Atsu-hime's evolution is believable and beautiful to watch. The story is authentic and gives you a glimpse of a closed world and how it changed after the Meiji restoration.
I highly recommend this drama to anybody who wants to see a beautiful story that is both historically accurate and understandable for the modern viewer.
The acting was stellar, believable and stirring all kinds of emotions. The music was epic, as much as the story was personal and without much of those epic scenes with wars and surreal martial arts.
I don't think I can rewatch it as a whole, but there are certain scenes that I would happily rewatch!
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1Justice is blind and not heartless.
I have never had a good impression of China's opaque legal system so I was both curious and skeptical about Draw the Line. This drama is a fascinating tour of the inner workings of China's grassroots level judicial system. It shines a surprisingly candid spotlight on gaps in the Chinese judicial system from rapid economic growth, modernisation, changing social values and the proliferation of the internet and social media.Fang Yuan is the presiding judge at the Xingcheng District Court, a local people's court of first instance which handles both civil and criminal cases. Fang Yuan's division handles civil cases while criminal matters are adjudicated by his colleague Song Yufei, a deputy chief judge of the intermediate people's court. What surprises me most is how hands on the grassroots judges are in the Chinese legal system. They do a lot of field work themselves from directing the gathering of evidence to personally interviewing plaintiffs, defendants and witnesses. The role of lawyers is so passive and marginalized it is as if they are for decorative purposes only. For civil cases, the court first seeks to resolve conflicts through court sponsored mediation. If an agreement, is reached, it becomes legally binding once it is reviewed and documented by a judge. Mediation can be a draining process, especially when dealing with less educated, unreasonable and belligerent citizens. Thus beyond legal knowledge it takes a combination of investigative and persuasive skills and a healthy dose of patience to be effective as a grassroots judge in China.
The arrival of Ye Xin, a young researcher from the Supreme Court is met with speculation and trepidation by the close knit community at the Xingcheng District Court. She is an annoying character in the beginning because she has no practical experience, and adopts a rigid by the book approach to interpreting the law. Experienced grassroots judges like Fang Yuan and his mentee Zhou Yian are more pragmatic about bridging the inevitable gaps between static legal codes and the myriad complexities of real life cases. Still it is never easy to figure out where to draw the line between the letter of the law and the spirit of the law. Beyond the heavy case load, the courts also face the challenge of social media, where cases are tried in the court of public opinion on distorted facts. Although the judges do their best to weigh the the practical, moral and humane aspects of their decisions, they don't always get it right. They have their own flaws, biases and personal or familial pressures. These dynamics set Chinese Supreme Court down the path of judicial reform, where case law is increasingly implemented instead of just statutory law.
The impeccably curated cases create a fascinating mosaic of moral, familial, commercial and social issues great and small confronting the Chinese public today. They are based on thought provoking and relevant real life cases; some of which have sparked public debate and controversy. The drama is very even handed about presenting both the plaintiff and defendant's point of view. The writers very effectively showcase resembling cases to illustrate the range of different human emotions, motives and outcomes. There are cases where two sons are driven to kill because of their mother, sexual harassment cases with different power dynamics and common reasons for the breakdown of marriages and related child custody disputes. From the mundane and petty to the serious and complex, the cases strike a riveting, sometimes heart rending chord because we have all read about or heard about or experienced something similar. At the same time, these cases deftly illustrate the many challenges faced by grassroots judges. They are the everyday heroes who navigate the grey areas of the law and morality with compassion to deliver justice that is blind and not heartless.
The cast in this drama needs no introduction and does a stellar job in drawing out the complex human aspects of the cases. Jin Dong delivers a multi-faceted Fang Yuan who is everything to everyone at work - a stern and impartial judge, a tireless and persuasive mediator, a wise mentor and a playful colleague. This leaves him with much less to give at home as a father and husband. We see a very down to earth version Cheng Yi as the introspective Zhou Yian, the young judge who must surely cut his own hair! He convincingly navigates a crisis of conviction after making some mis-steps. Both Yian and Cai Wenjing's Ye Xin are the characters who show the most growth in this drama but the characters that move me most are either defendants or plaintiffs in some of the more heart rending cases.
The best, most thought provoking case to me is the one about the roommates that is analogous to tripping a friend to escape a bear attack. Even though all the cases are interesting, there are too many of the cases in the back half that personally entangle various court personnel. This requires repeated suspension of disbelief in terms of how impartial and self sacrificing the various protagonists managed to be. It also highlights in my opinion an area that still needs judicial reform, which is how conflicts of interest are handled. It seems there is no requirement for judges to recuse themselves when their colleagues end up as defendants. The ending case is just too personal with too many coincidences and conflicts and an outcome that I find the least equitable with some defendants getting off too lightly while others are very harshly indicted. It is not the right note to end on and as a result I rate this an 8.0 instead of an 8.5. Overall a highly recommended, eye opening, thought provoking and fascinating watch with heart felt performances from some of my favourite Chinese actors.
