KBS, 2003, 16 episodes
Genres: dramedy
Written by Lee Kyun-hee
Directed by Lee Hyeong-min
More information: Wikipedia / HanCinema
The Thousand Faces of Sangdoo:
Anatomy of a Fateful Dramedy
The series is often categorized as a romantic comedy, but the more recent term "dramedy" much better reflects reality. As the portmanteau suggests, in this case, elements of comedy and drama form a blend where neither is more prominent than the other. Accordingly, the dramedy requires specific skills and expertise from both actors and directors; while many perform well in comedies or dramas dealing with serious conflicts, the list of those who hold their own in both is quite rare. Sangdoo, Let's Go to School! is a textbook example of how to realize this peculiar genre.
The main arc of the drama is a romantic love story. School sweethearts are torn apart, then meet again later in completely different life situations. The girl, now a teacher, is in a serious relationship; the boy’s life has derailed, making it seem impossible for him to win back his former love, for whom his feelings reignite. But he does not give up the fight until he reaches his goal. Meanwhile, the partners weave malicious threads around them, casting doubt on their fulfillment. Up to this point, this story would promise a rather conventional drama; however, the secret to this series' uniqueness lies in the complexity of the protagonist's character.
Sangdoo is perhaps the most colorful dramatic character we have seen in a Korean series. Due to his unique life situation, he simultaneously fulfills far more life roles than average, and each shows a different side of the character. These various facets provide opportunities for a wide range of acting, highlighting the dominant traits characteristic of each persona. Thus, an extremely complex character—the personality of Sangdoo—is assembled. At the same time, in accordance with the rules of dramedy, the character immerses himself in both dramatic and comedic situations in every facet.
The young man lives alone and raises his daughter by himself, despite the fact that the child's mother—who at first appears to be of questionable character—is constantly hovering around. The little girl is in the hospital, where she is being treated for leukemia. Securing the funds for the hospital costs is Sangdoo’s primary goal. The young father’s attachment to the little girl who gives meaning to his life, along with every nuance of the fatherly role, allows us to see Sangdoo’s serious, responsible, and worried face, or even his parental terror, as well as his instinctive ability to provide comfort and encouragement to a child struggling with illness—in the child's language, playfully and inventively.
Sangdoo’s high school studies were interrupted when he was sent to juvenile detention. Since his family abandoned him, after his release, he had no choice but to take the opportunity provided by his uncle, who trained him as a gigolo. Specializing in middle-aged women, he dazzles bored or burnt-out ladies as a gigolo, wheedling money out of them. However, he spends all the income gained this way on hospital costs. In this role, comedic skills can primarily be showcased, while we also see Sangdoo’s rascally darker side. As a bonus, we get a parody from Jung Ji-hoon: the scene in which Sangdoo, in the guise of a gay gigolo, teaches a lesson to an arrogant fellow gigolo.
Following a bold decision, Sangdoo enrolls in high school again, where his love becomes his homeroom teacher. This comedic situation is the richest playground for acting, as Sang-doo instantly becomes a student who can be scolded, a classmate who can be pranked, and a leader who earns his rank, all while remaining attractive in his school uniform to the woman he desires. However, he carries all the burdens of his life even here; we see him working to the point of fainting during class breaks.
The arena of the romantic struggle extends beyond the school, and while Sangdoo woos his sweetheart awkwardly but determinedly, he desperately tries to reclaim his former self and remind the girl of it as well. Although Sangdoo is a romantic soul, this struggle often shows his exhausted, weary faces as well.
The drama’s protagonists are also connected by the hospital setting. The other male member of the love triangle, the girl’s fiancé, works there and happens to be the attending physician for Sangdoo’s daughter. Thus, Sangdoo cannot keep many secrets from him; the doctor sees how he earns his living and deeply despises him for it. The rivalry between the two men is initially very unbalanced. Sangdoo is simultaneously in a dependent and vulnerable position because of his daughter, while he has to overcome the seemingly insurmountable advantage the other man enjoys due to his status in the race for the girl. In their relationship, Sangdoo’s steadfast, determined face emerges, as he fights for his dignity even in a losing role. Their relationship is characterized by fistfights and spiritual duels, which eventually culminate in a friendship permeated by mutual respect.
At the point in the drama where Sangdoo tries to earn an honest living, he must hold his own authentically in a multitude of professions—both the character and the actor playing him, who again receives a lavish opportunity to showcase his skills in this area.
As if all this were not enough, the actor also had to play Sangdoo’s former high school self, experiencing first and innocent love.
From this long list, it is clear that a new drama could be built on every facet of Sangdoo’s character. However, Jung Ji-hoon (Rain) plays all of this at once, and without any particular effort. His performance is surprising also because this is his first leading role; thus, he can by no means be called an experienced actor. Furthermore, he is much younger (21) than the character to be portrayed (27). However, he possesses immense charisma, a world-conquering will, an incredible sense of humor, a masculine charm mixed with adolescent purity, and a hidden ability, unexpected for his age, to express the character’s inner, very deep sadness. Think only of the cave scene on the beach during the school trip, or his collapse during one of his "jobs" as a gigolo, when, paralyzed in a locked bathroom, he simply lets the water pour over him.
