotional world is completely turned upside down - an inverse function...

For quite some time I avoided this KDrama, because (from the description) I thought I already knew how the story was going to go. ...Quite familiar, already seen many times... However, at some point I just wanted to have a glimpse (probably because of Ji Sung). What a surprise: it was truly captivating...

Moments of foreboding and predictability, yes, there are. But believe me, that doesn't stop you from wanting to see HOW things in their complicated entanglement can still turn out for the best. On the contrary, you CAN´T WAIT to experience that! The destination may be known, however, consider the journey the reward.

Read More

Absorbing & intense 500 minute road movie. A taxi ride to a soul´s nowhere. Brilliant from A-Z.

For me, “A Bloody Lucky Day” is one of the KDrama highlights of 2023.

It is a psychological thriller. Without makeup. Set in a fairly grounded, solid, authentic everyday world, which gets challenged by a maniac´s incredible psychological logic. Stirring. Brilliant from A-Z.

However, everything revolves around the abysmal work of a psychopath. Accordingly, things get mercilessly brutal at times. The cumbersome police don't come off so well. Common sense, on the other hand, does... when it is in fact emotionally cornered to the extreme, so that it can no longer help but function at full speed, without distraction whatsoever.
One-pointed concentration, already having lost too much, getting your teeth into it and being ready to go to extremes – could that be the recipe to counteract the psychopathic 'monster'? Could... Maybe... Or not... Or is it?

“A Bloody Lucky Day” could be considered an absorbing ca. 500 minutes long road movie - a taxi ride to a soul´s nowhere. For the poor taxi driver a rather involuntary participant observation study on a psychopathic killer...

Emotionally highly explosive. Intense. Acting is first league. As a I mentioned earlier, a brilliant production from A to Z.

Read More

Everything stands or falls with the choice of an auspicious place. Insights into Korean geomanticsm

"FengShui" is a historical KMovie that addresses the political takeover by Heungseon Daewongun and his son, King Gojong. Even more, it deals with the Korean version of geomancy - Pungsu-jiri-seol = theory about the relation between wind, water and earth - which has accompanied the country across all dynasties since at least the late 9th century. The traditional theoretical concepts, studies and observations are about which constellations in the landscape bring luck or misfortune to people. In South (and North) Korea there is hardly any building, tomb, temple, or city that was not built from the point of view of Pungsu. To this day, Pungsu is still quite popular.

Against this background, one could understand the movie "FengShui" as a nice, sometimes exciting story that comes up with a pointedly, rather apolitical, and for some even esoteric explanation about the ending of the Joseon Dynasty: At last, it was the (wrongly?) chosen location of the tomb that decided the end of the empire...

In any case, the story dramatically illustrates the importance of Pungsu to the people of (Silla, Goryeo, and) Joseon. And by the way, it gives an insight into the political situation during the last decades of Joseon. Without reference to this, however, one may be a bit surprised about the scramble for graveyards and also the struggle for power at the palace would be an interchangeable one among the many stories available on screen... No matter which glasses you choose, the cast in any case guarantees top-class performance.

Eventually, if you are interested in Korean society and history, the KMovie "FengShui" opens up an understanding of the great importance regarding the harmony (or disharmony) of human life with natural events (such as weather and seasons) as well as in relation to geographic features of the landscape (such as mountains and lakes and landscape) - as they are having a direct impact on human health as well as the fortune or misfortune of personal, family or even national fate. Everything stands or falls with the choice of an auspicious place (Myeong-dang) for one's own house, grave, market square, administrative headquarter, temple, fortification, palace, etc.

The teaching goes back to the Buddhist monk Doseon (826-898). He was a Daoist master and Zen Buddhist student who adapted the Chinese principles of feng shui to the Korean landscape and cultural environment. What is special about it is the concept "grow with nature", which in this respect focuses on an analysis of the spiritual and matter-related energies of mountains and landscapes as well as their effects on human life. (Interior furniture etc. plays a minor role in Korean pungsu.)

The KMovie "FengShui" puts a Pungsu master at the center of the story. Due to the more or less favorable choice of location, he can predict and influence how the fortunes of the people affected will develop. In this case, by using this knowledge to choose the most favorable burial site, he becomes a veritable kingmaker.

By the way:
All 42 royal tombs of the Joseon Dynasty over a period of more than 500 years are largely undamaged to this day. This is worldwide unique. All are arranged in the landscape according to the teachings of Pungsu - at most close enough to the capital for the royal family to visit the tomb within one day. (The concrete design of the complex was based on Confucian specifications.)

By the way:
The historical starting point of the story is the fact that Heungseon Daewongun, a central political figure of the last Joseon decades, moved his father's tomb on the advice of a Pungsu master. The new setting somehow promised that 2 kings would come out of his family. That was actually the case. But after that, the Joseon Dynasty came to an end.






------------------------- SIDE NOTE: --- Myeong-dang and Korean Pungsu ---
Pungsu officially goes back to the monk Doseon. But there are also sources that indicate that there was already a spiritual tradition with human-nature harmony on the peninsula, the aim of which was to efficiently balance landscape and topography, natural forces and sanshin (mountain spirits) in order to determine the fate of the purposefully influencing people.
Doseon's works have not survived. But his yin-yang geomancy was handed down in the works of later Confucian scholars. In the 12th century book "Haedong-Pirok" about the secret history of the country Doseon's theories were mentioned and even expanded. 5 centuries later, Yi Jung-hwan (1690-1752) in "Tangni-chi" analyzed the topography and landscape of the entire peninsula according to these geomantic points of view.

Central to this is the concept of Gi (forces of matter) as opposed to Li (forces of Heaven and Spirit). Mountains, and in particular the central mountain range that stretches like a spine across the peninsula, are the source of Gi. The energy flows, so to speak, from the mountains into everything that the landscape produces, into the water and into the air - all that nourishes the humman being. Gi thus becomes concrete and figuratively the source for a strong, happy people.

Another central concept is "Hyeol": a place of perfectly balanced forces of heaven (cheon-gi) and earth (ji-gi) from which people benefit the most. Such Hyeol with high, positive energy potential include, for example, Jiri-san's Cheonghak-dong valley in the south of Samshin-bong peak or the location of Buseok-sa ​​temple on Sobaek-san. "Hyeol" actually means an ´opening´. Like the 9 openings of the human body, there are also openings in the landscape through which energies can enter and escape. If you like, Hyeol could be considered acupuncture points in the mountain landscape. Knowledge and control of Hyeol thus is highly related to power. A more ancient term for Hyeol comes from the shamanistic tradition: 'Myeong-dang', the (spiritually) lightful or auspicious place. The idea behind it: Bedding the ancestors at the auspicious place can bring prosperity, power and good fortune to future generations. Bedding the kings at auspicious places accordingly brings prosperity, power and good fortune to the nation.

...The KMovie is originally named "Myeong-dang"...
---------------------------------------------------------------------

Read More