For its tight script, wonderful characterisation, supreme lighting, consistent performance, and well, music, this is simply the best of all Korean dramas.
No more Cinderella's story, it is a refreshing drama every walking adults can relate to; on dreams and how we can either let it fade away to succumb to 'ordinariness' or overcome the biggest enemy - ourselves, to make it stay alive. For the first time ever, Korean drama steers clear away the conventions on how a woman is judged. Like many a great drama, the supporting cast are given solid and interesting roles, with each exploring a different social dimension in real life. It is a drama that focuses on one's ultimate concern: how to make a success of ourselves with what we are endowed with; be it innate talents or the circumstances we find ourselves in.
The pace of the first five episodes is so compelling it can work brilliantly as a standalone mini-drama.
What intrigues me as well is the lighting in the night scenes. For too long now, I was under the impression that Korean television dramas would always by default resort to flood lighting even when the characters are supposed to be fast asleep or cannot afford the utility bills. The lighting in the house where the two heroes share, especially the ground floor, can compare to the best of those seen in a British counterparts. Given their interest and profession, realistically so.
There should be more intelligent dramas like this.
PS: One Sunday and three nights afterwards, I finished watching the 18 episode drama last night. The unexpected ending, leaving loose ends on all accounts, makes this drama stand out even more from the rest. Now I wonder how come I was put off by You Are Beautiful even with Jang Geun Suk in it.
October 31, 2011
An education
Last Friday was a good day for me; I found three films on my list with one of them being An Education, starring the stunning Carey Mulligan. Once I put it on the DVD player, it was like a beam of civilisation was shining on me; it is an instant hit and I was mesmerised by both the storytelling and the performance.
Although I had read the rave reviews on Carey Mulligan, her immaculate performance is still beyond my expectation, and like the Danish director Lone Scherfig remarked: she is a natural. There are many a great moment; one of which being the scene in which she dances with Danny: her intense look is both innocent as appropriate of a just-turned-seventeen year old schoolgirl and seductive as an intelligent lady 'with good taste', making it extremely convincing indeed for the conman to snatch her away from his friends and propose to her straight afterwards. Her quality of a child-woman and probably her hair style as well, draws comparison to a young Audrey Hepburn in The Roman Holiday. Although it is an all star cast, Carey, then still a budding actress, has made the film her own. What surprises me most perhaps is when I checked on the web, I found for the first time she was Kitty in Pride and Prejudice (2005); and Ada the orphan in BBC adaptation Bleak House, which I had watched but failed to identify in this film.
Another surprise 'find' is perhaps Peter Sarsgaard, in the role of the charming Jewish conman. And what a brilliant yet understated intrusion to the scene when he he winds down the window to make a perfect appropriate offer for Jenny to put her wet cello in his car (in the name of his love for music) and for her to walk alongside the car!
For the chemistry between the lead couple, and the dazzling life Peter seems to be offering to a bright sixteen year old living in a suffocating suburban London house, the film would still be one of the best films in 2009 if it finishes at Jenny accepting Peter's proposal and leaves her Oxford dream astray. The last quarter of the film is sombre in tone yet turns the film into another category; that of how to deal with the mess we find ourselves in.
I am intrigued by the fact some of the deleted scenes are offered as special feature. For me, that decision in itself is a tribute to the film's editor and is proving yet again that less is more.
Although I had read the rave reviews on Carey Mulligan, her immaculate performance is still beyond my expectation, and like the Danish director Lone Scherfig remarked: she is a natural. There are many a great moment; one of which being the scene in which she dances with Danny: her intense look is both innocent as appropriate of a just-turned-seventeen year old schoolgirl and seductive as an intelligent lady 'with good taste', making it extremely convincing indeed for the conman to snatch her away from his friends and propose to her straight afterwards. Her quality of a child-woman and probably her hair style as well, draws comparison to a young Audrey Hepburn in The Roman Holiday. Although it is an all star cast, Carey, then still a budding actress, has made the film her own. What surprises me most perhaps is when I checked on the web, I found for the first time she was Kitty in Pride and Prejudice (2005); and Ada the orphan in BBC adaptation Bleak House, which I had watched but failed to identify in this film.
Another surprise 'find' is perhaps Peter Sarsgaard, in the role of the charming Jewish conman. And what a brilliant yet understated intrusion to the scene when he he winds down the window to make a perfect appropriate offer for Jenny to put her wet cello in his car (in the name of his love for music) and for her to walk alongside the car!
For the chemistry between the lead couple, and the dazzling life Peter seems to be offering to a bright sixteen year old living in a suffocating suburban London house, the film would still be one of the best films in 2009 if it finishes at Jenny accepting Peter's proposal and leaves her Oxford dream astray. The last quarter of the film is sombre in tone yet turns the film into another category; that of how to deal with the mess we find ourselves in.
I am intrigued by the fact some of the deleted scenes are offered as special feature. For me, that decision in itself is a tribute to the film's editor and is proving yet again that less is more.
Secret sunshine
If the angst-ridden film stopped mid-way at the prison scene where the heroine offers her full forgiveness to her son's killer, then it would be a flop and I would stop watching Lee Chang-dong then and there. To my relief, it goes on for another hour or so on how the now disillusioned woman takes revenge on the religion that has once lifted her from extreme pain of losing her beloved son, the townspeople that lead her to put her trust on God, and, finally, even the man who really deserves her affection and love. After a painful journey that ends with rehabilitation after a suicidal attempt, the finale is a 'blank's shot: storming out from a haircut by the reformed daughter of her son's killer, she sat at her sun-lit backyard to finish the cut at home. Her hair falls to the ground, the camera tracks them, and then stays on the dirt before the closing credits come up. Whose point of view is it? The director or the protagonist? And what does it mean? Life is meaningless like the dirt on the ground? Though rather baffled, I have now come to realise there couldn't be a more apt finale, especially given it is from a director who is known for his critics on the contemporary society.
