Powered By Blogger

Tuesday, July 22, 2025

Doona! (2023)

 



One of the biggest inconveniences to befall humanity is the inability to control who you fall in love with. We are often haunted by the "what ifs" and lament "the one who got away."  But you can’t help who you fall in love with, even if that person might prove to be a bad match for you. In Doona, college sophomore, Lee Won-jun, would probably been better off dating Kim Jin-ju (his high school crush), because they not only have a shared history but the same values.  However, while he likes Jin-ju, she no longer makes his heart flutter and, instead, he falls hopeless in love with Lee Doo-na, a former idol who went into hiding after a disastrous performance with her girl group, Dream Sweet.

Doona often feels like the second season of a series – it begins when Doo-na has reached her lowest point. The first season would focus on her rise and fall, and the second season would focus on her redemption. We get a few flashbacks to Doo-na’s time as an idol – she was the face of the girl group, Dream Sweet, much to chagrin of the other members. She also carried the group – when the remaining members attempt a comeback without Doon-a, it ends in complete failure. The pressure of having to carry her group, and having to deal with the media, fans, and haters, eventually proved to be too much for Doo-na and she had a panic attack onstage. She lost the ability to sing. The anti-fans used her meltdown as useful ammo and successfully turned the public against her. It also didn’t help that her mother was busted defrauding fans out of millions of dollars. Her agent (and crush) Park In-wook puts her up in a share house and tells her to lay low until he can contact her.



The anti-fans are one of the fascinating (and toxic) elements of K-pop. These are people who are more dedicated to bashing a group they don’t like than supporting their favorite group. They will often troll the fan sites and leave all sorts of derogatory comments. They will often scour the internet in hopes of find some dirt on their hated group and post an out of context video that supposedly show these idols behaving badly (the most famous incident were the videos that allegedly show T-ara bullying Ryu Hwa-young). 

It just so happens that Won-jun moves into the share house – he is an engineering major, who is in his sophomore year of college, and moves to Seoul so he no longer has to commute from home. His best friend from his hometown, Song Tae-rim, runs a seafood restaurant and is a huge fan of Lee Doo-na – he has her picture hanging from the rearview mirror in his car.  When Won-jun moves into the share house, he recognizes Doo-na but can’t quite place her face. This leads to multiple occasions where Doo-na catches him looking at her and she, understandably, believes he is a stalker. Therefore, Won-jun’s first few interactions with Doo-na are not pleasant ones. When she isn’t accusing him of being a stalker, she flat out dismisses him. He finally puts two and two together and promises Doo-na that he will no longer look at her – he even puts up curtains in the window of his second-floor room to avoid the temptation of looking down at her (she lives on the first floor). 



Doo-na is a hot mess – she spends most of her time chain smoking, eating junk food, staring at her cellphone, waiting for In-wook's call, and watching television. She lacks direction in life and is on the path to self-destruction. One night, Won-jun comes home from the university and finds Doo-na sitting outside in the cold, without a jacket and in sandals with socks, staring at her phone. When he tries to get her back into the house, she passes out. It is his quick action (he calls an ambulance) that ends up saving her life. While Doo-na is in the hospital, he looks after her and even buys her a pair of socks for her to wear. After this incident, it is Doo-na who starts stalking Won-jun – she always knocks on his door and asks if he wants to get something to eat. She even shows up at his classroom, sits next to him during a lecture, and asks him if he wants to grab something to eat. Won-jun’s classmates recognize Doo-na and this leads to all sorts of gossip.



Won-jun’s feelings towards Doo-na are conflicted – it is obvious that he is interested in her (most dudes would be) but he still has feelings for Jin-ju, who has come back into his life. They attend the same university and Woo-jun runs into her at the bus station. Jin-ju was Won-jun’s high school crush. They were the two top students at their high school and were inseparable – to the point where their classmates suspected they were secretly dating. Finally, after months of speculation, Won-jun finally confessed his feelings to Jin-ju and…she rejected him (well, kind of). After he told Jin-ju he liked her, she cut off all communication with him. However, it turns out that Jin-ju didn’t reject Won-jun, she just didn’t have the courage to act on her feelings. She had a huge crush on Won-jun and when he confessed his feelings to her, she was initially elated. Her euphoric state quickly transformed into absolute dread, because she was afraid of her father’s potential reaction. What further sealed the deal for her is when she got home, she walked in on her strict father chopping off her sister’s hair, because he found out she was seeing a guy. To avoid the chopping block, Jin-ju decided to cut off all communications with Won-jun. Her father is the type of man who would scold his daughter for “fooling around with guys” and then later scold her for not giving him a grandchild. It is a “damned if you and damned if you don’t” situation. She always regretted her cowardice in the face of her douchey father.



It's only after she escapes her father’s tyrannical grasp that she can confess her feelings for Won-jun. Doo-na hits it off with Jin-ju after a night of drinking and later, when she is looking for a roommate, invites Jin-ju to move in with her.  Jin-ju accepts this offer because it kills two birds with stone – it allows her to move away from home and gives her direct access to Won-jun. However, by the time she confesses her feelings to Won-jun, it is too late – he has fallen in love with Doo-na. To Jin-ju’s credit – she handles his rejection well. She is disappointed and, understandably, tells Won-jun that she needs some time away from him to get over being rejected. She wastes no time moving out of the share house and into a one-bedroom apartment. This is the correct reaction! After a few months have passed, she is ready to be Won-jun’s friend. She also doesn’t bear an ill will towards the Doo-na (the two of them remain friends). There was that part of me that wanting to see Won-jun end up Jin-ju. She is not high maintenance like Doo-na, and she has more in common with Won-jun, but unfortunately that window of opportunity closed some time ago. For Jin-ju, Won-jun is the one who got away.

