3
2
Salatheel
Never mind the plot, feel the production values…
There’s a ton of reviews for this show, so I don’t want to write another - wow, amazing, watch-this-show review. With that in mind I’m going to focus on the direction and production values, because they are totally awesome. If you have not already seen this show, widen your eyes and ears when you watch it. If you are re-watching, hopefully you will have enough spare capacity to take more notice of some of the stuff I’m going to talk about.
In a drama like this, where the plot is complex and there are a lot of characters with conflicting motivations, first time round it was as much as I could do to just keep up and I popped out at the other end wondering why I found this show soooo amazing. Because let’s face it, the plot is not brilliant. Yes it’s got some great twists and continually finds inventive ways to keep the tension going, but it’s horribly clichéd and frequently stretches credulity like knicker elastic. Sometimes I found myself laughing when I should have been chewing my nails—not good. Whilst I was busy following the plot and being mesmerised by LJG,'s performance, all the production values were impacting me at a subliminal level creating the context for the story to come alive. I may not have always directly noticed it, but if they weren’t there, to be honest, I’d have been watching an average thriller. So I’m still going to give this show a 9 because everything but the plot is exceptional.
Let’s start with the directing. I loved the innovative way in which Kim Chul Gyu gave the viewer insight into Do Hyeon Su and elicited our empathy for him. This take on psychopathy is pretty unique and none of the usual things are going to work here. I can imagine that a lot of time and thought went into working out a way to do it. And in the end it was brilliantly achieved through close-up camera work, subtle facial movements (LJG was simply awesome here); slow motion and lack of normalising sound. Without these techniques, Do Hyeon Su would have been just another closed up, leading male and it would be difficult to credit why Chae Ji Won loved him. Kim Chul Gyu enabled the viewer to get inside Hyeon Su’s head. Sometimes, in those extreme close-ups, you could actually see LJG’s thought processes going on behind his eyes. And the sequences, particularly in the first couple of episodes, were cleverly designed to show cause and effect. In Ep 4, first date, we are encouraged to see Ji Won through Hyeon Su’s eyes, by utilising slow motion for her face and turning up the soundtrack, so that as viewers we were forced to register her facial expressions in a way that we normally wouldn’t. The effect was to share the process with Hyeon Su of working out what she was feeling and responding in kind. Brilliant!
The constraints of the plot early on worked well to curb the release of emotions and increase their intensity. This underplaying is magic and such an achievement can only be realised when a great director works in total harmony with capable actors. I don’t need to say much about the career-highlight portrayals by Lee Joon Gi and Moon Chae Won, just read other reviews for that. However, when the constraints of the plot are lifted about two thirds of the way through, imo things get a bit out of hand and there is a bucketful of crying, which is a pity. I’m such a great believer in less is so very much more. LJG has said in interviews that he felt that the melo took over at the end and the impression I got was that he wished they’d pulled it back a bit. I must admit that the whole portrayal of the antagonist Baek Hee Sung was simply too OTT for me. And the scenes involving the Baek family were the least convincing in the drama.
Moving on to the cinematography. Park Seong Yong has been involved in a string of smash hits, and that can’t be accidental or just luck. There is no doubt that he has played a part in their success. In Flower of Evil he relies heavily on photographic composition. In the first two thirds of the drama he frequently lingers on beautifully composed set shots that are lit and framed to perfection. There is a scene in Ep 8 between Hyeon Su and Hae Su set in a derelict indoor fishing facility with extensive walls of now broken glass. The scene, at night, is lit primarily from one bright, gold light-source set externally. It creates a breathtaking atmospheric beauty for this very moving scene. I mean, who would have thought to do that? Wow! And that is just one example of a thread of innovative and exquisite shots that meander like a necklace of pearls through all the earlier episodes.
The richness of the colour palette is another gem in this production. The whisky bar in Ep 9 utilises deep reds and gold, in a set that glories in chiaroscuro: hidden motives and black deeds hide in the shadows. Scenes where we see the calculating side of Hyeon Su are often filmed in blue-tinged lighting, emphasising the hard lines of the faces and bringing a sharp coldness to the overall mood.
The cinematography everywhere enhances and reveals the emotional impact of the action. The phone conversation at 10pm in Episode 10 is a beautiful example of this. When after a deeply difficult and moving scene there is a static long-shot of Ji Won alone on the wide, bare expanse of the office rooftop, with a blurred backdrop of skyscraper lights: so very small and alone with all her desperate feelings.
Throughout, the lighting echoes one of the themes of the drama; that light can be born from darkness. The overall tone of the production is shadowed, with frequent highlights of warm tones, even occasionally used for the antagonists.
The soundtrack is a masterpiece of creativity as well. Not smoothed to the point of blandness, it has a gritty, exposed texture. It reflects the dichotomy of the story from the pulsing beat and rising scale of “Psycho” to the unforgettable, haunting falsetto of “Feel You”. Often, the string section in contemporary film and game music is used for hackneyed, swelling melodies and I loved that the titles music utilised slightly grating arpeggios from the strings and layered soaring voices above them.
Overall, even with all its faults, Flower of Evil is an unique drama that offers up a feast for the eyes and ears as well as some really notable performances from all of the leads. Lee Joon Gi was beyond good and his performance alone is enough to recommend this show.