Like other two films I have watched from him, Secret Sunshine tells the lonesome and uneasy struggle of an ordinary citizen who is left to her own device when given a bad deal in life. In Green Fish, it is a bright young man whose fatal encounter with the mistress of a mobster that leads to his demise in a desolate town where none of his family members are finding life easy. In Peppermint Candy, it is the traumatising experience of a young man in the army during the military regime that sows the seeds of his gradual disintegration. None of them makes a comfortable watch, but who says film is for entertainment only?
Like other two films I have watched from him, Secret Sunshine tells the lonesome and uneasy struggle of an ordinary citizen who is left to her own device when given a bad deal in life. In Green Fish, it is a bright young man whose fatal encounter with the mistress of a mobster that leads to his demise in a desolate town where none of his family members are finding life easy. In Peppermint Candy, it is the traumatising experience of a young man in the army during the military regime that sows the seeds of his gradual disintegration. None of them makes a comfortable watch, but who says film is for entertainment only?
October 28, 2011
Goong
In Korean drama, two total strangers usually enter into a most improbable contract that will bind them together for an agreed period of time. Because of the ostensible conflicts in character, the disparities in their backgrounds and, the initial prejudices against each other, the most unlikely setup allows ample room for conflicting characters to learn and relearn each other and even some of the most basics in life. Such popular plot has produced some of the most entertaining dramas from Korea, such as Full House, My Lovely Sam-soon, My Girl, and Lie to Me, to name but a few. To appreciate them, a prerequisite imposed on the audience is to ignore how implausible such scenario is in real life.
While Goong is nothing anew in it, it demands more from the audience: to be told upfront to intertwine fantasy with reality; to participate in a masquerade where the long abolished monarchy is sound and well in present Korea; and allow the characters to move fairly freely between the medieval and contemporary Korea. An engaging character study, Goong captures how characters from different background respond and interact with each other while confronted by the many rigid rules of an ancient entity on one hand, and a freewill spirit of modern society on the other.
Despite its sluggish pace, especially the scenes that involve the mother queen wonderfully played by one of the most graceful actress Kim Hye-ja, the story is intriguing. At the beginning, my main purpose is but to check out the 'breakout' performance by Yoon Eun-hye, but within two episodes, I was drawn by the amazing chemistry between her and the two princes, let alone the understated use of chamber music and the fantastic art direction which provides us a stunning visual treat in the compound of the royal household.
Yoon Eun-hye is more confident and versatile as an actress in her follow-up role as a cross-dressing girl in Coffee Prince. And I also find the quiet but confident performance from Kim Jeong-hoon remind me of Rye Shi-won in his Beautiful Days and Wedding days.
Though also a drama mainly for the teen market, I find it a lot easier to enter the over the top game than those that offered in You Are Beautiful and Boys Over Flowers.
While Goong is nothing anew in it, it demands more from the audience: to be told upfront to intertwine fantasy with reality; to participate in a masquerade where the long abolished monarchy is sound and well in present Korea; and allow the characters to move fairly freely between the medieval and contemporary Korea. An engaging character study, Goong captures how characters from different background respond and interact with each other while confronted by the many rigid rules of an ancient entity on one hand, and a freewill spirit of modern society on the other.
Despite its sluggish pace, especially the scenes that involve the mother queen wonderfully played by one of the most graceful actress Kim Hye-ja, the story is intriguing. At the beginning, my main purpose is but to check out the 'breakout' performance by Yoon Eun-hye, but within two episodes, I was drawn by the amazing chemistry between her and the two princes, let alone the understated use of chamber music and the fantastic art direction which provides us a stunning visual treat in the compound of the royal household.
Yoon Eun-hye is more confident and versatile as an actress in her follow-up role as a cross-dressing girl in Coffee Prince. And I also find the quiet but confident performance from Kim Jeong-hoon remind me of Rye Shi-won in his Beautiful Days and Wedding days.
Though also a drama mainly for the teen market, I find it a lot easier to enter the over the top game than those that offered in You Are Beautiful and Boys Over Flowers.
October 25, 2011
The classic
A classic tear jerking love triangle, with both Son Ye-jin and Jo Seung-wook giving great performance.
This is another successful creative output from Kwak Jae-yong, famed for his international hit My Sassy Girl. Pity its follow-ups such as Daisy and My Mighty Princess are less impressive though.
This is another successful creative output from Kwak Jae-yong, famed for his international hit My Sassy Girl. Pity its follow-ups such as Daisy and My Mighty Princess are less impressive though.
October 24, 2011
Footnote
I was given a mug last week after topping up my skin care products with a certain Korean brand. When I opened the packaging at home, I found that was no ordinary mug - for it features Hyun Bin, one of my favourite Korean actors. The old me would have by instinct either given it away to a friend or neighbour, or put it on the top shelf of the cabinet for visitors. The new me though sported a wry smile when she put away the wrapping, rinsed the curvy mug, and decided to have a cup of tea with Hyun Bin, every morning.
Hyun Bin looks immaculate on the mug, if not a little bit feminine in one of them that features a white lace top. Though I would like to believe his claim that he has never undergone any plastic surgery, other fans believed otherwise.
Plaster surgery or not, the trouble is, once you realise how common it is among Koreans, males or females, the idea creeped in whenever you see a perfect face: is it entirely a gift of nature or, more enhanced by knife? When the story is gripping and the performance is good, this might not spoil your viewing experience. But still, at times, you catch yourself wondering whether a less immaculate face would have been more convincing for a certain role.
Hyun Bin looks immaculate on the mug, if not a little bit feminine in one of them that features a white lace top. Though I would like to believe his claim that he has never undergone any plastic surgery, other fans believed otherwise.