Normally, the premise of a rube falling in love with an idol would be a romantic comedy, but the relationship between Doo-na and Won-jun is played entirely straight. There are occasional humorous moments, but most of them come courtesy of the character, Choi I-ra. The structure to Doo-na is a bit awkward at times – I-ra is one of the main characters, but she doesn’t first appear until the middle of the series. Even her introduction is a bit awkward, Won-jun and Jin-ju witnesses her publicly breaking up with her Brazilian boyfriend. Won-jun recognizes her and walks away before she can see him. His housemate, Yun-taek, talks Won-jun and their housemate, Jeong-hoon, into going on blind group date with three college girls and Won-jun gets paired up with I-ra. She immediately recognizes him – though, he, at first, denies knowing her. It turns out they have a long history together – they were born in same hospital, on the same day, and their mothers decided to arrange for them to get married. They spent the majority of their childhood hanging out together – something that Won-jun dreaded. Won-jun describes her as being his “greatest enemy,” but the truth is their personalities didn’t gel – Won-jun was a timid, introverted child while I-ra was an extroverted, bossy child. She always managed to talk Won-jun into doing things he didn’t want to. She is also really loud.

At the age of eleven, she moved to Brazil with her family and Won-jun was convinced that he was rid of her. It turns out that she is a fashion major at the university that Won-jun is attending. Won-jun is apprehensive towards her at first, but he eventually warms up to her and the two of them become close friends. She also becomes romantically involved with Jeong-hoon who, like Won-jun, initially find her annoying, but eventually is charmed by her upbeat demeanor. She also befriends Jin-ju and Doo-na. In fact, she immediately forms a bond with Jin-ju, because they grew up in the same town and were both involved with Won-jun.  She also moves in with Doo-na – after she broke with her boyfriend, she needed a place to say and Won-jun told her that Doo-na was looking for a roommate. There was also the other part of me that hoped Won-jun would end up with I-ra.  Either Jin-ju and I-ra would have been better matches for Won-jun




A feeling of uncertainty hangs over the entire series. In the first half of the series, Won-jun’s relationship with Doo-na is defined by uncertainty – they both like each other but neither of them really wants to make a move. Their early interactions are awkward and often intense – one minute they will be getting along, the next minute Won-jun will say something that will cause Doo-na to snap (she cusses up quite a storm).  There also a few interesting stylistic choices by the director to emphasize the tension – in early stages of their relationship, the soundtrack is dead silent. In most K-drama, when the two romantic leads are together there will be a love ballad blaring on the soundtrack – this is used to signify their feelings the two leads have for each other.  In fact, the love ballad can be overbearing at times, to the point that it drowns out the dialogue (it also is played ad nauseum throughout the series).  There is a love ballad in Doo-na and it is played ad nauseum, but only during montages or scenes where two leads are separated. Whenever, Doo-na and Won-jun exchange dialogue, the only sound we get is diegetic – it comes from within the world of the narrative. The lack of a soundtrack helps add to the uncertainty – without the overbearing love ballad to clue us into the characters feelings for one another, we are not certain what Doo-na’s feelings are towards Won-jun, or if their relationship will work out. 



The moment that casts the biggest doubt on Doo-na relationship with Won-jun is when her agent, Park In-wook, walks into the picture. Won-jun and Doo-na have gone on a romantic getaway – they are staying at a beach house that Doo-na owns – and are walking down a road, holding hands, when Doo-na notices In-wook’s car parked in front of the house. When he gets out of the car and looks at Doo-na, she immediately let’s go of Won-jun’s hand. He begs with her not to go, but she ignores his pleas and drives off with In-wook, and leaves Won-jun all alone, in the middle of nowhere.  However, the reason she goes off with In-wook is to set the record straight and give him a good scolding. When she gets back to the house, Won-jun has left and taken a bus to his hometown to visit his friends and family. When Won-jun returns to the share house, she tells him that she didn’t know who she would miss more – In-wook or Woo-jun. It is only when she was with In-wook that she realized how much she missed Won-jun.



The question is: Does Doo-na really love Won-jun or was he just at the right place at the right time? Doo-na has been alone for months and Won-jun is the first person, in quite some time, to show genuine concern for her, so it’s not surprising she would have feelings for him. However, is that enough to sustain a relationship, especially given their different goals in life.  Won-jun wants to live an ordinary life, but Doo-na would never be content with an ordinary life – show business is in her blood.  The show never really answers the question. It ends on a rather ambiguous note – I won't completely spoil the the series, except to say that there are multiple interpretations of the ending 

I don’t know if I would recommend Doo-na, it is a fascinating but ultimately frustrating experience. The two leads, Bae Suzy and Yang Se-jong, are solid and have great chemistry, but the writing often lets them down. Bae Suzy was certainly well cast as the title character – like Doo-na, she was an idol, who debuted at young age, sixteen (in American years), and was essentially the face of the girl group, MissA – she is  regarded as being one of the most beautiful women in South Korea (if not the entire world). There are a lot of good moments scattered throughout the series (Jin-ju is given a nice character arc) but the parts are greater than the actual sum and end result is kind of a letdown. 



 

Cast: Bae Suzy (Lee Doo-na), Yang Se-jong (Lee Won-jun), Ha Young (Kim Jin-ju), Kim Do-wan (Goo Jeong-hoon), Park Se-wan (Choi I-ra), Kim Min-ho (Seo Yun-taek), Lee Jin-wook (Park In-wook), Kwon Han-sol (Song Tae-rim),  Kim Sun-young (Doo-na’s mother), Kim Yoo-mi (Agency rep), Bae Ji-hye (Eun-joo), Go Ah-sung (Im Ha-yeon), a member of Dream Sweet), Simeez and Rian of Lachica as members of Dream Sweet), Kim Hyun-mok (stalker).

Director: Lee Jeong-hyo
Writer: Jang Yoo-ha (based on The Girl Downstairs by Min Song-ah)
9 episodes (~40 – 45 minutes)

Sunday, July 13, 2025

Second 20s (2015) / Familiar Wife (2018)




 Second 20s and Familiar Wife are, on the surface, two very different series – one deals with a middle-aged woman who, after being housewife for the entirety of her adult life, decides to attend to college and, through the support of old and friends, moves onto the next stage of her life. Familiar Wife is about an immature male who is stuck in an unhappy marriage and is given the chance to travel back in time and change the present – he is now respected by his co-workers at the bank and is married to his first love, who comes from a wealthy family. Both shows are about a second chance in life and the responsibilities that come with it.