What my rating means: 9+ A drama I totally fell in love with and is endlessly re-watchable. It ticked all the boxes and had some serious wow factor. It would go on my personally recommended list.
In a drama like this, where the plot is complex and there are a lot of characters with conflicting motivations, first time round it was as much as I could do to just keep up and I popped out at the other end wondering why I found this show soooo amazing. Because let’s face it, the plot is not brilliant. Yes it’s got some great twists and continually finds inventive ways to keep the tension going, but it’s horribly clichéd and frequently stretches credulity like knicker elastic. Sometimes I found myself laughing when I should have been chewing my nails—not good. Whilst I was busy following the plot and being mesmerised by LJG,'s performance, all the production values were impacting me at a subliminal level creating the context for the story to come alive. I may not have always directly noticed it, but if they weren’t there, to be honest, I’d have been watching an average thriller. So I’m still going to give this show a 9 because everything but the plot is exceptional.
Let’s start with the directing. I loved the innovative way in which Kim Chul Gyu gave the viewer insight into Do Hyeon Su and elicited our empathy for him. This take on psychopathy is pretty unique and none of the usual things are going to work here. I can imagine that a lot of time and thought went into working out a way to do it. And in the end it was brilliantly achieved through close-up camera work, subtle facial movements (LJG was simply awesome here); slow motion and lack of normalising sound. Without these techniques, Do Hyeon Su would have been just another closed up, leading male and it would be difficult to credit why Chae Ji Won loved him. Kim Chul Gyu enabled the viewer to get inside Hyeon Su’s head. Sometimes, in those extreme close-ups, you could actually see LJG’s thought processes going on behind his eyes. And the sequences, particularly in the first couple of episodes, were cleverly designed to show cause and effect. In Ep 4, first date, we are encouraged to see Ji Won through Hyeon Su’s eyes, by utilising slow motion for her face and turning up the soundtrack, so that as viewers we were forced to register her facial expressions in a way that we normally wouldn’t. The effect was to share the process with Hyeon Su of working out what she was feeling and responding in kind. Brilliant!
The constraints of the plot early on worked well to curb the release of emotions and increase their intensity. This underplaying is magic and such an achievement can only be realised when a great director works in total harmony with capable actors. I don’t need to say much about the career-highlight portrayals by Lee Joon Gi and Moon Chae Won, just read other reviews for that. However, when the constraints of the plot are lifted about two thirds of the way through, imo things get a bit out of hand and there is a bucketful of crying, which is a pity. I’m such a great believer in less is so very much more. LJG has said in interviews that he felt that the melo took over at the end and the impression I got was that he wished they’d pulled it back a bit. I must admit that the whole portrayal of the antagonist Baek Hee Sung was simply too OTT for me. And the scenes involving the Baek family were the least convincing in the drama.
Moving on to the cinematography. Park Seong Yong has been involved in a string of smash hits, and that can’t be accidental or just luck. There is no doubt that he has played a part in their success. In Flower of Evil he relies heavily on photographic composition. In the first two thirds of the drama he frequently lingers on beautifully composed set shots that are lit and framed to perfection. There is a scene in Ep 8 between Hyeon Su and Hae Su set in a derelict indoor fishing facility with extensive walls of now broken glass. The scene, at night, is lit primarily from one bright, gold light-source set externally. It creates a breathtaking atmospheric beauty for this very moving scene. I mean, who would have thought to do that? Wow! And that is just one example of a thread of innovative and exquisite shots that meander like a necklace of pearls through all the earlier episodes.
The richness of the colour palette is another gem in this production. The whisky bar in Ep 9 utilises deep reds and gold, in a set that glories in chiaroscuro: hidden motives and black deeds hide in the shadows. Scenes where we see the calculating side of Hyeon Su are often filmed in blue-tinged lighting, emphasising the hard lines of the faces and bringing a sharp coldness to the overall mood.
The cinematography everywhere enhances and reveals the emotional impact of the action. The phone conversation at 10pm in Episode 10 is a beautiful example of this. When after a deeply difficult and moving scene there is a static long-shot of Ji Won alone on the wide, bare expanse of the office rooftop, with a blurred backdrop of skyscraper lights: so very small and alone with all her desperate feelings.
Throughout, the lighting echoes one of the themes of the drama; that light can be born from darkness. The overall tone of the production is shadowed, with frequent highlights of warm tones, even occasionally used for the antagonists.
The soundtrack is a masterpiece of creativity as well. Not smoothed to the point of blandness, it has a gritty, exposed texture. It reflects the dichotomy of the story from the pulsing beat and rising scale of “Psycho” to the unforgettable, haunting falsetto of “Feel You”. Often, the string section in contemporary film and game music is used for hackneyed, swelling melodies and I loved that the titles music utilised slightly grating arpeggios from the strings and layered soaring voices above them.
Overall, even with all its faults, Flower of Evil is an unique drama that offers up a feast for the eyes and ears as well as some really notable performances from all of the leads. Lee Joon Gi was beyond good and his performance alone is enough to recommend this show.
What my rating means: 9+ A drama I totally fell in love with and is endlessly re-watchable. It ticked all the boxes and had some serious wow factor. It would go on my personally recommended list.
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