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Being a fan of Miike’s filmmaking, it was unavoidable to miss the highlighted foolish characterization, extreme violence and hilarious black humour inserted everywhere. That being said, I never expected Toyoda to do the same. After all, two different directors have entirely dissimilar way of making their pictures. Crows Explode leaned to the realistic side way too much which was a bit wrong in my opinion; don’t get the wrong idea, immersing the characters and fighting scenes in realism didn’t sound like a bad treat but when it’s over-done with this type of film then things are bound to become bothersome.
To make things clear, this film had too many similarities with its famed prequels. The fight to become Suzuran’s top leader was still used as the main thread to drive the plot. However, the fighting sequences to reach that objective were surprisingly demure and repetitive in a worrisome way. Although Toyoda tried to focus on the human emotions between his characters, he didn’t exploit his main leads’ potential to the fullest. Thus, many feelings couldn’t get pass the screen barrier to reach the watcher’s heart.
Crows Explode narrative pattern was composed of several side stories that didn’t serve any meaning at times. At the matter of fact, few of them were just used to fill the running time instead of building characters’ back stories. To some extent, most of them were heavy to watch especially with the obvious lack of fighting scenes; they became utterly irrelevant to the film’s development. Let’s not forget the near-disappearance of black humour – which I clearly don’t blame Toyoda for it. The last fighting sequence wasn’t blowing but it delivered a nice punch after all.
The entirely different cast is worrisome, isn’t it? I know that many people can’t imagine the “Crows” without Oguri Shun and Yamada Takayuki on top of them. I am a big fan of those two actors myself but shockingly, their disappearance didn’t make me feel bad. I did want them to be in here but the new faces weren’t bad at all. Led by raising stars like Higashide and Yagira, the acting department did the trick for the lack of better words. Some actors didn’t convince me much but I can’t put all the blame on them, the way their characters’ were written didn’t allow them to show a wide range of emotions or action.
The cinematography was trying to be the same as the two Crows Zero but it didn’t come out that way, I believe the yellowish atmosphere is the film’s way of distinguishing itself from the others. The musical note was the same so there's nothing to complain about in that department. The directing style and the setting of fighting sequences are debatable but Toyoda made sure to leave his mark which is more than enough to respect a director.
Watch if:
-You like both Crows Zero but make sure to watch this with an open mind.
-You like school fighting.
Do not watch if:
-You’re looking for a “copy-paste” version of Takashi Miike’s prequels.
Crows Explode had its own touch of filmmaking but the serious realistic depiction that Toyoda decided to use didn’t come out entirely right, just like it wasn’t entirely wrong. Due to its entirely different pattern, this sequel should be viewed for its own merits, comparing it to Miike’s Crows will only make it harder to watch and judge.
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The plot starts off very slow and realistic but has plot twists within the middle of the movie. After that happens, the plot picks up and that's what makes you more interested in what will happen next.
As for the soundtrack/OST, not the most memorable. It just was okay. The acting on another note was beautiful. I love Choi Woo Shik, Kim Dami, and Go Min Si in this movie. I really think the cast was well picked and the actors did an amazing job with the acting and portraying each of their characters.
I would rewatch this movie if I wanted to, and I am really hoping and excited if there is a PART 2 to this movie.
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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"...
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Family Matters on the Farm
This has been on my reserve list since it was first announced and I was looking forward to this concept as a costume drama on a farm was new to me. Joseph always pulls off solid acting. I know the video game concept was put in due to censorship and I have no complaints regarding it. All of that said, the English title didn't fit it at all and it should have just been called Family Matters on the Farm.Pros: The entire concept was interesting. Had everyone guessing how many of the characters were none NPC. The theories and ideas were great to discuss with other viewers. ML did the best and was my favorite character though everyone did a great job at playing whichever character even the ones we didn't like so much like the toxic family. Our FL was very business oriented but though she spoke her mind, she had a kind heart which I think sometimes was too kind. Everyone that harmed her or her NPC parents and brother did get their comeuppance in more ways than one. Everyone you wanted to hit, absolutely received theirs villains included. The last episode and the hard earned forgiveness of many was actually necessary before the FL could return to her real world.
I liked how they mixed the farming life and the martial arts of SN and 13. There was a nice balance. I know a lot of people weren't pleased with the ending but I think it was a happy ending in both worlds though very subtle. Not every show requires a wedding and babies. They loved each other and even though the extra episode was only like a minute long and didn't show SY aka SN's face, it was obvious from LMN's face and tears that those two would be together in the real world too. I actually got a bit emotional in that last episode with the forgiveness and LMN saying goodbye to everyone. What I'm not sure others noticed was that she somehow exited the VR world without actually putting that last tael of money into the box, it was left on the table and she was still in fact a bit short. So my reasoning is that ML went to meet her and also exited them both out of the game after sitting and chatting about being together forever, then he went to meet her irl to give her the woven horse and reinforce the promise he made in the game.