Plaster surgery or not, the trouble is, once you realise how common it is among Koreans, males or females, the idea creeped in whenever you see a perfect face: is it entirely a gift of nature or, more enhanced by knife? When the story is gripping and the performance is good, this might not spoil your viewing experience. But still, at times, you catch yourself wondering whether a less immaculate face would have been more convincing for a certain role.
Marathon
What a heart warming story! And a triumphant showcase that the country has some of the best talents in the region when it comes to scripting, directing and acting.
I have seen Jo Seung-woo in both Wanee and Junah and Who R U?, but Marathon is no doubt the best performance from this most talented actor. I am looking forward to check out The Perfect Games, another 'sports' film, to see if he can live up to my expectation now raised so high by his natural performance as an adolescent handicapped by autism but finds back his own voice through participating in a marathon.
There is hardly any plots per se, yet plenty of soul searching in the minute depiction of the mother and son relationship when they forge ahead to overcome the challenges encountered by 'a special child' and those around him.
I wasn't so impressed by the director, Jeong Yoon-chul's later work If I Was a Superman, although it stars two of the country's best actors.
I have seen Jo Seung-woo in both Wanee and Junah and Who R U?, but Marathon is no doubt the best performance from this most talented actor. I am looking forward to check out The Perfect Games, another 'sports' film, to see if he can live up to my expectation now raised so high by his natural performance as an adolescent handicapped by autism but finds back his own voice through participating in a marathon.
There is hardly any plots per se, yet plenty of soul searching in the minute depiction of the mother and son relationship when they forge ahead to overcome the challenges encountered by 'a special child' and those around him.
I wasn't so impressed by the director, Jeong Yoon-chul's later work If I Was a Superman, although it stars two of the country's best actors.
City hunter
It is a hybrid of Chinese martial arts genre and a James Bond.
The ethics, to fight for a good cause for the benefit of the general public, and the physical grace is entirely oriental, and yet the charisma is without doubt that of the agent with a licence to kill. Like a master of martial arts, the hero wins just any fights, well, except when his love interest is shooting him; and like the world's most prolific agent, he is always equipped with the most up to date gadgets at the snap of a finger. The only difference is while 007 tends to spill bloods and blow away anything in his way, the city hunter exposes the evils and crime of the public enemy through hacking into their computing system, or installing a spying device at the right place, which proves to be just as lethal as the, well, ordinary explosives and weapons.
And similar to the martial arts master and Jame Bond, the city hunter's strength is in doing what the law promises but fails to execute. And as if this is not clear enough, the city hunter is praised by the prosecutor himself, who has been trying to catch him from early episodes.
Like Queen of Reversals, it is another example of how an old formula that has been repeated in different languages and cultures can still draw thousands of fans. And typical of Korean drama, the hero is extremely young, handsome, affluent, well-educated, athletic, and, adorable, especially when he puts on a pair of grandpa's glasses. I have seen this picture perfect model in three dramas now, but it is here, not in his 'breakout' performance as the lead of F4 in Boys over Flowers, or the lame architect in Personal Preference, that Lee Min-ho proves his star power, to me.
PS: I have always thought that Lee Min-ho looks vaguely familiar whenever he wears a pair of glasses to impersonate some intellectual or top executive. Now I know: though at least two decades younger, he bears striking resemblance to some of my favourite actors such as Francis Ng in Infernal Affairs II as an underworld boss; Raoul Bova in Facing Windows as the love interest of the protagonist; and the late Ulrich Muhe in real life!
The ethics, to fight for a good cause for the benefit of the general public, and the physical grace is entirely oriental, and yet the charisma is without doubt that of the agent with a licence to kill. Like a master of martial arts, the hero wins just any fights, well, except when his love interest is shooting him; and like the world's most prolific agent, he is always equipped with the most up to date gadgets at the snap of a finger. The only difference is while 007 tends to spill bloods and blow away anything in his way, the city hunter exposes the evils and crime of the public enemy through hacking into their computing system, or installing a spying device at the right place, which proves to be just as lethal as the, well, ordinary explosives and weapons.
And similar to the martial arts master and Jame Bond, the city hunter's strength is in doing what the law promises but fails to execute. And as if this is not clear enough, the city hunter is praised by the prosecutor himself, who has been trying to catch him from early episodes.
Like Queen of Reversals, it is another example of how an old formula that has been repeated in different languages and cultures can still draw thousands of fans. And typical of Korean drama, the hero is extremely young, handsome, affluent, well-educated, athletic, and, adorable, especially when he puts on a pair of grandpa's glasses. I have seen this picture perfect model in three dramas now, but it is here, not in his 'breakout' performance as the lead of F4 in Boys over Flowers, or the lame architect in Personal Preference, that Lee Min-ho proves his star power, to me.
PS: I have always thought that Lee Min-ho looks vaguely familiar whenever he wears a pair of glasses to impersonate some intellectual or top executive. Now I know: though at least two decades younger, he bears striking resemblance to some of my favourite actors such as Francis Ng in Infernal Affairs II as an underworld boss; Raoul Bova in Facing Windows as the love interest of the protagonist; and the late Ulrich Muhe in real life!
October 19, 2011
Personal preference
I have watched Son Ye-jin in April Snow and My Wife Got Married, in both of which, she plays a morally 'dubious' role, one by fate, the latter by free spirit. She seems to be an actress who is prepared to do just anything for her roles, and yet somehow her face fails to register and I fail to understand the hype on her. But even so, I can tell what a sheer waste of her talents in casting her as a naive young woman in the limp Personal Preference. Though teemed with a very likeable Lee Min-ho and she doesn't seem to give a damn on how she looks in ugly clothing, her acting is not over the top and one even got the impression that she is constantly peering at the the camera to check whether she is silly enough. It is a fiasco.