Second 20s stars Choi Ji-woo as Ha No-ra, a middle-aged housewife who enrolls in college in a desperate attempt to save her crumbling marriage to Kim Woo-chul (Choi Won-young). The two of them have already signed the divorce papers but have decided to wait until their son, Kim Min-su, has started college to finalize the process. No-ra’s logic is that by attending college she will be able to communicate with Woo-chul (who is a professor of Psychology) at his level, and he will be so moved by her effort that he will cancel the divorce. 



She is unaware that the main reason Woo-chul wants a divorce is that he has already found another lover, Park Yi Jin, who is in an instructor at the university No-ra is attending. No-ra does this all in secret – she wants to surprise both her husband and son. However, it proves to be difficult to keep the secret, because her son is a student and her husband is an instructor at the same university she is attending. To further complicate matters, her friend from high school, Cha Hyun-seok, is also an instructor at the university.

I will admit it was difficult for me to get past the first episode, because of the amount of disrespect that is shown Ha No-ra – Woo chul looks down on her; Min-su is an ungrateful little shit; Hyun-seok acts cold towards her; and the student body ridicule her because of her age. There is also a tragic quality to Ha No-ra – she studied dance in high school but got pregnant at a young age (18) and was forced to give it all up to raise Min-su. We also later learn that Woo-chul was very controlling of her – she was forced to travel with him to Germany, for his Psychology degree, and was alone in a foreign land, and was rarely allowed to leave the house. On her first day of college, she is a fish out of the water. The show effectively puts us on No-ra’s side, so that when she finally makes a new friend at the university, we are genuinely happy for her. When her dumbass son finally realizes that his mother is pretty awesome, we shout at the screen, “It is about time you figured that out, you moron!”  This all aided by Choi Ji-woo’s first-rate performance – she starts off the series uncertain about herself and often makes mistakes but slowly finds her confidence. It is hard to imagine another actress in the role, because Choi Ji-woo’s performance is perfection. 



Cha Hyun-seok is a famous stage director, who also teaches an acting class at the university. When No-ra bumps into him, she is elated (it has nearly twenty years since she has last seen him) but he acts very cold towards her.  She can’t figure why he gives her the cold shoulder, considering how close they were in high school. Their relationship doesn’t get any better after he publicly scolds her for being late to his class. It is revealed the reason he initially acted so hostile towards No-ra is that he never forgave her for missing her grandmother’s funeral. No-ra was raised by her grandmother and after she moved Germany, Hyun-seok would often stop by her grandmother’s tteok-bokki stand to keep her company. He became very close with No-ra’s grandmother and was devastated after she passed away. When No-ra failed to show up, he became disenchanted with her. However, despite his disagreeable demeanor, he still has feelings for No-ra; she was his high school crush, after all. 



No-ra’s motivation for attending colleges changes after she is diagnosed with cancer and told that she only has six months to live – initially she was hoping to save her marriage, but after the diagnosis, college life is something she would like to experience before she passes away. She carries a planner with her and makes a bucket list. Her list isn’t anything ambitious, she just wants to experience the things she missed out in her youth, like seeing a midnight movie and going to a club with friends. The point of emphasis on her list is mending her relationship with Min-su. She accidentally leaves her planner in Hyun-seok’s classroom, and he reads through it. He is shocked to learn about No-ra’s cancer diagnosis and when he comes across her bucket list, he is determined to help her experience all of these things. Unbeknownst to Hyun-seok, it turns out that No-ra has been misdiagnosed (they mixed her up with another No-ra) and has a long life ahead of her. 

On her first day of college, it isn’t just Hyun-seok that gives her the cold treatment, but most of the student body as well. They are shocked to see a middle-aged woman attending a college (it must be a Korean thing, because it is fairly common in the United States). One of her classes is a Marriage & Dating course, which is coincidentally taught by her husband’s mistress, Park Yi Jin. Part of the class requires a female student to pair up with a male student and one of their assignments is to go on dates and post pictures on their social media accounts throughout the semester. No-ra is paired up with Na Soon-nam, who is initially annoyed being partnered with an older woman. He, understandably, was hoping to be paired up with one of the young hotties in his class. While walking through the hallways, No-ra notices a sign for a dance club and decides to join, only to discover the president of the club is none other than Na Soon-nam. He is apprehensive about letting her join, but eventually gives in, especially when he learns she was the woman who was recorded dancing with a flash mob at the Freshman orientation. His attitude begins to change towards No-ra and the two of them become very close friends. It is also a nice touch that he is the first person to publicly stand up for No-ra after he overhears his classmates saying derogatory things about her – the two of them haven’t officially become friends at that point, but he is beginning to understand her.



The other new friend that No-ra makes is Park Seung-hyun, who is also a student in Hyun-seok’s acting class. She is, at first, indifferent towards No-ra – she doesn’t give No-ra the cold shoulder, but she doesn’t exactly embrace her senior, either. The two of them become friends after they join forces to take down a lecherous college professor. The college seniors (in the Humanities Department) throw a party for the freshmen in their department, and a middle-aged professor shows up and starts getting handsy with all the female freshmen.  The seniors are uncomfortable with this and try to diffuse the situation by asking the professor if he would like to go bar hopping with them. He declines the invitation and continues to grope the females. No-ra has seen enough and calls him out on his boorish behavior.  He gets offended and stomps out of the restaurant. At first, the freshman girls view No-ra as their savior, but once they fear the potential repercussions that might come with being No-ra’s friend, they give her the cold treatment. The seniors are also angry at No-ra – they are worried about the retaliatory actions the professor might take and demand No-ra apologize. The only person who defends No-ra at this point is Na Soon-nam, who is disgusted by the cowardly behavior of the seniors.  They want No-ra to apologize for being in the right.  However, it turns out that Seung-hyun recorded the entire incident on her phone but doesn’t know what to do with the damning video. Hyun-seok noticed that she was recording on her phone and persuades her to share the video with No-ra.  After discussing it, the two of them decide to use the video to blackmail the professor into resigning. No-ra emails the video the professor and gives the ultimatum: quit or the video gets leaked online. The professor acquiesces and announces his retirement, to the bewilderment of the student body. After he has officially stepped down, No-ra’s peers start to acknowledge her again. Personally, I think No-ra and Seung-hyun should have leaked the video online and used it to smear the professor’s reputation – forcing him to resign doesn’t prevent him from going to another university and doing the same thing over again. This cements Seung-hyun’s friendship with No-ra and, along with Soon-nam, the three of them become inseparable. 