I love Joseph's OST the most; I don't know why they had someone else also sing it later. His voice was soothing and really brought the song to life. But I have no qualms on costumes, scenery, save for one of FL's hairstyles which was thankfully short lived. You didn't need a large budget here.
Cons: Not very many here; but I do wish that they returned ML to FL sooner at the end and before the last few moments before she exited the game. And I wish that 1 minute special episode had Joseph's face and was part of the last actual episode because as someone mentioned, it did seem like an afterthought. I also wish that FL sounded more mature and less whiny in her conversations; I think that the actress has more or less typecasted herself into these kinds of roles. Would be nice for her to try something where she doesn't always appear brainy and pouty. I'm really nitpicking here because this drama didn't have many cons. Also do wish since they chose to use it, explain more about the game aspect itself; like how long are actual time lapses as opposed to the real world and so forth as well as close out what happened to FL's stingy, uncaring parents irl. That part was left hanging.
Would I recommend it? Yes I would. Just forget the title as romance is nowhere near the primary theme though it does occur and there is great chemistry between the leads. If you're looking for a different costume drama, give it a whirl.
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I don't even know if I can say this is a review... but anyways.Story:
It is a slow and sad drama but very powerful and haves a great story if you are willing to watch it.
We all know from other dramas and stories we read on the net about how hard is the education system in Korea and the contest between students to take higher places but this is not from the kids view here the point of view is from the parents perspective.
As the drama moves on you will notice that they main subjects are:
- The high expectation a family haves on their kids and their education and how it affects the family itself and even the neighborhood. Not your regular school drama this is just about the parents way of seen education and what they are capable to do to get what they want from it. (risks & consequences)
- The behavior, sacrifices and attitude society expect from you as a mother, wife, housewife and a woman in a family or neighborhood.
Many other themes are discussed on the drama too: infidelity runs along the WHOLE drama, money, greed, addiction to gambling, humiliation, depression, suicide, bullying, sexual harassment, power, in-laws, values, moral and secrets (LOTS OF THEM).
Acting/Cast:
The acting is spot on. The housewife is played by Kim Hee Ae and I couldn't believe she is the same person that play the extremely powerful Machiavellic leading lady on Midas.Here she is the opposite. She doubts and fears everything. She is an amazing actress got me believing her story it was the real thing the whole drama. Gyeol (housewife son ) was played by Im Je No and he was brilliant. A kid becoming forcefully an adult while keeping his innocence that is what I saw. The rest of the cast... all great actors... I ended having strong feelings for them. (don't want to give you spoilers)
Music:
The music it was mellow kind of indie music. I didn't pay too much attention cause I just wanted the drama to keep on and get resolved. I was really into the story and outcome. Got carried away.
Rewatch:
No. I don't think so. I ended all upset on some episodes... but it gets better. The bad. then good. Still once is enough. Just watch it at least once.
Overall:
I liked it and glad that I watched it. It helped me see/understand more the education issue in Korea and how it affects the values and believes of society. I saw infidelity different layers, acceptance and point of views or aspects in Korea. At some point the issues left me feeling confused to the point of been kind of disturbing. It help me appreciate the freedom I had when I was a student and the freedom I've as a woman.
The last episodes where so good that I didn't even noticed when I got to the last one. And was like OMG this is the end so fast? If you watch it you will understand. It might sound all sad but it haves it's really "funny" good parts. It is NOT a cheesy, action, kisses or tears drama. There is a love story but is not your typical romance. This drama is FULL of real life issues. It is a drama to think and study our humanity and meditate on how we value the people around us and life.
Hope this helps.
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A mix of slice of life, romance, mystery and some political intrigue
I finished "Are You the One" more than two months ago, so it's still somewhat fresh in my mind. Thankfully, I wrote down my comments and episode recaps, so I have references to refresh my memory as I write this.This drama tells how fate and circumstances brought two strong, determined and principled characters from opposing sides together, and how they worked through their problems and challenges, and emerged with a better understanding of each other.
The story has two major arcs. The first arc is when Liu Mian Tang had amnesia and there were many unknowns, and the second one is when she fully recovered her memory and the ensuing events that happened. What I like about the first part, among other things, are the mystery, the unknown details, and anticipating when the truth will be found out. The comedy also helps. I like Cui Xing Zhou and Liu Mian Tang's getting-to-know each other phase, the slice of life moments and how they are reviving their porcelain business. For me, this part is best watched without knowing major spoilers. I accidentally read one, which dampened some of my excitement, but at least, I was a few episodes away and was near to guessing it.