It is a myth that an actress of her standing would pick such a half-baked script, let alone so badly directed.
Her role, a budding furniture designer, reminds me of the heroine of Prosecutor Princess. Despite her supreme education background and, presumably, exceptionally high IQ, has zero EQ when it comes to social interactions.
I have abandoned Prosecutor Princess after episode 4, and Personal Preference after episode 10. Part of the reason I put up with the latter one so much longer was due to my utter disbelief that the producer would allow Son's role to stay so dim for so long and I kept hoping that there would be turning point at mid-series. It is a painful experience to see how such women are ridiculed and portrayed in popular culture.
It is a myth that an actress of her standing would pick such a half-baked script, let alone so badly directed.
Her role, a budding furniture designer, reminds me of the heroine of Prosecutor Princess. Despite her supreme education background and, presumably, exceptionally high IQ, has zero EQ when it comes to social interactions.
I have abandoned Prosecutor Princess after episode 4, and Personal Preference after episode 10. Part of the reason I put up with the latter one so much longer was due to my utter disbelief that the producer would allow Son's role to stay so dim for so long and I kept hoping that there would be turning point at mid-series. It is a painful experience to see how such women are ridiculed and portrayed in popular culture.
October 17, 2011
Queen of reversals
This is one of those run-of-the-mill drama at the first few episodes and yet as it develops, it grows on you and before no time, you find yourself staying tuned till the wee hours for it. In this particular instance, it was much thanks to a review that helped me to get over the first few mediocre episodes.
Like that convincing review puts it, QoR falls into a familiar category with rather predictable plots, and yet this doesn't mean it is boring. Indeed, it is a case in point on how a good execution on all fronts can save an otherwise mediocre script about how a woman goes against all odds to, lead an ordinary life.
Jung Joon-ho, whom I first saw in Iris as its second lead, appeared to have a limited range in his acting - but as the story evolves, his character becomes more interesting and his acting more versatile.
It is probably the first time that a second lead lands such a meaty role in a drama. The single eyelid looker Park Si-hoo, who stole the show at the second half of the 31 episode drama, somehow succeeds in transforming himself from when he stars in Prosecutor Princess, a sleeper drama I gave up after 4 episodes.
Poking jokes at a number of times on Korean drama, in particular, the ever popular Cinderella genre, the script has many feminine touches. It is hard to imagine such a character with feminist tint can be written by a man. And knowing what Kim Nam-joo can do, she is shamefully underused in Voice of Murderer.
Like that convincing review puts it, QoR falls into a familiar category with rather predictable plots, and yet this doesn't mean it is boring. Indeed, it is a case in point on how a good execution on all fronts can save an otherwise mediocre script about how a woman goes against all odds to, lead an ordinary life.
Jung Joon-ho, whom I first saw in Iris as its second lead, appeared to have a limited range in his acting - but as the story evolves, his character becomes more interesting and his acting more versatile.
It is probably the first time that a second lead lands such a meaty role in a drama. The single eyelid looker Park Si-hoo, who stole the show at the second half of the 31 episode drama, somehow succeeds in transforming himself from when he stars in Prosecutor Princess, a sleeper drama I gave up after 4 episodes.
Poking jokes at a number of times on Korean drama, in particular, the ever popular Cinderella genre, the script has many feminine touches. It is hard to imagine such a character with feminist tint can be written by a man. And knowing what Kim Nam-joo can do, she is shamefully underused in Voice of Murderer.
October 11, 2011
Addicted to Korean drama
It is six month since I succumbed to this drug called Korean drama, an uncharted water for someone who favoured French cinema and Johnnie To's cop series. Since I took the first dose, mainly to diagnose its popular appeal, I have watched, flipped through or sampled over 40 of them, a staggering number given its side effect that I have also since become fascinated by Korean New Wave cinema, a completely different territory. Before dipping into the eight 'new' ones lining up in my desktop, it is a great time to take stock of those that have kept me awake until the wee hours many a night.
1 My lovely Kim Sam-soon
Forty Korean dramas later, this is still my favourite. No competition, yet.
I told a friend earlier that if she had got time for only one Korean drama, then check out this one. A couple of weeks later, she remarked that it was indeed an alternative, and an excellent one at that. Not only that the heroine has a job she is passionate about (rather than one just to keep her occupied, say), she is plump ('fat') and plain (far from being immaculate, a prerequisite for Korean female leads). Atypical of Cinderella, it presents love as it is experienced; unpredictable, confusing, and made the more complicated by one's past or current relationships. There are also many scenes describing the physical desire between the couple, hilariously funny, they are a fresh air in its Korean genre. The drama concludes with an uplifting image of the couple kissing mid-way through their arguments on the steep stairs, following an voiceover from the heroine if they might break up. In order words, while it rejects a straightforward happy ever after finale, its heroine is charging ahead to peruse her share of happiness nevertheless.
An added bonus for woman audience is; every time when the arrogant hero slightly misbehaves, he gets punished one way or the other, sometimes at the hands of his manipulating and abusive mother! Infused with hilarious comic and poignant moments, it launches two of the best actors into much deserved stardom. One only wishes that they can continue to find materials that match their talents.
Well-written script and a great ensemble on both sides. Brilliant soundtrack.
2 Coffee Prince
Another less than immaculate female lead yet it is hard to see who can resist her acting and boyish charm. Besides, the way it deals with homosexuality is cliche-free, human and cool. The sparks between Yoon Eun Hye and Gong Yoo is simply unbeatable. If the portrait of the secondary couple takes up less screen time, it will be more engaging.
3 My girl
A funny and innocent con girl and an upright man who never lies (not even white lies?), surely their worlds cannot be further apart. Yet somehow, you just want the girl to inject some life to the man and 'steal' his heart from his star-sportswoman. Episode 12 and 23 are particularly addictive. When can Lee Da-hae be this effortlessly funny and immaculate again? A hardcore feminist might not like it though. A pity that the character of the secondary leads are so dull. Like Kim Sam-soon, it is a drama I can watch again and again without getting bored as long as I am holding a remote control to skip those sequences on the gambling father and the secondary leads.