The most commendable aspect of No-ra is that she refuses to play the victim – even though she is initially met with hostility from the student body (with calls for her to drop out) she sticks to her principles and weathers the storm. It would have been easy for her to throw in the towel, but she is determined to see it out. She even manages to fix her relationship with Min-su – when she learns that he has a girlfriend, Oh Hye-mi (played by Apink member, Son Na-eun), she is elated. However, Min-su also broke the agreement he made with his father – he signed a document that said he would focus solely on his studies and if he broke this promise, like getting a girlfriend, he would have to join the army. So, he is forced to date Hye-mi in secret – it proves to be difficult considering his father is a professor on the campus. Min-su and Hye-mi meet at an isolated spot on the campus and No-ra sees them together. She also spots Woo-chul heading in their direction (he is secretly meeting his mistress) and gives Min-su a head’s up – she spirits him away before Woo-chul arrives. Once Min-su realizes his mother is on his side, he begins to open up to her. By the end of the series, the two of them become extremely close while Min-su and Woo-chul drift apart.



One of Second 20s most impressive feats is that it doesn’t depict Woo-chul as a total villain. In fact, Choi Won-young manages to humanize the character by spicing up his performance with humor. He is not a bad guy, just incredibly arrogant – he is incapable of putting himself in another person’s shoes. His marriage to No-ra was done more out of convenience than actual love – he got her pregnant at a young age and figured he had no choice but to marry her. Their loveless marriage turned him into a resentful person, but he believed he was doing No-ra a service by keeping her around.  However, once No-ra becomes popular on campus (and regains her confidence) he begins to have second thoughts about their divorce and is determined to win her back. At this point No-ra wants to go through with the divorce, but he keeps coming up with excuses for not finalizing the procedure. 

This also leads to a misunderstanding between No-ra and Hyun-seok – after he learns that No-ra has been misdiagnosed, he once gain pushes her away. He learned from No-ra’s best friend, Ra Yoon-young, that No-ra’s reason for attending college is to win back Woo-chul and decides that he should step aside so the two of them can work out their differences. He even tries to help Woo-chul get back together with No-ra – often by arranging for the two of them to meet in the same place. Hyun-seok is working on a play and has hired No-ra as his assistant – they two of them meet as his studio, and on multiple occasions he invites Woo-chul over. He is oblivious to the fact that No-ra no longer wants to reconcile with Woo-chul and genuinely believes he is doing her favor.  When he sees Woo-chul putting forth an effort to win back No-ra, he is convinced that they have gotten back together.



Hyun-seok was a victim of bad timing – No-ra befriended him (and Ra Yoon-young) in high school. She was a dance major while his dream was to be a stage director. They form a dance troupe with Hyun-seok acting as the director. When Hyun-seok learns about a competition that is being held by the lakefront, he persuades No-ra and company to enter it.  They spend months rehearsing the dance number and, on the day of the competition, while the troupe is walking onstage to perform the number, Hyun-seok gets a call from his mother, who tells him that his father has suffered a stroke, and he is forced to go home. He was going to reveal his true feelings to No-ra after the performance, but his father’s stroke prevents that from happening. Coincidentally, the same time Hyun-seok left the talent show, Woo-chul and his buddies showed up, and he was immediately smitten with No-ra. The rest is history – No-ra got pregnant and spent the next four years of her life in Germany. She lost all contact with Hyun-seok, and it would be twenty years before they bumped into each other again.

The real turning point in No-ra’s life is when she is forced to perform in the dance number at a college festival. Na Soon-nam’s dance club is set to perform at the festival, but one of the female dancers sprains her ankle. No-ra is hesitant to get on the stage and dance – she was content with being a part of the dance club and helping them set up.  After receiving encouragement from Hyun-seok and Soon-nam, she finally agrees to perform. The audience is initially skeptical towards her, but she absolutely slays it on stage and them over. Min-su happens to be watching her and can’t believe his eyes – he had no idea his mother was this awesome! No-ra also she puts the skills she learned as a housewife (yes, it does require skill to be a housewife) to good use – when a group of college students running a food booth are having a hard time making pancakes, No-ra steps in and gives them pointers on how to make the proper pancake. She often makes lunch boxes for the dance group and her friends, as well. While she does find a new life, she also doesn’t reject her past entirely. She is grateful that her marriage to Woo-chul gave her a son. 

Min-su’s relationship with Hye-mi comes with its own set of problems – not only does he have to keep their romance a secret from his father, but from his fraternity, as well (one of the conditions of joining the fraternity is that Min-su can’t have a girlfriend). This because increasingly difficult, because Hye-mi constantly wants to go out and party.  The two of them have a different philosophy when it comes to college – Min-su is there to study while Hye-mi is there for the social aspect. As a result, Min-su is a position where he needs to serve two masters at once – his father (who demands good grades) and Hye-mi (who, to quote Eddie Murphy, wants to “party all the time”).  Hye-mi persuades Min-su to go to a dance club and he is a total stick in the mud – he sulks at the bar while Hye-mi and friends are cutting it up on the dance floor.  It’s only after another male makes a move on his woman that Min-su gets off his ass and begins to bust a move on the dance floor. Much to his (and everyone’s) surprise, he is quite good at dancing (must have inherited from his mother).  I initially believed this would set up a subplot where Min-su decides to follow in his mother’s footsteps and major in dance, but nothing really comes of this scene. In fact, my biggest criticism of Second 20s is that Min-su’s storyline is underdeveloped – the resolution to his romance with Hye-mi is rather disappointing and is left ambiguous. He also never formally introduces his girlfriend to his mother – she watches their relationship from afar, but the show desperately needs that scene where Min-su confesses to Hye-mi that No-ra is his mother.