Episodes 20 to 23 contain some of the major turning points in the story. I think the transitions are well done. The second part's focus is on their growth and reconciliation, as well as the palace intrigue. It's more serious compared to the first arc, but still has sprinklings of humor. The politics is not heavy here, so don't expect heart-pounding scenes. One thing I wish they had shown (instead of just mentioning it) would be some scenes or flashbacks of CXZ and LMT as forces on opposing sides, fighting for their beliefs. Not sure in what part of the drama they could insert these, but just a thought anyway. The drama's ending wrapped things up nicely, although I have a question or two, but it's not a big deal.
Now on to the main cast. Zhang Wan Yi did a good job portraying Cui Xing Zhou. He was able to show the serious, in-love, torn, heart-broken, and funny sides of CXZ. And I like his voice! Wang Chu Ran gave a convincing portrayal as Liu Mian Tang, especially in the first arc, where she showed innocence, savviness, trust and vulnerability. Plus, I find her pretty and elegant. In addition, Zhang Wan Yi and Wang Chu Ran have great chemistry. The interactions between CXZ and LMT come out naturally and are believable.
As for Chang Hua Sen, I first saw him as Li Tong Guang in "A Journey to Love", and his performance left a good impression on me. Here, his character, Zi Yu, is multi-layered, with mysteries that were eventually revealed. His portrayal is good, though I think Zi Yu's character could have been developed further. Shi Xue Ji, played by Yuan Yu Xuan, is a very likeable character. She's the dark horse in the family, someone you would root for and would want to succeed. Her growth is played out well.
Zhang Chi as Marquis Zhennan is the proverbial best friend, who's supportive and also comical at times. Liu Ling Zi as He Zhen is average for me. I've seen her play a similar character - strong, smart, but initially not appreciated by those around her.
The soundtrack is nice. The songs are well chosen and suit the drama.
Final Verdict: The romance and slice of life aspects are good, and despite some touching moments, politics, and fight scenes, it's generally a fun, entertaining and light watch. So if these are what you're looking for, then go watch this drama.
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All in all, if you are a fan of CSI type crime shows, this one is likely to engage your interest. The various crimes solved actually occurred, which makes them more interesting than so many of the fictional, contrived murders littering the drama landscape.
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FORGET THEM NOT!
Just when you thought you finally moved on from the heartache of not seeing these love teams, GMMTV gave us this series to make us crazy over these guys, all over again.The whole series is essentially a look at what our favorite couples have been doing years after their original series ended, banking on nostalgia for viewers' pleasure. Each episodes are all well made and is more like a movie rather than a series.
What I love is some of the episodes actually gave us closure to some of the couples' stories. In fact, we can argue that some of the episodes are maybe better than their parent series. It is very evident that these pairings are comfortable with each other, and they all look like they are enjoying themselves - they set the gold standard for their dedication and fan service.
Just a reminder, no, you cant watch this without watching their respective series. I didnt exactly love all of the original series, but I did love all these 5 couples in them, so watch them first, then top it all up with this.
What i hate about the series is it made me long for these couples once again, I thought i was over missing them and then here they are being cute and all, and after an hour i have to face the withrawal syndrome of not seeing them in these characters once again. I just hope they made each episodes longer maybe 2 hours each. Yes, I know I want more, and I know Im selfish.
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Beautiful and rare story about Humanity, Character growth and Forgiveness.......
LCR can be summed up as “The world is better because of you” This is not a fluffy romance drama and required a mature audience to unravel this beautiful story about humanity. LCR story is adapted from China Blue Sky Rescues volunteer including its rescue scenes. It portrayed different aspects of humanity through 6 main characters and their actions not always what audience wants to see…but happening around us…. It is a rare touching story of the real Hero in our world.The drama tells the growth of 6 different people, all live in their own worlds some with dark past/traumas, whom received kindness through rescue and overcoming their own pasts/struggles to become light for others through rescue….
In the Mv songs…”When the world did not give me a good start”…That’s how our Leads childhood stories begin…both are orphans victims of natural disaster….and grew up taking different paths to patch their traumas….One savvy successful cunning lawyer and one smart, cautious cold doctor who close herself to outside world….As their not so great start begin, it took many twists and turn before they got together and when they did…one big revelations during their childhood trauma is unravelled (a huge surprise) that lead to their love struggle…..one that need a huge courage to overcome….
You all start with hating LB and boy how much I love him at the end despite all many tragic events he went through for being real, brave, courageous, kind, smart and forgiving…..LB is a true warrior…
We have 2nd couple who are big sweethearts and the 3rd ones that well can do with less screen time.
LCR showed a dozen + amazing rescue scenes. My favs are the earthquake, mudslide, and cave, some channeling Hollywood production…. Finale Glacier rescue is Epic, movie texture quality and cinematography and one that I did not think C Drama is capable of making such a harrowing scenes…
Acting:
Lyx a season actor he showed all aspects of LB multi-faceted traits eloquently, vivid, delicate and detailed. His ability to deduce the state of his character is thoughtful and accurate. In the last Finale rescue, he blown me away with one of the best acting I’ve seen in C drama and I just witness the explosive growth of this talented actor. ……..Hat’s off to Lyx for performing many dangerous stunts himself.
