ibisfeather
famous cult show, Hong sisters' 5th
Recommended for sheer joy. 2009, 16 eps at 1hr ea. The Hong sisters 5th show, not a big hit on local tv, blew up in popularity on contemporaneous Japanese tv and thereafter online. It is has been a cult show for years. Smooth as silk kdrama, laughter and tears regularly provided. Essentially a teen love story about a teen band, mostly situated in their "dorm", an utter pop 60's fantasy piece of architecture, but all organic curves (what is this building??).
First hook-- a separated-twin story and a twin-masquerade story (in the West, 12th Night and The Menaechmi likewise floated to the frothy top of their respective cultural scenes).)
The opening scenes have a mediterranean feel, is it the "technicoloring", the nun costumes , the naked marble statues or the scooter jokes? Thereafter the show is about the emotional interactions of a small cast. So deceptively simple.
Second hook -- missing parents and other relatives provide the nec. structural mystery, and they and the antagonists swoop in and out of the 2 main sets as if they are making stage entrances.
In an HS script, look for what the HS do better, those places where their absolute bravura breaks through; not essentially in original plots or characters , but in how well they do them.
1. In this production, the use of what is essentially a chorus in ancient classical comedy/tragedy is wonderful. The fangirls who camp outside the company (afterschool?) wail and beat their breasts astoundingly and comment upon the action in silly ways. In the countryside visit the three old women are incredible, not only does their performance have perfect comic rhythm, but HS weaves in references to trot singers and specialized tv shows where the other half of Korea gets its impressions of entertainment. A quick meta to the history of music in SK, in an idol drama!!!
2. The recognition-of-the-lovers section comes a little later than expected, but when it does the carefully built-up system of metaphors and puns explodes as the characters deploy them in the service of conversations practically in code. The light of the "star" (and awfully, the moon as reflector of it/the sun) versus the light of the sun which blots out the recognition of others, darkness and light, hiding and paying attention, seeing and not seeing, showing and not showing. The ML has night-blindness, oh yes he does. The pleasure of the final tensions being resolved in poetic language is so intensely the HS' territory.
it is not useful to trace influence in a hectic renaissance time like this one where dramas run only for 2 months, performers and writers work for cheap for companies which have state monies to spend, and where many of the behind the scenes creatives have one of the excellent university degrees in theatre and film available in SK. The consequence of the hurly-burly is that any successful show is instantly imitated piecemeal by competitors looking for that secret sauce. Only those on the scene have any memories of what went into that creative process.
You're Beautiful is a show on par with Hwayugi in characters who are almost instantly recognizable after just the 1st episode. I loved Lee Hong Ki there as the unforgettable PK (and Lee se Young as his zombie friend Richie!) and I love him here as Jeremy, a character who reflects a prototype love-is-love theme. Jang Geun Suk rises from the ashes of HGD as a Heathcliff-ian ML. Yonghwa of the band cnblue is the 2ml in semi-love triangle!
Park Shin Hye is one of those heroic kdrama actresses who started working at the age of 13 and is still going strong 33 dramas later. Although her trippy little dove-of-christ characterization made my teeth grind, I can believe that that sort of naivete existed somewhere before my own era--nowadays most nuns and novitiates after Vatican II are amazingly truehearted, practical and energetic persons. And of course, PSH's performance is a perfect, absolutely perfect, foil to the comedy (the term 'straight man' in reference to comic pairs is now unusable or I would use it).
Here is a question, are the Hong sisters basically insanely lucky in casting and directors so that their intelligent, flippant and tightly constructed scripts are thus given that HS stratospheric oomph?
first posted aug 12th, 2024 on Viki
First hook-- a separated-twin story and a twin-masquerade story (in the West, 12th Night and The Menaechmi likewise floated to the frothy top of their respective cultural scenes).)
The opening scenes have a mediterranean feel, is it the "technicoloring", the nun costumes , the naked marble statues or the scooter jokes? Thereafter the show is about the emotional interactions of a small cast. So deceptively simple.
Second hook -- missing parents and other relatives provide the nec. structural mystery, and they and the antagonists swoop in and out of the 2 main sets as if they are making stage entrances.
In an HS script, look for what the HS do better, those places where their absolute bravura breaks through; not essentially in original plots or characters , but in how well they do them.
1. In this production, the use of what is essentially a chorus in ancient classical comedy/tragedy is wonderful. The fangirls who camp outside the company (afterschool?) wail and beat their breasts astoundingly and comment upon the action in silly ways. In the countryside visit the three old women are incredible, not only does their performance have perfect comic rhythm, but HS weaves in references to trot singers and specialized tv shows where the other half of Korea gets its impressions of entertainment. A quick meta to the history of music in SK, in an idol drama!!!
2. The recognition-of-the-lovers section comes a little later than expected, but when it does the carefully built-up system of metaphors and puns explodes as the characters deploy them in the service of conversations practically in code. The light of the "star" (and awfully, the moon as reflector of it/the sun) versus the light of the sun which blots out the recognition of others, darkness and light, hiding and paying attention, seeing and not seeing, showing and not showing. The ML has night-blindness, oh yes he does. The pleasure of the final tensions being resolved in poetic language is so intensely the HS' territory.
it is not useful to trace influence in a hectic renaissance time like this one where dramas run only for 2 months, performers and writers work for cheap for companies which have state monies to spend, and where many of the behind the scenes creatives have one of the excellent university degrees in theatre and film available in SK. The consequence of the hurly-burly is that any successful show is instantly imitated piecemeal by competitors looking for that secret sauce. Only those on the scene have any memories of what went into that creative process.
You're Beautiful is a show on par with Hwayugi in characters who are almost instantly recognizable after just the 1st episode. I loved Lee Hong Ki there as the unforgettable PK (and Lee se Young as his zombie friend Richie!) and I love him here as Jeremy, a character who reflects a prototype love-is-love theme. Jang Geun Suk rises from the ashes of HGD as a Heathcliff-ian ML. Yonghwa of the band cnblue is the 2ml in semi-love triangle!
Park Shin Hye is one of those heroic kdrama actresses who started working at the age of 13 and is still going strong 33 dramas later. Although her trippy little dove-of-christ characterization made my teeth grind, I can believe that that sort of naivete existed somewhere before my own era--nowadays most nuns and novitiates after Vatican II are amazingly truehearted, practical and energetic persons. And of course, PSH's performance is a perfect, absolutely perfect, foil to the comedy (the term 'straight man' in reference to comic pairs is now unusable or I would use it).
Here is a question, are the Hong sisters basically insanely lucky in casting and directors so that their intelligent, flippant and tightly constructed scripts are thus given that HS stratospheric oomph?
first posted aug 12th, 2024 on Viki
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