One of the flaws of most K-dramas, is how quickly the protagonist gets into a new relationship after breaking up with their former partner – very little time passes between the old one ending and the new one beginning. One of the strengths of Second 20s is that after No-ra’s divorce from Woo-chul is finalized, she doesn’t immediately run into Hyun-seok’s arms. This probably frustrated many viewers who wanted to see Hyun-seok and No-ra become a couple, but from a character perspective it makes sense. No-ra has spent the entirety of her adult life being completely dependent on other people and, while she likes Hyun-seok, she also wants to take some off and figure out what she wants to do with her life. Does she really want to get into another relationship? After the divorce, she moves into an apartment and cuts off all contact from Hyun-seok. Though, she asks their mutual friends, Ra Yoon-young and Seo Dong-chul, to keep an eye on him (he also them to keep an eye on No-ra). She goes four months without seeing Hyun-seok and during that time she has strengthened her bond with Min-su, Soon-nam, and Seung-hyun. She also works part-time at the Tteok-bokki stand that Dong-chul inherited from her grandmother. She happens to bump into Hyun-seok at a bookstore and is about to say hello, but he walks right past her. She is taken aback by this – though, I’m not sure why given Hyun-seok’s behavior in the past. She is supposed to visit her grandma’s grave with Ra Yoon-young and Seo Dong-chul, but they both end up cancelling on her. She is waiting at the bus stop when Hyun-seok pulls up and offers her a ride. She grudgingly accepts his ride. The two of them arrive in her grandma’s hometown and, while walking around by the lakefront, No-ra remembers that Hyun-seok and she buried a time capsule (when they were 18) that was supposed to be opened twenty years later. They both wrote down predictions for each other and they were going to check to see if they came true. Hyun-seok points out the location to No-ra, and she digs it up. She gets teary eyed after reading the predictions and, finally, realizes that she loves Hyun-seok. The two of them kiss, and they are finally a couple.



If there is one word that describes Second 20s, it is PLEASANT! It’s a pleasant experience that cheers you up. It is a well-written series with a first-rate cast and direction. There are even a few surprises thrown into the mix, which I dare not spoil here.

 

Familiar Wife



Familiar Wife, much like Second 20s, is a show that gets a huge boost by its two likable leads, Han Ji-min and Ji Sung. There have been multiple K-dramas that deal with time travel – Nine, Tunnel, Tomorrow, With You, Marry My Husband, Signal – to name a few, but Familiar Wife is the only one that comes up with a pseudo-scientific explanation for the time travel. The explanation is that a neutron star has an effect on earth’s gravity, which results in gateways to the past being opened up. The other dramas didn’t bother with an explanation, it was implied that the time travel was either supernatural in nature (mystical incense sticks in Nine) or it was divine intervention at work (in Marry My Husband, it is implied the female protagonist’s deceased father was the one pulling the strings). I wish Familiar Wife would have dropped the pseudo-scientific rationale, because it is irrelevant to the proceedings. Not to mention that in order to travel back to the past, Cha Joo-hyuk must throw money into a magical tollbooth – it will only accept coins from the year he wishes to travel to (2006). Before Joo-hyuk travels back in time, he meets a stranger who gives him coins minted in 2006.



Joo-hyuk is in an unhappy marriage with Seo Woo-jin – they have two children and, in order to get by, they both must work unsatisfying jobs. Joo-hyuk works at a bank while Woo-jin works part-time at a massage parlor. However, Joo-hyuk often shirks his responsibilities as a father and often leaves Woo-jin holding the bag. He has worked at the bank for some time but always gets passed over for a promotion, because his work ethic kind of sucks. He also constantly does things behind his wife’s back – when his old game video game system breaks down, he searches for a replacement online and finds a seller who is willing to sell a brand-new unit for a reasonable price. He makes this purchase behind Woo-jin’s back, because he knows she will scold him, and even hides the system from her. Though, he chooses the worst hiding spot imagine – he hides it in the closet behind a stack of diapers. When Woo-jin grabs a diaper, she notices there is something behind it and finds the video game system. She throws a fit and even injures Joo-hyuk when she throws a lobster claw at him.



The two of them met by pure chance in 2006 – Joo-hyuk was on his way to meet the pretty Lee Hye-won (the most popular girl on campus) for a date, but got sidetracked when, while on the bus, he noticed a stranger groping Woo-jin’s rear. She confronted the pervert, but he denied her accusation. When she asked if anyone else saw the man groping her, Joo-hyuk verified her story. The two of them went to the police station to file a report against the sleazebag. By the time Joo-hyuk finished giving his testimony, he was late for his date with Hye-won, and she held it against him. In the present, he happened to run into Hye-won and she admitted that she had a crush on him. He often imagines what might have been if he had not met Woo-jin on that fateful day. Joo-hyuk is incapable of seeing things from Woo-jin’s perspective and is legitimately afraid of her because of her short temper. However, when Joo-hyuk first met Woo-jin, she was a very positive and upbeat individual. After he vouched for her on the bus, Woo-jin kept following him around – she asked him to tutor her for the college entrance exam. Joo-hyuk eventually fell in love with her and the two of them got married. He is baffled by how much her personality has changed. 



