나빌레라
tvN, 2021, 12 episodes
Written by Lee Eun-mi (Based on the webtoon of the same name by Hun and Ji-min)
Directed by Han Dong-hwa
More information: Wikipedia / HanCinema
Navillera:
A Final Journey Toward the Self
Park In-hwan has impressed me in several supporting roles already; alongside classic feature films (e.g., Thirst), his performance in Please Come Back, Mister was particularly dear and memorable to me. I started watching Navillera because of him, as I couldn’t imagine what he would do with a leading role that required him to perform ballet—especially since the 76-year-old actor seemed unsuitable for it due to both his age and physique. Yet, despite the absurd idea, I truly trusted that he would show us something extraordinary.
An aged protagonist and ballet in focus—I would dare to say that this is anything but a "winning setup" for domestic public opinion, if I were to generalize the expected views of a frustrated minority (or majority?) burdened by prejudice and looking upon the elderly with contempt. Yet, or perhaps precisely because of this, this is one of those series that everyone should see.
The series is based on a webtoon of the same name. The word Navillera (나빌레라) is described as a word from archaic Korean that can be translated as "like a butterfly," though I have also seen it interpreted as "star-butterfly."
The drama encompasses everything we usually label "melancho-brutal" in Korean cinema, though not entirely in the sense established by Oldboy. There is no physical violence here; only a confrontation with a cruelly, I might say brutally, honest and unavoidable life situation: an Alzheimer's diagnosis, which is made bearable, processable, and consumable for the audience through melancholy.
I would venture that, similar to Please Come Back, Mister or Welcome 2 Life, we are seeing a tale that unfolds its own reality on the ground of irreality. Thus, it is not the individual elements that are lifelike, but the story as a whole that carries some vital knowledge about life. At the same time, the characters we meet are all remarkably familiar and real. No one is perfect, whether old or young; they simply struggle with their roles in work, partnerships, and parenting. The film wonderfully presents harmonies built within, yet present throughout, a series of disharmonies.
At the beginning of the drama, the mere fact that Shim Deok-chul wants to do ballet upsets his entire family. Everyone finds the unusual idea terribly embarrassing, and they start the "steamroller" to deter him from his intention. Mr. Shim, however, begins a war of independence. This situation is extremely thought-provoking because it shows our selfishness from every side, our compulsion to conform, the difficulties of understanding another person, and the lack of tolerance, even toward our loved ones. The sulking and all the tactics used by the elderly wife (Na Moon-hee) are palpably real until acceptance is born within her.
Meanwhile, the extremely talented young ballet dancer, Lee Chaerok (Song Kang), struggles with numerous problems and considers quitting dance. Mr. Shim sees him during a rehearsal, and soon the youth—partly as a punishment—receives the elderly gentleman as his student. Neither of them knows yet that they actually need each other, so their "grinding together" is not easy. However, during the lessons, they understand more and more of one another, and an emotional bond forms between the two men.
Chaerok adopts the old man's dream and fights to make it come true. The task is not simple: Mr. Shim wants to dance an excerpt from Swan Lake on stage before an audience. Furthermore, they are racing against time, as the deterioration of the old man's condition makes it increasingly doubtful day by day whether he will even be capable of it. Chaerok himself undergoes spiritual strengthening, as he not only receives the emotions he was lacking but also learns persistence and determination.
It is difficult not to spoil the conclusion of the series, but I will not write whether the mission succeeds. I will not hide, however, that whatever it may be, it will be soul-lifting.
Park In-hwan is a powerful dramatic actor, despite working with extremely subtle gestures. Yet, a deep human wisdom is felt behind every flicker. He often seems so frail, while still possessing extraordinary mental strength. And does he dance ballet? Yes. Every movement is beautiful—the curve of his arm, the lift of his leg, his entire posture. He makes us believe we are seeing more than what he is actually doing.
Song Kang does not fall behind him. He doesn't want to lose, but many things conspire against him. He is childlike in his love-hate relationship with his father, and an adult compared to his friend whose life has gone off track. Defiant and hungry for love, sensitive and dismissive. But also curious and persistent. And very empathetic. We first see him as a promising talent and bid him farewell as a mature dancer. In terms of dance, Song Kang's acting task was perhaps an even greater challenge, as he had to give us the illusion that we were seeing him dance throughout. Naturally, this was only partially the case, but by his own admission, he worked immensely hard to make his dance movements seen in close-ups deceptively authentic. I think he succeeded very well.
The cast is magnificent; even forces like Jo Sung-ha (The Yellow Sea, R2B: Return to Base), who always has a significant presence, appear as "special guest stars."
The series has two unique supporting characters who form a very interesting pair. Chaerok's ballet teacher (Kim Tae-hoon) is the slightly faded, easily grumbling, but actually very attentive studio owner, and his ex-wife (Yoon Ji-hye), who sometimes teases and sometimes corners the man, but always provides him with help. Behind the surface cat-and-mouse game, neither can exist without the other, which is presented through numerous emotional seasonings.
As is usually the case, the music of the drama must be mentioned separately, featuring names like Taemin or Sohyung. Beside them, the heart-wrenching singing of Choi Baek-ho stood out for me. His song (End of the Sea) is the essence of the drama’s primary emotional range: love of life, wisdom, farewell, and peaceful departure. I don't believe I am the only one who hears these things in it.
While the drama is a unique gem, it is not entirely flawless; it is occasionally swept away by sentimentalism, but as usual, they always pull it back into reality well. Young and old alike can find points of connection to the story, just as the theme and characters might repel some. Nevertheless, I consider this drama very important. We need many more like it so that generations understand and respect each other better, and the elderly can preserve or regain their dignity.
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