My first WQ full drama. I like her takes as cold doctor. She is truly an underrated actress with solid acting skill. Most support actors are good, only a few weakling…
All 6 main characters are original voice and they are all good, but especially LYX....This rare in C drama....
OST: I keep looping it and how the narration really fits this story of growth….not able to FF the opening song and ending song each time....
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I spent my afternoon sitting at a quiet, dimly lit corner to watch this movie, and by the end of it I was truly touched by the deep, profound story that this movie portrays.
Having received 11 nominations in the 56th Golden Horse Awards and winning 5 of them, with one being 'Best Film', I know I already have high expectations the moment I clicked into the movie, and boy did the movie not disappoint me. It totally threw me into a whirlwind of emotions. :")
Story and acting wise, I have almost nothing to pick on. The actors were brilliant in their portrayal and well, my ratings are clear enough, and you can watch and judge it for yourself.
Rather, I would like to bring up some themes that lingered in my mind after I've watched the movie.
[We've all been hurt before, and that's how we can become each other's sun.]
[A Sun, A Son]
The title of this movie holds two meanings, 'A Sun' and 'A Son'. What happens when a family is thrown into darkness when the 'sun' of the family is no longer there? What happens to the family when A-Ho has to move out of the darkness, what hope can he, or rather, they, cling onto?
This is a movie that speaks about relationships within a family: mother and son, father and son, elder and younger sibling, and many many more. But ultimately, this movie explores what it means to be a family, and to be yourself.
Also, note the use of the article 'a' for the title of the movie. Why is it 'a' and not 'the'? How does the difference in definiteness of these two articles change the meaning of this movie?
[Light, Darkness, or Both]
In this movie we have characters who stand out and thrive in the world brightly lit up by the sun. However, some recede into the darkness where they seek comfort and find out their own meaning and interpretation of what they're worth. But how about both? How does having both light and darkness in a character's life influence him in any way?
[Expectations and Hope]
For someone who has been in the light all along, how does he feel about it? How do societal and familial expectations weigh down on such a person? How does he find shade to rest and take a breather?
Whereas, for someone who was always in the darkness, will he be able to find his own ray of sunlight and move into a world where the sun shines brightly upon him and his future? Over here, how does societal and familial expectations differ from that in the aforementioned case?
[The Sun (literally)]
The weather changes throughout the movie helps portray the different settings and atmosphere for each character's feelings, emotions and state of mind. And I must say, the appearance of the sun (or the lack of it), as well as the amount of sunlight shining upon a character, plays a huge part in helping viewers understand what state of mind the characters are in. The visual significance of these scenes are enough in showing us the characters' emotions even without them having to portray them. That's how powerful and well-thought-out the cinematography is in this movie.
[Seize the day. Decide your path.]
This is a recurring slogan in the movie, and we can begin to wonder why it's mentioned in the first place (and many times after) and also how much it weighs on the different people receiving this piece of advice.
Well, that's all I can offer for some thinking after the movie ends. Do watch the movie, you'll not regret it ;)
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Amazing Female & Male Leads | Precious Romance
I almost missed this wonderful drama because Ren Jialun (aka. Allen Ren) was not on my favorite actor list. I watched him in "The Destiny of White Snake" but couldn't grow to like him. However, in this drama, he is simply fabulous! The Embroidered Uniform really makes him shine above all; he is so perfect in this amazing drama, as if the character Lu Yi is written for him.Ren Jialun has a face that fits exactly the face of the Lu Yi character to which Yuan Jin Xia has said, "the face of the Lord of the Netherworld" because his face is sour in its resting state. I normally don't like sour faces, but I find the sour face of Ren Jialun so cool and adorable that I don't even believe myself! I love him so much in this drama that he is definitely enlisted on my favorite actor list from now on.
The character Lu Yi has a no nonsense demeanor: ruthless, few words, authoritative (he's the head of the Embroidered Uniform Guard), calm, strategic and smart. Ren Jialun simply looks so fabulous in this uniform that, together with his natural acting as an authoritative figure, he merges with Lu Yi as one.
I have always loved Tan Songyun (aka. Seven Tan) who plays the character Yuan Jin Xia. Tan Songyun is so cute and tom boyish with her cleft chin, making her a perfect gutsy police officer in this drama. She has a face that can look like a pre-teen, or a 20 something professional woman, affording her all the flexibility of a fantastic actor and fitting into any roles easily. Her acting is simply top notched.