On a fateful night, he goes for a drive, comes across the magical tollbooth, and then wakes up in 2006. The time travel in Familiar Wife is more metaphysical in nature – he doesn't physically travel back to 2006, but rather astrally projects to the past. This isn’t the normal time travel paradox where there are two of him in the past, and he needs to avoid his past self. The first time he travels back into the past, he is overwhelmed by the experience and doesn’t know what to do. The other rule that the show establishes is that he can only stay in the past for a limited amount of time – after his time has run out, he wakes up in the present. The second time he travels in the past, he knows the rules and makes the most of his opportunity. This time when he takes the bus, rather than speak up for Woo-jin, he ignores her pleas for help. A woman ends up verifying Woo-jin’s story and the bus pulls over. Joo-hyuk catches a taxi and arrives in time to meet Hye-won.

The next morning, he wakes up in the present and finds that he is married to Hye-won. On top of that, Hye-won’s father is incredibly wealthy and the two of them live in a spacious house. Best of all, Hye-won is okay with Joo-hyuk playing video games. It seems he has hit the jackpot. At his bank, because of his father-in-law, the management kisses his ass, while the rest of the staff look up to him. It also turns out that not only did he change his present but that of his best friend, and co-worker, Yoon Joong-hoo. In the original timeline, Joong-hoo was married with two children, but in this new timeline he is single and desperately looking for his significant other. In the past, when Joong-hoo was dating his wife, he nearly lost her after the two of them had an argument and she was about to leave South Korea on an airplane. Joong-hoo waved down a taxi, headed to the airport, and stopped her from leaving. In the new timeline, Joong-hoo was about to enter the taxi when Joo-hyuk cut in front of him and took the taxi to meet Hye-won.



At first, Joo-hyuk enjoys his new life and then he realizes that he has willed his two sons out of existence. Joo-hyuk focused solely on the bad memories of Woo-jin that he forgot about all the good ones. Still, he realizes that there is a little he can do about and presses on.  Meanwhile, Woo-jin’s life has also radically changed – she is also a single but has found a successful career working at the headquarters of the bank chain Joo-hyuk works for. When Joo-hyuk’s bank needs another person to work in the transfer department, headquarters sends Woo-jin to fill that spot. It would be an understatement to say that Joo-hyuk is surprised – he is, in fact, mortified by the sight of his former wife standing in front of him. Joong-hoo, on the other hand, is charmed by the newcomer and starts to believe that she might be “the one” he has waited for. Despite Joo-hyuk’s initial cold demeanor towards her, Woo-jin is drawn towards him – there is something familiar about him, but she can’t figure out what it is. Despite being attracted to Joo-hyuk, she agrees to date Joong-hoo – she is hesitant to do so, but he convinces her to give it a trial run for one month. If she doesn’t feel anything, then she will be free to call it off and there will be no hard feelings.



On the surface, Joong-hoo is the ideal man for Woo-jin – he is a genuinely good guy and handsome, on top of that. She genuinely enjoys his company but there just isn’t any spark there – there is no fluttering of the heart with Joong-ho, like there is when she is around Joo-hyuk. She is also baffled by how Joo-hyuk seems to know so much about her – when their co-workers go out for coffee, Joo-hyuk informs them that she doesn’t drink coffee. When Woo-jin gets sick, Joo-hyuk knows which medication to buy for her. It becomes increasingly difficult for him to explain how he knows so much about her, but his co-workers buy his explanations. The two of them are often on the same wavelength - they both thwart a bank robbery just by giving each other a series of signals. Woo-jin distracts the man long enough for Joo-hyuk to disarm him.

At first, Joo-hyuk is elated that Woo-jin and Joong-hoo are dating – it means that she will leave him alone. However, the more he sees the two together, the more jealous he gets. He doesn’t even understand why he is acting this way. After all, he is already married to an ideal wife and in their former lives, he was afraid of Woo-jin.  However, in this new timeline, Woo-jin is back to her old cheerful self – she is very personable and adapts well to her new work environment. When Woo-jin and Joong-hoo are sent out of town to attend a training seminar, Joo-hyuk can’t help himself and shows up to thwart Joong-hoo from putting the moves on Woo-jin. After making a fool out of himself, he realizes that his behavior is irrational – he had his chance with Woo-jin and he blew it. After a moment of self-reflection, he decides to be supportive of Joong-hoo’s relationship with Woo-jin – when the manager asks Joong-hoo to stay late, Joo-hyuk volunteers to take over so Joong-hoo can go on a date with Woo-jin.



To further complicate matters, Woo-jin’s mother, who suffers from Alzheimer’s, remembers Joo-hyuk being her son-in-law. Whenever she sees him, she greets him as her son-in-law and even makes him a few dishes to take home. Woo-jin chalks this up to her mother’s senility, but Joo-hyuk knows differently. Woo-jin’s mother is more relaxed when Joo-hyuk is around – she often wanders out of the house and gets lost, and on multiple occasions it is Joo-hyuk who finds her and persuades her to come home. The other hitch is that Woo-jin begins to have dreams of her previous life with Joo-hyuk.  When her month’s trial with Joong-hoo is over, she has no choice but to break up with him.  She feels terrible for her decision, but she can’t help that she isn’t attracted to him. He tries to put on a brave face, but it is clear that he is heartbroken by her decision. This is understandable – women like Woo-jin don’t come around too often.
The deciding factor in her decision to break it off with Joong-hoo is when she got drunk and ended up kissing Joo-hyuk. How can she be in a relationship with Joong-hoo when her heart belongs to Joo-hyuk?