4 Winter sonata (Doesn't the poignant finale resemble that of Jane Eyre?)
5 Beautiful days (Sacrifice, sacrifice and sacrifice. All in the name of love.)
6 Stairways to heaven (Kwon Sang-woo proves himself coolest of all. Hints: Do fast forward those scenes when the evil stepmother is present for you have watched them in many other places.)
The three classic tear jerkers all stars a leading lady CJW and lucky to her, playing opposite to three of the most charismatic Korean actors. While CJW's portraits are consistent and convincing in all three parts, it does feel as if she is playing the same role when, if like me, watching them one immediately after the other. I also lost my patience a little bit at the portrait of an 'ideal' woman whose happiness derives exclusively from putting the others before her own ambition and desire. Surely her life and ambition is just as deserving as the others'?
7 Full house
Rain might not be the handsomest or the best of actors, he is certainly one of the rare specimens that can ignite the screen with a mere hint of movement by his toned muscle. To say that he is sexy is an understatement. Despite the patchy script and repetitions in the last few episodes, it has got that trick to make you glue to the screen until the finale. A good case study when it comes to star power.
8 Brilliant legacy
The four leads might not the most glamourous, but together they make this drama work. Very educational for the growing new middle class in the region.
9 Sungkyunkwan scandal
Albeit a copycat of some popular Korean dramas, such as Coffee Prince (on homosexuality), Boys over Flowers (cross dressing to gain access to an exclusive boy/man territory), and that it is extremely loose with historical truth, this costume drama (a genre I incline to stay away for its twisted representations) is a gripping modern story in disguise, especially in its depiction of gender roles. It is unusual that the secondary 'gay' couple are also rather well written. The joke planted at the last minute on the poor bookish protagonist is a naughty surprise comic moment.
10 The first love of royal prince
Having watched Snow Queen first and hated every minute of it, it is a delightful and refreshing to find the arrogant 'Snow Queen' in the adorable girl-next-door role.
11 Coffee house
Like My Lovely Kim Sam-soon, the lead couple have to deal with the legacy of their respective past before they are ready to commit. Patchy at parts but sufficiently engaging to keep you stay tuned till the very end. Kang Ji-hwan is cute here.
12 Wedding
An underrated drama with unexpected depth in its interesting depiction of the bumpy road for the newly-wed to build trust and an meaningful relationship. Ryn Shi-won gives a very steady performance as an diplomat who knows nothing about a woman's heart.
13 Iris
Fresh in subject matters, the screen is brightened up whenever the reliable Lee Byung-hun shows up, smiles or grinding his teeth. I have seen him in many films and he is yet to fail to deliver, be it a soldier guarding the border (JSA), a rural teacher (The Harmonium in My Memory; Bumjee Jumping of Their Own), or a student activist during the political upheaval of the 1980s (Once in a summer). The only role I am not so convinced of is the 'weird' part in The Good, the Bad and the Weird, too much of a stereotype role for me.
14 East of Eden
The one who has the most fun must be Song Seung-hun who plays nearly all roles possible in one character; born underdog, reluctant desperado, over-achieving hero, mighty brother, long suffering son and lover in this 56 episode ambitious epic. The most interesting bit is its depiction of the drastic social and political evolution sweeping Korea society of thirty years, and how it parallels to recent Chinese history.
15 Women in the sun
A small lie to cover up a moment's lapse of sanity leads to a life of redemption and endless lies. How often is a Korean drama centred on a complicated character who is less than absolutely honourable and adorable? Thumbs up for Kim Ji-soo who dares to take up this challenge. Although this is a more complicated role, it is paralleled with her role in This Charming Girl.
16 Love and marriage
The leading man cannot act. But who cares when he has got such a handsome face?
17 Lie to me
Its script must have been scrabbled in a terrible hurry! What a waste on the chemistry between the lead couple Yoon Eun-hye and Kang Ji-hwan!
18 Secret garden
A flop. Can never understand the hype, even less on why Hyun Bin is in it. But then this is not the first time he strays to an implausible role since he proves his crafts in Kim Sam-soon at 23.
19 Snow queen
Another feeble script. Never warm to any of the characters. Hyun Bin's character feels too self-indulgent than sacrifice for the sake of his dead friend.
20 The world they live in
A great potential lost; it could have been an amazing in-depth portrait of lives on the other side of the camera.
21 Great great
An early one for a slim Kim Sun-ah. She is slim and unremarkable, and I have certainly expected something much more from her.
22 The fool
Is there such a fool in the world? The leading lady looks awkward at her role and is never convincing, not even in 200 Pounds Beauty.
23 My 19 year old sister-in-law
The opening scene is borrowed by a recent Taiwanese drama... that is what I can remember about it.
24 Wonderful life
Poorly executed on all accounts.
Some of those I have sampled but failed/didn't bother to finish:
1 Boys over flowers (The campus ruled by sheer evil is beyond my imagination and I struggle to suspend my disbelief. Though Lee Min-ho found his stardom from here, I fail to see why the hype on him or other members of F4).
2 You are beautiful (All seem to be geared up for a teenage audience. The pace too slow for my taste).
3 Pasta (Don't like the tyranny of the chef who thought he was the best)
4 Working mum
5 Slighshot
6 Sweet 18 (I have seen the leading couple in something better and that sums up my experience).
7 Prosecutor princess (It is stretching to see how come a highly intelligent and educated woman can be so downright stupid).
8 Goong S (A farce)
1 My lovely Kim Sam-soon
Forty Korean dramas later, this is still my favourite. No competition, yet.