It is rare for me to like an antagonist, and this drama provides one. The character Yan Shi Fan played by Han Dong is amazing. He's ruthless, deceitful, corrupt, scheming, and a mastermind behind all the evils. The actor Han Dong is tall and good looking. As Yan Shi Fan with a glass eye, devious and a double-faced demeanor, Han Dong's acting is simply immaculate.
The story itself is light and easy to understand and follow. The pace is perfect. There's no one moment that is boring or extra. The romance is adorable and precious. I don't have enough of the male and female leads together, going through all the adventures, solving crimes and mysteries. Every moment of them together is so beautiful, precious and sweet. Their chemistry is incredible! Their relationship has always been complementing and supplementing each other. Lu Yi is strategic and calm whereas Yuan Jin Xia is versatile and meticulous. When Jin Xia gets into trouble, Lu Yi is always there to help her escape unscathed. When Lu Yi faces danger, Jin Xia is always there to face danger with him and protect him. Both are willing to sacrifice their own lives to protect the other. Their love for each other is truthful and undying, and is of the highest level that nothing else can replace. It is this relationship that draws viewers to love the couple and shed tears for them.
This drama has all the adventures, mysteries and romance; a makes-you-feel-good kind of drama, and a great ending providing proper closure - perfect ingredients for a great drama.
This is a sweet and wonderful drama not to be missed. TWO THUMBS UP!
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Sandglass
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Haunting. Powerful. Taciturn. Unforgettable.
"Sandglass" is a KDrama that relentlessly, sophisticatedly and yet sensitively processes the pain of the South Korean people, that paves the path towards actual democracy. Here you can get a glimpse of a cultural phenomenon: 'Han', a collectively shared sense of painfully experienced injustice (see side note below). "Sandglass" is one of the first KDramas daring to use the medium of television for more than just entertainment. It is also one of the first who could even dare to do so. Here, recent contemporary history is critically targeted from all sides. And at the same time, it becomes a collective vigil for freedom of speech and opinion, for freedom of travel and for the rule of law that have only recently been painfully achieved."Sandglass" tells the story of three young people who were friends during the 1970s and 1980s - Park Tae-soo (Choi Min-soo), who actually would have liked to study but made a career as a thug in gangster milieu, Kang Woo-suk (Park Sang-won ), who hopes for the power of the law and thus studies law, and Yoon Hye-rin (Go Hyun-jung), sort of imprisoned within the golden, solid cage being the daughter of the most influential, officially tolerated casino king in the country, who systematically suplies the government with his money from gambling via anonymous bank accounts. Jumping back and forth in time, the fatal emotional bond between the three is unraveled against the background of social events. It is a dramaturgically conscientious reckoning with the military dictatorship, its abuse of power and its crimes against the people. Original film documents were seamlessly played in, i.e. during the staging of the Gwangju massacre. The presentation of the Samchung re-education camp was also staged as realistically as possible on the basis of original photos and documents. The second half of the story then goes through the destinies of the three protagonists in mafioso style: the gangster, the prosecutor, and the heiress to the casino king. The finale is on the one hand the moment of free election for the people (running in the background), and on the other hand the result of the personal (more or less free) choices of the three protagonists, who still share a world in which despite all recent tumult and uprising basically not much has changed...
More than half of the South Korean population watched the 1995 KDrama "Sandglass". It was praised and praised again. Hard to believe, that it is these days hardly available for streaming with subtitles, never mind as DVD. Apparently, those who have a DVD are reluctant to give it away. I can understand, after I actually saw the KDrama myself - first only in the original version without subtitles (wasn't that bad, because mostly there isn't much talk :-) ), then with a time delay also with subtitles (it was definitely helpful :-) ), and by now also knowing a little more about that historic background. "Sandglass" is truly a masterpiece. Yes, it is taciturn, thrives on the acting, on long shots and on purposefully used, deliberately reduced light. It doesn't sugarcoat anything. It wants to let it sink, each and every moment. The camera accompanies the events almost like a documentary. Without comment, sequences, events, moments in time stand side by side. The story unfolds like a suction and draws you in. The soundtrack supports this pull effect. The story takes its course, the course of which is known, i.e. is predictable: Park dictatorship / suppression of democratic aspirations under the pretext of North Korean infiltration / Chun Doo-hwan supreme military leader, commander of the security and finally new president by coup d´état / martial law, Gwangju Uprising and massacre / cleansing camps / June 1987 fight, abolition of censorship, end of military dictatorship / free elections in 1992. Amazing and grandiose that via TV series a critical review of those bloody 1980s was already possible in 1995. It's brilliant, too, how the protagonists with their very different backgrounds, values and goals are fatally interwoven and mercilessly swallowed up by historical events and social circumstances.
A fantastic K-Drama. Completely consistent. first class.
A sad story. Not funny. Not at all. You have to be able to get involved with the dramaturgically idiosyncratic, taciturn handwriting. (The mood should be right, so to speak.)