Jung Ji-hoon is a diamond in the rough in this drama. Although he brilliance in the dramatic scenes, his acting is not yet refined everywhere; it is still slightly loud, particularly in comedic situations. But he solves the most difficult task without a problem: he keeps the character unified. We find Sang-doo authentic in each of the radically different facets, whether placed in a comic or dramatic situation. A prime example is the interplay with the doctor, in which everything from full-blooded comedy to rival posturing to masculine solidarity occurs, and these very different steps nevertheless lead unbroken to a radical change in the relationship between the two men. What can already be noticed in Jung Ji-hoon’s first role: every quiver of the character’s emotions is perfectly reflected not only in his facial expressions but also in the nuances of his voice, which he handles marvelously.
There is no filler in the drama at all; every episode is well-structured, moving forward through the struggles with conflicts without losing rhythm. Although this story is not devoid of social commentary, the driving forces here are truly fateful. Alignments arise that are unavoidable and unchangeable by human effort. The catharsis of the drama is triggered precisely by this—despite our heroes fighting beyond their strength, it seems a greater power overcomes them. While we see Sangdoo as an increasingly noble human soul as we get to know him more deeply, his path leads unstoppably toward disintegration. Although the tangled family relationships are eventually cleared up in the drama, we do not get a reassuring ending, only its heavenly reflection.
Since this is a romantic story, we experience countless moving situations that stir emotions. In this drama, however, there are no sensationalist effects. If our eyes well up with tears, it always stems from cruel realities; at most, the musical accompaniment occasionally overemphasizes the emotional tension. But none of the characters cry merely for the sake of crying; if tears fall, they have credibility. Among Sangdoo’s scenes, there are unforgettable ones (for example, when, with a soul exploited to the limit, he hopes for a little warmth from his daughter’s embrace, or when he cuts his daughter’s hair, which has begun to fall out from the treatments).
As for the social commentary, we get a fairly detailed picture in many areas. The story of the teacher girl’s family with usurers, or the marginalization of Sang-doo, who originally came from a well-to-do family, speaks tellingly of the unexpected turns in life for which there is no help for them. Securing the costs of hospital treatment takes priority over all other plans and desires. This is Sangdoo’s most noble act, yet it makes him the most vulnerable; thus his path leads back toward punishment. The humorous yet blunt portrayal of middle-aged women amusing themselves with paid "selyemfiúk" (gigolos) may have touched a sensitive spot. The stories of women secretly stepping out of family life present, alongside greedy beauties seeking pleasure, unfulfilled wives living in cold relationships, whose very human desires make them easy prey. Through Sera’s story, we also see into the activities of model agencies preying on girls. And through Sangdoo’s presence in school, we also get a school mini-drama, with the portrayal of the lives of teachers and students and the internal relations of the student community.
The role of the female protagonist is played by Gong Hyo-jin, who at first is indeed as pedantic as one would expect from a disciplined young teacher. But fortunately, she is a more colorful personality than that, so she holds her own in both funny and emotional situations. In her, we see a woman who is not dependent on anyone, making her own decisions on the big questions of her life. She is an independent, determined woman who is also very emotional, but gives her trust with difficulty. Although she is full of doubts, she sees the reality behind appearances, which is why she can fight for her love—these qualities make her a worthy partner for Sangdoo.
Jung Ji-hoon’s greatest playing partner, however, is Lee Dong-gun, who plays the doctor. If it weren't misleading, one might even say there is much greater chemistry between them than between the lovers. Lee also understands both comedy and drama, which is perhaps why we remember the common scenes of the two characters much more than the romantic tug-of-war.
The secret ace of the drama is Song Min-joo, whom we see in the role of Sangdoo’s daughter. She is a wonderful child actor who portrays her role in impressive harmony with both the doctor and her father.
The drama is enriched with very different flavors by the other supporting actors, among whom Lee Young-ha, playing Sangdoo’s uncle, stands out. The aging, somewhat unrefined gigolo who thinks himself very cool eventually turns out to be all heart and soul, even if he expresses it in a unique way. He forms a memorable pair with Jung Ae-ri, who plays the heroine’s mother.
Hong Soo-hyun undergoes a convincing transformation from an initially straying, somewhat common woman clinging to Sangdoo into a more mature, much more responsible personality.
The intimate moods of the drama are created by eye-pleasing, fairytale-like images. The series' music breathes together with the images, sometimes with light cheerfulness, sometimes painfully, but without sliding into pomposity. In perhaps only one scene does it seem unnecessary, because the hair-cutting scene of Sangdoo and Bori is so strong in itself that the overflowing background music only disturbs it. The entire soundtrack is legendary; almost every insert song became a hit.
Sangdoo, Let's Go to School! leaves a lasting impression on the viewer's soul, which we remember with a smile despite all its sadness.
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