I told a friend earlier that if she had got time for only one Korean drama, then check out this one. A couple of weeks later, she remarked that it was indeed an alternative, and an excellent one at that. Not only that the heroine has a job she is passionate about (rather than one just to keep her occupied, say), she is plump ('fat') and plain (far from being immaculate, a prerequisite for Korean female leads). Atypical of Cinderella, it presents love as it is experienced; unpredictable, confusing, and made the more complicated by one's past or current relationships. There are also many scenes describing the physical desire between the couple, hilariously funny, they are a fresh air in its Korean genre. The drama concludes with an uplifting image of the couple kissing mid-way through their arguments on the steep stairs, following an voiceover from the heroine if they might break up. In order words, while it rejects a straightforward happy ever after finale, its heroine is charging ahead to peruse her share of happiness nevertheless.
An added bonus for woman audience is; every time when the arrogant hero slightly misbehaves, he gets punished one way or the other, sometimes at the hands of his manipulating and abusive mother! Infused with hilarious comic and poignant moments, it launches two of the best actors into much deserved stardom. One only wishes that they can continue to find materials that match their talents.
Well-written script and a great ensemble on both sides. Brilliant soundtrack.
2 Coffee Prince
Another less than immaculate female lead yet it is hard to see who can resist her acting and boyish charm. Besides, the way it deals with homosexuality is cliche-free, human and cool. The sparks between Yoon Eun Hye and Gong Yoo is simply unbeatable. If the portrait of the secondary couple takes up less screen time, it will be more engaging.
3 My girl
A funny and innocent con girl and an upright man who never lies (not even white lies?), surely their worlds cannot be further apart. Yet somehow, you just want the girl to inject some life to the man and 'steal' his heart from his star-sportswoman. Episode 12 and 23 are particularly addictive. When can Lee Da-hae be this effortlessly funny and immaculate again? A hardcore feminist might not like it though. A pity that the character of the secondary leads are so dull. Like Kim Sam-soon, it is a drama I can watch again and again without getting bored as long as I am holding a remote control to skip those sequences on the gambling father and the secondary leads.
4 Winter sonata (Doesn't the poignant finale resemble that of Jane Eyre?)
5 Beautiful days (Sacrifice, sacrifice and sacrifice. All in the name of love.)
6 Stairways to heaven (Kwon Sang-woo proves himself coolest of all. Hints: Do fast forward those scenes when the evil stepmother is present for you have watched them in many other places.)
The three classic tear jerkers all stars a leading lady CJW and lucky to her, playing opposite to three of the most charismatic Korean actors. While CJW's portraits are consistent and convincing in all three parts, it does feel as if she is playing the same role when, if like me, watching them one immediately after the other. I also lost my patience a little bit at the portrait of an 'ideal' woman whose happiness derives exclusively from putting the others before her own ambition and desire. Surely her life and ambition is just as deserving as the others'?
7 Full house
Rain might not be the handsomest or the best of actors, he is certainly one of the rare specimens that can ignite the screen with a mere hint of movement by his toned muscle. To say that he is sexy is an understatement. Despite the patchy script and repetitions in the last few episodes, it has got that trick to make you glue to the screen until the finale. A good case study when it comes to star power.
8 Brilliant legacy
The four leads might not the most glamourous, but together they make this drama work. Very educational for the growing new middle class in the region.
9 Sungkyunkwan scandal
Albeit a copycat of some popular Korean dramas, such as Coffee Prince (on homosexuality), Boys over Flowers (cross dressing to gain access to an exclusive boy/man territory), and that it is extremely loose with historical truth, this costume drama (a genre I incline to stay away for its twisted representations) is a gripping modern story in disguise, especially in its depiction of gender roles. It is unusual that the secondary 'gay' couple are also rather well written. The joke planted at the last minute on the poor bookish protagonist is a naughty surprise comic moment.
10 The first love of royal prince
Having watched Snow Queen first and hated every minute of it, it is a delightful and refreshing to find the arrogant 'Snow Queen' in the adorable girl-next-door role.
11 Coffee house
Like My Lovely Kim Sam-soon, the lead couple have to deal with the legacy of their respective past before they are ready to commit. Patchy at parts but sufficiently engaging to keep you stay tuned till the very end. Kang Ji-hwan is cute here.
12 Wedding
An underrated drama with unexpected depth in its interesting depiction of the bumpy road for the newly-wed to build trust and an meaningful relationship. Ryn Shi-won gives a very steady performance as an diplomat who knows nothing about a woman's heart.
13 Iris
Fresh in subject matters, the screen is brightened up whenever the reliable Lee Byung-hun shows up, smiles or grinding his teeth. I have seen him in many films and he is yet to fail to deliver, be it a soldier guarding the border (JSA), a rural teacher (The Harmonium in My Memory; Bumjee Jumping of Their Own), or a student activist during the political upheaval of the 1980s (Once in a summer). The only role I am not so convinced of is the 'weird' part in The Good, the Bad and the Weird, too much of a stereotype role for me.
14 East of Eden
The one who has the most fun must be Song Seung-hun who plays nearly all roles possible in one character; born underdog, reluctant desperado, over-achieving hero, mighty brother, long suffering son and lover in this 56 episode ambitious epic. The most interesting bit is its depiction of the drastic social and political evolution sweeping Korea society of thirty years, and how it parallels to recent Chinese history.
15 Women in the sun
A small lie to cover up a moment's lapse of sanity leads to a life of redemption and endless lies. How often is a Korean drama centred on a complicated character who is less than absolutely honourable and adorable? Thumbs up for Kim Ji-soo who dares to take up this challenge. Although this is a more complicated role, it is paralleled with her role in This Charming Girl.
16 Love and marriage
The leading man cannot act. But who cares when he has got such a handsome face?