It is also not surprising that Joo-hyuk’s marriage to Hye-won disintegrates – it was never that great to begin with. You can describe Hye-won in two words: superficial and vindictive. Even before Joo-hyuk begins to rekindle his feelings for Woo-jin, she finds herself attracted to the younger, Jeong Hyeon-su, and the only thing the prevents her from having an affair with him is that he is exposed as a hustler – he poses as a college student when it in reality he is a parking garage attendant. She is also doesn’t like Joo-hyuk’s family and avoids them at any cost – when Joo-hyuk insists that they visit his parents, she comes up with a bogus excuse why that is impossible. When Joo-hyuk’s father is hospitalized, his younger sister, Joo-eun, asks him if he can watch over their dad, because she has to take care of her son. This enrages Hye-won, who is upset that Joo-hyuk would rather stay with his father rather than support her father at a business conference. The final straw for Hye-won is when Joo-hyuk spends the entire night helping Woo-jin find her mother, who has once again wandered off. This wouldn’t be so bad if it weren’t for the fact that Joo-hyuk lied about his whereabouts by claiming he was attending a work-related funeral. It is only a matter before Hye-won finds out truth – Joo-hyuk overlooked the fact she knows his co-workers – and without a moment’s hesitation she demands a divorce and Joo-hyuk, realizing that their marriage is over, obliges.

Woo-jin breaking up with Joong-hoo, and Joo-hyuk’s divorce from Hye-won, leads to all sorts of gossip, and their friends/co-workers begin to suspect that Joo-hyuk stole her away from Joong-hoo. Oh Sang-sik, Joo-hyuk’s brother-in-law and friend from college, also blames Joo-hyuk for the breakup and punches him in the face, before telling Joo-hyuk he never wants to see him again. Joo-hyuk feels guilty over his failed marriage to Hye-won and Woo-jin naturally can’t help to feel bad for Joong-hoo, but neither of them can deny their feelings for one another and begin to date. While Joong-hoo is angry at both of them, he still remains Joo-hyuk’s friend – after the divorce, Joo-hyuk is forced to move out of his house and Joong-hoo offers Joo-hyuk shelter at his apartment. After Woo-jin breaks up with him, Joong-hoo blames Joo-hyuk, but he also doesn’t have the heart to throw his best friend out into the streets. He also realizes that Woo-jin and him were never meant to be together. 

However, Woo-jin’s and Joo-hyuk’s happiness is short-lived after their bank is scammed out of millions of dollars by Joo-hyuk’s father-in-law. His father-in-law requests a loan from Joo-hyuk’s bank to help start up a business he is investing in – Joo-hyuk gets the okay from his superior and authorizes the loan – but it turns out the business is a shell company, and his father-in-law has laundered the money overseas. Joo-hyuk notifies the police about the embezzlement, but they suspect he was an accomplice in the scam. In the end, he clears his name and gets the money back, but that doesn’t stop headquarters from firing him. He concludes that Woo-jin would be better off without him and starts to distance himself from her. Woo-jin disagrees and tries to convince him they are destined to be together. Joo-hyuk confesses to her about traveling in the past to alter the present and that he was the reason for their failed marriage in the original timeline. Once Woo-jin learns about the mechanism for time travel (it can only be done on a specific date and she must need a coin from 2006 in order get past the tollbooth), she decides to travel back in time and set thing back to the way they originally were. Joo-hyuk is determined to stop her and follows her in his car – they both end up in 2006. While in 2006, Joo-hyuk can predict her next move and avoids her at all cost. She does manage to set a few things back to the original settings – Joong-hoo is, once again, happily married with two children, but Joo-hyuk has dropped off the face of the map. He has gone on an extended vacation from the bank, but he also can’t stay away forever. Woo-jin works at the bank headquarters and is determined to transfer to Joo-hyuk’s branch. Despite Joo-hyuk’s best efforts, she manages to get the transfer, and he is put in the awkward spot of working with the woman he wishes to avoid.



Normally, the “noble sacrifice” is something that gets on my nerves in K-dramas but in the case of Familiar Wife, it feels organic to the storyline – more importantly, the writers give Joo-hyuk the proper motivation for pushing Woo-jin away. Bad luck just seems to follow him around wherever he goes – his father-in-law scamming the bank out of millions of dollars, is just one example of this happening. In the original timeline, he was in such a hurry to meet the seller of a game console that he approved a loan without proper identification. He asked the woman to bring her ID the next day before his superiors found out, only to discover, after waking up, that the bank was being audited. This got him into trouble with his superiors, and rightfully so. Amazingly, he didn’t lose his job. He also feels guilty about being responsible for not one, but two failed marriages, and believes he doesn’t deserve a second chance with Woo-jin. After multiple rejections, Woo-jin decides to honor Joo-hyuk’s wishes and go her own way. The next day, Joo-hyuk sees her get on the bus to work and then a memory from the previous timeline pops in his head – it was on this date that a bus got into an accident with a truck, killing many of the passengers onboard, and Joo-hyuk realizes that Woo-jin is a passenger on that ill-fated bus. He chases after the bus in his car and is determined to prevent the accident. He is able to prevent the accident by cutting in front of the bus with his car (acting as a buffer between the truck and bus) and the truck driver slams on the brakes, avoiding a major accident in the process. Woo-jin wonders what the commotion is all about and sees Joo-hyuk sitting in his car. She gets off the bus and the two of them reconcile – they get married and have two children. This time around their marriage is a happy one.

The reason why Familiar Wife works so well is that time travel is the McGuffin – it’s what sets the plot in motion, but it’s not what the story is actually about. The main theme of the story is second chances – Joo-hyuk believes he has been given a second chance at life, but in reality, he has been given a second chance with Woo-jin.  More importantly, it assures the viewers that people can change for the better – Joo-hyuk goes from being an irresponsible manchild (who blames others for his misfortunes) to a responsible adult, who takes responsibility for his actions. The alternative timeline he created allows him to see things from Woo-jin’s perspective and he realizes that it was his immature actions that led to their marriage failing.  He also takes responsibility for his failed marriage to Hye-won – he later approaches her and offers her a sincere apology for failing her.  Woo-jin herself changes – in the original timeline, she had a short temper and was verbally, and physically, abusive towards Joo-hyuk. She never listened to what he had to say and, in the process, made him feel small. The fact that he had to sneak away at night to play video games is a good indicator of their marriage. In the new timeline, she is a better listener and occasionally indulges his childish whims – she buys him a new video game console but also gives him a thirty-minute time limit. When it looks like Woo-jin might be late in picking their children up from school, there is no panic, instead they are able to coordinate with each other, so that Joo-hyuk picks them up on his way to work and then pick a meeting spot so that the children can be transferred to Woo-jin’s car. The better time travel stories use it as a springboard to explore deeper themes, and Familiar Wife falls into that category – the science fiction elements take a backseat to the characters.  I would also like to single out Han Ji-min’s performance as Woo-jin – she plays three different versions of the character (teenager Woo-jin, bitter housewife Woojin, and the new, confident Woo-jin) and doesn’t miss a beat. 