(And yes, it's an old ham when it comes to production quality. Screen format, picture and sound quality can hardly keep up with the Netflix era - a digital remastering would definitely be desirable...)
Anyone who is interested in the topic but can't get to the KDrama can grab an impression of the Gwangju massacre in "Youth of May" (2021), or a feeling for the time under military dictatorship and for the concentration camps in "Giant" (2010).
However, if you have the opportunity to see "Sandglass", I recommend that you go for it. Even without historical or socio-cultural interest, KDrama has a lot to offer in terms of impressiveness and melodrama.
------------------ HISTORICAL BACKGROUND INFORMATION -----------------------
Admittedly, being able to classify the historic events, helped for me. E.g. at the beginning there are scenes in which thugs and police bus-wise arrive at a building and disperse the opponent party´s event. This was actually the key historical point, marking the beginning of the massive social unrest, which resulted in actual free elections 13 years later. In fact, it was originally a comparatively small strike in 1979, which took place on the 4th floor of the New Democratic Party's headquarters. Around 200 women, workers at the textile company YH Trading Corporation, protested against the closure of their factory. Unions had no place during Yushin dictatorship, however his sit-in-demonstration was actually almost too minor, to interfere. Nevertheless, the government used the particular context at the opposition party building as a cover for a major anti-opposition operation - 'Operation 101'. Around 1,000 police officers in uniform and civilian gangs of thugs assaulted leading party members and 174 of the demonstrating women workers. Union leader Kim Gyeong-sook died while jumping out of the window.
The civilian thugs (fictional Tae-soo in "Sandglass" being one of them), were subordinate to the main money-provider of the regime (here the casino king and Hye-rin's father, who clean-washed his income for political means.)
That factory workers´ trade union action by no means was the reason for the following uprising. However the occasion served as the momentum for what was to come. Against this background, the later (fictive) encounter between Hye-rin and one of those women from 1979 becomes understandable. Hye-rin adores the by now torture-broken woman for her brave fight for democracy back then. That woman, however, never wanted a political revolt, she just didn't want to lose her job. In fact she feels betrayed and instrumentalized in a political fight that she really didn't want to fight and in which she lost everything, even herself, her dignity and self-respect.
Responsible for the politicization of events that had taken on a dynamic of its own, was actually the Park regime itself: it´s attempt to split and suppress the opposition. By demanding the party leader Kim Young-sam and his deputies to resign from their mandate provoked and politicized the public. Since this coincided with the beginning of the winter semester, the student movement, too, took the incidence for a red-hot political profile: demanding the end of the Park government. A corresponding demonstration in Busan was violently suppressed in this context. A few days later, president Park was assassinated by the head of the Korean Central Intelligence Agency (KCIA). This assassination had nothing to do with the students and their demands. Neither does North Korean Communism. It just coincided timewise with the Busan demonstration. The military, in turn, took advantage of the political power vacuum situation, imposed martial law on the mainland, installed a far-reaching investigative body and thus paved the way for the meteoric rise of Chun Doo-hwan, who was appointed chief investigator. He used his chance consistently and purposefully. After 8 months of military coup, the country had a new dictator in uniform who presented himself as the savior of the nation.
He repreatedly and systematically declared the pro-democracy drive the enemy by spreading conspiracy and infiltration theories about North Korea's ambitions. Press and public were massively manipulated with so-called K-operations (king´s operations) in order to convince the people by the good of military rule. The credo was: the military and Chun Doo-hwan were the only chance to counter the spreading, communist-manipulated unrest, in creating something like order and security. At the same time, the military units were drilled with the so-called Choongjung (True Heart) training for a particularly aggressive and efficient suppression of demonstrations. New paratrooper units were created as special forces. In addition to physical fitness, the training included the development of a strong corps-spirit and the use of massive violence and targeted abuse.
Against this background, the situation among the military units deployed in Gwangju in May 1980 can also become somewhat more understandable. On the one hand, they were brainwashed. On the other hand, to date it has still not really been clarified who gave the orders for the escalating violence in May 1980 - e.g. orders to shoot and the use of paratroopers. Internal ambivalence and irritation was common at all levels of command. But that didn't help. In the end the corps-spirit was more binding and prevailed. In this respect, the executing soldiers, as perpetrators, somehow became victims in those sad May days, too. The proclaimed enemy - North Korean Communism, which is behind the pro-democracy movement - and the unshakable pillar of power - the military dictatorship with all its arrogance - posed such a strong, effective, powerful threat, so that it was so frightening people in uniform (and without) and made them hitting their brothers and sisters indiscriminately (again, after barely three decades). Because someone had chosen Gwangju as the place of the example. And because the sides there had just turned out that way - those who lived in, studied in or visited Gwangju on the one hand, and those who were doing their military service at nearby barracks at the time. On the other hand, the political vision or just a simple wish, that everybody might finally live freely under fair conditions, seemed hopeless. Suddenly the fight was (rather apolitical) about pure survival and desperate rebellion against arbitrary violence.
