A Dream Comes True:
An Out-of-Tune Genre Mix
After watching this film, an image flickered before me: like when heavy rain soaks through layers of posters pasted on top of each other, and bits of an older one begin to peek through from beneath the top layer, creating a new, somewhat confusing third image. On the surface, we are presented with a pleasant romantic comedy, yet it doesn't exist in its pure form because elements of a tragic melodrama bleed through it. Why screenwriter Miho Nakazono wanted to force this direction upon a story that could have stood on its own feet remains a mystery; had the rom-com been allowed to flourish in its pure form, we would likely have seen a better result. As it stands, however, every character is smeared with a bit of a tragic past. Furthermore, the cinematic execution of the accidents occurring before our eyes doesn't help matters, as director Jang Yong-woo achieves the opposite effect: instead of shocking us, they are more likely to provoke laughter.
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| Director Jang Yong-woo |
The entire film feels like a performance on an out-of-tune instrument; even though we hear it is off-key, it isn't entirely unenjoyable—in fact, at times, what we hear is quite interesting. A third-rate, penniless, and debt-ridden comedian, who also suffers from a gambling addiction, unexpectedly finds himself in a position where he must escort a young boy—who has just lost his father—to the mother the child has never met.
Accompanying the child is a metal briefcase locked with a code, presumably containing money. The story holds no surprises; naturally, an emotional bond grows stronger between the boy and the man during their travel adventures. As expected, a female character also appears, making it seem likely that our protagonist’s fate will be resolved through her. However, the writer-director’s will dictates otherwise—a conclusion that, while saving the film from the usual clichéd happy endings, hangs off the story with a questionable result... well, let’s just say that not every genre-mixing can be called a success.
The male lead, Cha In-pyo, is capable of enriching the figure with deeper shades alongside scenes encouraging comedy, and perhaps the inherent kindness radiating from him is the film's greatest appeal. The character of his female co-star, Kim Hyo-jin, possesses more inconsistencies; although we are introduced to her as a washed-up, alcoholic actress, she suddenly becomes a completely sober assistant to the man-and-child duo. The little boy, Chae Geon, is very cute, especially in the cheerful scenes, but he fails to solve the opposite situations convincingly—and this might not be his fault, as the film itself doesn't strive to achieve authenticity there. Interestingly, this film is also part of the SBS Telecinema series, whose installments are broadcast on South Korean and Japanese television after their theatrical release.
This film can safely be crossed off your "must-watch" list; I would only recommend it if you truly have a completely useless summer afternoon on your hands.
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