17 Lie to me
Its script must have been scrabbled in a terrible hurry! What a waste on the chemistry between the lead couple Yoon Eun-hye and Kang Ji-hwan!
18 Secret garden
A flop. Can never understand the hype, even less on why Hyun Bin is in it. But then this is not the first time he strays to an implausible role since he proves his crafts in Kim Sam-soon at 23.
19 Snow queen
Another feeble script. Never warm to any of the characters. Hyun Bin's character feels too self-indulgent than sacrifice for the sake of his dead friend.
20 The world they live in
A great potential lost; it could have been an amazing in-depth portrait of lives on the other side of the camera.
21 Great great
An early one for a slim Kim Sun-ah. She is slim and unremarkable, and I have certainly expected something much more from her.
22 The fool
Is there such a fool in the world? The leading lady looks awkward at her role and is never convincing, not even in 200 Pounds Beauty.
23 My 19 year old sister-in-law
The opening scene is borrowed by a recent Taiwanese drama... that is what I can remember about it.
24 Wonderful life
Poorly executed on all accounts.
Some of those I have sampled but failed/didn't bother to finish:
1 Boys over flowers (The campus ruled by sheer evil is beyond my imagination and I struggle to suspend my disbelief. Though Lee Min-ho found his stardom from here, I fail to see why the hype on him or other members of F4).
2 You are beautiful (All seem to be geared up for a teenage audience. The pace too slow for my taste).
3 Pasta (Don't like the tyranny of the chef who thought he was the best)
4 Working mum
5 Slighshot
6 Sweet 18 (I have seen the leading couple in something better and that sums up my experience).
7 Prosecutor princess (It is stretching to see how come a highly intelligent and educated woman can be so downright stupid).
8 Goong S (A farce)
October 04, 2011
Constant craving
In his best selling autobiography Life, the Rolling Stones guitarist Keith Richards recalled in minute details how he was addicted for over a decade to heroin and how that constant craving for a sniff had ruined a good part of youth.
Over the weekend, I experienced that constant craving, for Korean drama and (modern) cinema.
The incident was triggered by a faulty hard disk storing all the Korean dramas uploaded from a friend's latest collection. I was watching Lie to Me last Thursday when a message on the screen said that it could not read the files. Within 10 minutes, everything disappeared and soon the laptop could not even identify the hard disk. Given that hard disk costing some S$200 barely five years ago, it was the last thing I had expected.
That was when I gave it a try to visit the two internet sites that appear to store thousands of dramas and films from the globe, catering especially to the growing communities in East and Southeast Asia of cineasts and drama lovers. My effort was awarded by an early success with an episode of Lie to Me, and despite the annoying advertisements every 15 minutes and the poor quality of the English subtitles, its sheer availability eased my hunger a bit. Since then however everything went downhill. First I found that not all the listed episodes are available for download, then I realised even if you have the luck watching one segment of an episode, there is no guarantee that the full episode can be downloaded within the limit of your patience. It is an perpetual testing and stretching of one's stamina. In addition, the battery drains real fast.
The Chinese site is even worse; most of them are dubbed in the most put-off phoney Chinese, an offence to most fans.
I persisted, wishing that even if I failed at one drama, the chance might be better with another. But my stamina didn't get me anywhere; all I could see was but the revolving circle; a tell-tale that it is getting nowhere.
OK, no pain no gains. Four days, I lived in hope that things might turn for the better if I avoid the 'rush hours' or the hits. Four days I was told that I should not keep my hope high.
Watching media products on line has been the major source of entertainment and, to a large extent the only means to keep up for my friends back in China. Now that I have tried it, I wonder how much time have been wasted collectively and how come they can put up with it all; the poor quality of dubbing or subtitling, the snake speed downloading if at all, etc. Is it a case of better than none? Perhaps I am not that addicted after all.
After ranting this out with the friend who introduced me to Korean drama, I tried a 'quality' site she hence recommended. This one is dedicated to Korean drama and has in comparison, very limited stocks. So far though, it seems that it offers a much better option. Fingers crossed.
PS: I learnt from another long term 'drug addict'that if you have an iPhone, then you can subscribe to follow the latest Korean drama live! 'How do you manage? The screen is so small!' 'It is OK for me', the drug addict responded. To her, I am still an 'fair weather supporter'.
Over the weekend, I experienced that constant craving, for Korean drama and (modern) cinema.
The incident was triggered by a faulty hard disk storing all the Korean dramas uploaded from a friend's latest collection. I was watching Lie to Me last Thursday when a message on the screen said that it could not read the files. Within 10 minutes, everything disappeared and soon the laptop could not even identify the hard disk. Given that hard disk costing some S$200 barely five years ago, it was the last thing I had expected.
That was when I gave it a try to visit the two internet sites that appear to store thousands of dramas and films from the globe, catering especially to the growing communities in East and Southeast Asia of cineasts and drama lovers. My effort was awarded by an early success with an episode of Lie to Me, and despite the annoying advertisements every 15 minutes and the poor quality of the English subtitles, its sheer availability eased my hunger a bit. Since then however everything went downhill. First I found that not all the listed episodes are available for download, then I realised even if you have the luck watching one segment of an episode, there is no guarantee that the full episode can be downloaded within the limit of your patience. It is an perpetual testing and stretching of one's stamina. In addition, the battery drains real fast.
The Chinese site is even worse; most of them are dubbed in the most put-off phoney Chinese, an offence to most fans.
I persisted, wishing that even if I failed at one drama, the chance might be better with another. But my stamina didn't get me anywhere; all I could see was but the revolving circle; a tell-tale that it is getting nowhere.
OK, no pain no gains. Four days, I lived in hope that things might turn for the better if I avoid the 'rush hours' or the hits. Four days I was told that I should not keep my hope high.