Eventually, with "Sandglass" the South Korean population became seriously aware of what had really happened in Gwangju in 1980: a people´s uprising against military oppression, being brutally suppressed. Because of the propagandistic K-operations and the censorship (which was repealed only in 1987), knowledge of these events was never really able to spread. Numerous witnesses had deliberately been put into camps or imprisoned. For the television audience in 1995, these street-fighting scenes must have come as a complete shock, not only because they are terrifying in themselves (regardless of where and when), but because they actually had taken place in such brutal manner and in such close proximity completely without their knowledge. In this way, "Sandglass" also became the trigger for nationwide latest history processing. The TV production paved the way for more critical historical scrutiny in the media and also apparently accelerated the course of the trial and sentencing of ex-President Chun Doo-hwan in 1996. He was sentenced to death. (However, on appeal it was turned into a life sentence. His assets, of course, were safely parked, too. He died of cancer in 2021.)
---------------- Side note: --- NATIONAL SECURITY ACT ----
The National Security Law has been in force in South Korea since 1948 - until today. Its primary purpose was to push through anti-communist propaganda and to control or shut down opposing intellectuals, artists, journalists, students etc.. This National Security Act de facto restricts freedom up to this day and ultimately violates the 1948 Universal Declaration of Human Rights and the 1976 International Covenant on Civil and Political Rights, which South Korea had actually ratified. Fatally, it seamlessly continues a relic from the days unter Japanese rule. Several 100,000 people have fallen victim to this law over the past few decades. The verdicts resulted in prison sentences of thirty to forty years, which is among the longest in the world. It has served military dictatorships well, opening the door to arrest and torture countless times. Even after the end of the dictatorship, as late as 1989, obviously an average of 3.3 people each day were arrested, tortured and sentenced to prison under this national security law. To this day, the law is still officially considered constitutional...
--------------- Side note: --- RE-EDUCATION, CLEANSING AND CONCENTRATION CAMPS ---
A unique dubious institution during the Chun Doo-hwan dictatorship were the concentration camps for re-educating unwanted citizens. 25 such camps were set up in the aftermath of the Gwangju massacres. They served to systematically clear the streets of South Korea of unwanted people (and yet mostly arbitrarily as a military demonstration of power). The camps were primarily used for brutal abuse - any dignity was broken, body and soul pushed to the limit.
The detainees were divided into 4 categories: A implied prison; B and C an agonizing time in one of the re-education camps; D a warning. Category B and C inmates often ended up in prison as well, provided they survived the re-education camps. E.g. a former military prison in Yeoncheon, Gyeonggi was thus modified according to 'Samchung Plan No. 5'. This location officially was established to fight North Korean Communism: up to 100,000 innocent people may have gone through hell without a warrant - and rarely enough survived.
--------------- Side note: --- HAN ---
Han can be considered a collectively shared, identity-forming cultural pain in the sense of sad and angry grief. This cultural characteristic developed in the course of Japanese colonization of Joseon. There has been, and still is, debate about the extent to which Han can or cannot be considered a collective trait that creates identity. In any case, as a shared painful experience of that time, a specific form of expression of grief developed, while behind melancholy suppressed anger also resonates. Han has found its very unique solemn, deeply and sadly swinging aesthetic in Korean culture, which we can observe/feel in music, film, television, literature, poetry etc. It can be considered a collectively shared state of mind, that feeds on the traumatic experience of humiliation and abuse as a people that Joseon endured so massively at the hands of the Japanese oppressors. Han addresses helplessness in the face of overwhelming injustice. But despite all the pain and sadness, there is also something tough in Han: an inner resilience, a rebellion, that still provides something like strength in the darkest depths.
Han was further nurtured in the post-Joseon era by the separation of families into two antagonized nations. Finally those brutal 1980s, which are revived in "Sandglass" in the sense of a solidary vigil, tie directly to this collective Han - as a basic feeling that continuously and silently runs through (especially) the first half of the KDrama. A collective emotional state from which one cannot escape: the experience of suffering; the ability of suffering; the national destiny of suffering.
In the course of South Korean turbo-capitalism over the past two decades, Han as an issue has receded somewhat into the background among the younger generation. Nevertheless, there is already a new, modified, less beautiful form of expression: ´Hwabyeong´, the culture-specific Korean manifestation of a depressive psychosomatic disorder with characteristic symptoms, that already affects wide circles - as a result of suppressed anger in the face of overwhelming social circumstances experienced as unfair. (e.g. victims of any sort of bullying in school or at work etc.)
(I wonder, whether it would not be better to continue to give Han an explicit, contemporary, aesthetic expression - in contrast to the embellished, perfected facades e.g. in KPop + KDrama culture... but that would be another topic.. .)
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