Watching media products on line has been the major source of entertainment and, to a large extent the only means to keep up for my friends back in China. Now that I have tried it, I wonder how much time have been wasted collectively and how come they can put up with it all; the poor quality of dubbing or subtitling, the snake speed downloading if at all, etc. Is it a case of better than none? Perhaps I am not that addicted after all.
After ranting this out with the friend who introduced me to Korean drama, I tried a 'quality' site she hence recommended. This one is dedicated to Korean drama and has in comparison, very limited stocks. So far though, it seems that it offers a much better option. Fingers crossed.
PS: I learnt from another long term 'drug addict'that if you have an iPhone, then you can subscribe to follow the latest Korean drama live! 'How do you manage? The screen is so small!' 'It is OK for me', the drug addict responded. To her, I am still an 'fair weather supporter'.
October 03, 2011
Asako in ruby shoes / Virgin stripped bare by her bachelor
Since I was introduced to Korean dramas, I became quickly hooked to modern Korean cinema which was soon turned into an obsession of kind to watch all of those 'well-made' ones since 1999. In explaining it, I often quote genre hybridity and quality performance of all sides in the Korean new wave cinema the source of inspiration, sustained fascination and great entertainment. Unlike many obscure French art cinema and Hollywood mainstream outputs, Korean new wave cinema embodies the magic touch of 'art' with a popular touch.
This perception has been challenged once or twice, by films such as 3-Iron (a film with barely any dialogues), I Am A Cyborg, but That is Alright, and some unconventional romance like One Fine Spring Day. However it had never reached such a disturbing degree as that by the two films I watched over the weekend: Virgin Stripped Bare by Her Bachelors, and Asako in Ruby Shoes, both made and released in 2000, by two, arguably the most 'cerebral', directors of the 396 generation.
Shot in black and white, Virgin feels like a typical Jacque Rivette film that is known for its non-conventional narration. We are not sure from whose point of view the story is related, and to make it even more challenging, the film presents two different versions of the same events, making it even more confusing as to what has actually happened, least of all, what is in the mind of the protagonists. In both versions, the relationship between the couple appears superficial and mysterious, and the female character a mere object of desire. It was no wonder if the nude scenes triggered the suicide of its actress some five years later. She has bared it all in the name of 'art', but owed to the weak narration, her 'sacrifice' does not seem to serve any purpose. The film was said to be a 'hit' with its home audience and was awarded internationally but she appears more like a porn star in it.
If in shooting it in an austere way Virgin has at least the claim for its striking 'aesthetic' values, Asako poses a completely different challenge to audience. The blank face of the protagonist, the wastefulness of his life, the frequent resort to the most unglamorous parallel to any of a Jia Zhangke's works. A civil servant in a provincial town, Lee's character is bored by the petty and insipid assignments at work. A lost soul, his unrequited love for a red-hair migrant girl leads him to an internet porn star Asako. At the meanwhile in a provincial town in Japan, a teenage girl from a middle class family decides to quit school to earn her pocket money, which eventually leads her to perform for the porn site, which her younger brother frequents. Thousands of miles apart, the two suffer from the lack of aspirations and purposes in life and it does appear that they are the making of their own misfortunate. It is hard to identify with or empathise with the protagonists.
While I feel depressed and puzzled watching them, such films offer an entirely different view on Korea and its people from those of the popular Korean dramas. If the depiction of the bored middle class is a indication of its modernisation process, then Korea has indeed arrived; at a similar stage made apparent in the French new wave or Italian neo-realism cinema back in the later 1950s. Like it or not, these offbeat films offer a glimpse into the lives of the contemporary Korean society.
This perception has been challenged once or twice, by films such as 3-Iron (a film with barely any dialogues), I Am A Cyborg, but That is Alright, and some unconventional romance like One Fine Spring Day. However it had never reached such a disturbing degree as that by the two films I watched over the weekend: Virgin Stripped Bare by Her Bachelors, and Asako in Ruby Shoes, both made and released in 2000, by two, arguably the most 'cerebral', directors of the 396 generation.
Shot in black and white, Virgin feels like a typical Jacque Rivette film that is known for its non-conventional narration. We are not sure from whose point of view the story is related, and to make it even more challenging, the film presents two different versions of the same events, making it even more confusing as to what has actually happened, least of all, what is in the mind of the protagonists. In both versions, the relationship between the couple appears superficial and mysterious, and the female character a mere object of desire. It was no wonder if the nude scenes triggered the suicide of its actress some five years later. She has bared it all in the name of 'art', but owed to the weak narration, her 'sacrifice' does not seem to serve any purpose. The film was said to be a 'hit' with its home audience and was awarded internationally but she appears more like a porn star in it.
If in shooting it in an austere way Virgin has at least the claim for its striking 'aesthetic' values, Asako poses a completely different challenge to audience. The blank face of the protagonist, the wastefulness of his life, the frequent resort to the most unglamorous parallel to any of a Jia Zhangke's works. A civil servant in a provincial town, Lee's character is bored by the petty and insipid assignments at work. A lost soul, his unrequited love for a red-hair migrant girl leads him to an internet porn star Asako. At the meanwhile in a provincial town in Japan, a teenage girl from a middle class family decides to quit school to earn her pocket money, which eventually leads her to perform for the porn site, which her younger brother frequents. Thousands of miles apart, the two suffer from the lack of aspirations and purposes in life and it does appear that they are the making of their own misfortunate. It is hard to identify with or empathise with the protagonists.
While I feel depressed and puzzled watching them, such films offer an entirely different view on Korea and its people from those of the popular Korean dramas. If the depiction of the bored middle class is a indication of its modernisation process, then Korea has indeed arrived; at a similar stage made apparent in the French new wave or Italian neo-realism cinema back in the later 1950s. Like it or not, these offbeat films offer a glimpse into the lives of the contemporary Korean society.
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