 

Credits

Second 20s
Cast: Choi Ji-woo (Ha No-ra), Lee Sang-yoon (Cha Hyun-seok), Choi Won-young (Kim Woo-chul), Kim Min-jae (Kim Min-su), Son Na-eun (Oh Hye-mi), Ha Seung-ri (young Ha No-ra), Kim Hee-chan (young Cha Hyun-seok), Han Sung-yun (Hyun-Jung), Jung Soo-young (Ra Yoon-young), Im Ji-hyun (young Yoon-young), Kang Tae-ah (young Woo-chul), Noh Young-hak (Na Soon-nam), Woo Ki-hoon (Woo-hun), Park Hyo-joo (Kim Yi Jin), Choi Yoon-so (Shin Sang-ye), Ji Ha-yoon (Min-ae), Jin Ki-joo (Park Seung-hyun), Kim Kang-hyun (Seo Dong-chul), Ban Hyo-jung (Seo Woon-hae, No-ra’s grandmother).

Director: Kim Hyung-shik
Writer: So Hyun-kyung
16 episodes ~ 60 minutes

Familiar Wife
Cas
t: Han Ji-min (Seo Woo-jin), Ji Sung (Cha Joo-hyuk), Jang Seung-jo (Yoon Joong-ho), Kang Han-na (Lee Hye-won), Park Hee-von (Cha Joo-eun), Oh Eui-shik (Oh Sang-sik), Lee Jung-eun (Woojin’s mother), Son Jang-hak (Cha Bong-hee), Park Won-sang (Byeon Sung-woo), Cha Hak-yeon (Kim Hwan), Kim Soo-jin (Jang Man-ok), Kim So-ra (Joo Hyang-sook), Gong Min-jeung (Choi Hye-jung), Kang Hui (Jung Min-soo).

Director: Lee Sang-yeob
Writer: Yang Hee-sung
16 episodes ~ 60 minutes.



Thursday, July 10, 2025

Dick Tracy (1990)



In the summer of 1990, Dick Tracy was everywhere – the market was saturated with Dick Tracy merchandise (the soundtrack to the movie, posters, action figures, etc.);  a Making Of special aired a few weeks before the movie was released; Dick Tracy comic strips were reprinted in comic book form and being sold in bookstores across the country (I purchased a few issues – there are two I distinctly remember – Dick Tracy vs. the Influence and Dicky vs. Mrs. Pruneface), and the local station (Super 18) re-aired old episodes of the Dick Tracy cartoon from the 1960s. All of these were an attempt by Disney to manufacture excitement for their upcoming Dick Tracy adaptation.



Dick Tracy was Disney’s answer to Batman, which was a huge hit for Warner Brothers. They took a few of their cues from Batman – an well respected (and Oscar nominated) actor was cast as the lead villain (Jack Nicholson in Batman, Al Pacino in Dick Tracy); Danny Elfman was commissioned to write the score (just like he did for Batman); a popular pop artist was hired to perform original songs on the soundtrack (Prince in Batman and Madonna in Dick Tracy). Both movies are highly stylized productions – Gotham City is a stylized version of New York, while Dick Tracy resides in a stylized version of Chicago.

It seemed like Disney was going to have a huge hit on their hands – it all got off to a great start with a 22 million dollar opening weekend (which was huge in 1990), but Dick Tracy quickly
fizzled out at the box office. It grossed over 160 million dollars worldwide, not a bad sum for 1990, but it also cost Disney over a 100 million dollars to produce and market the movie. It did less than half the business of Batman (which grossed over 400 million worldwide) and, to add insult to injury, it got beat by Teenage Mutant Ninja Turtles, which was made for about a quarter of the budget and released by an independent studio, New Line Cinemas. It is also interesting to note that Teenage Mutant Ninja Turtles, despite being geared towards children, is also the darkest of the three movies. It pays to remember the context of 1990 – comic book adaptations were a rarity in cinema, so the fact that three of them were released over the course of one year was truly amazing. In the 1990s, movies were still driven by star power – which is why signing big names like Jack Nicholson and Al Pacino was such a big deal. Now, it is all about the intellectual properties and the actors have become interchangeable (though, ironically, so have all the IPs. There is almost no difference between Marvel, DC, Star Wars, and Star Trek).

Why did Batman and Teenage Mutant Ninja Turtles rake in the money while Dick Tracy floundered? The answer is simple – name recognition. In 1990, younger audiences were more familiar with Batman and Ninja Turtles than they were with Dick Tracy. The Batman comics, and reruns of the Adam West show, were still in heavy rotation throughout the 1980s. Not to mention, there were the various Saturday Morning cartoons that featured Batman. The Teenage Mutant Ninja Turtles cartoon came out in 1987 (the comic book began in 1984) and was extremely popular among children (as were the TMNT action figures).  In fact, I remember after seeing Teenage Mutant Ninjas Turtles in theatre, my two younger cousins were disappointed that it was more faithful to comic book than the animated series (most notably, Splinter’s origin).  However, by 1990, audiences had pretty much forgotten about Dick Tracy – the character was popular among the silent generation and the baby boomers, while Gen Xers and millennials might, at best, vaguely recognize the squared jawed detective. As for Gen Z, well, they weren’t born yet.



The other problem is that the character of Dick Tracy isn’t that interesting. He doesn’t have a cool back story like the Ninja Turtles nor is he a troubled soul like Batman – he is a total square. The highlight of the comic strips was the grotesque villains Dick Tracy faced off against. The comic book wasn’t exactly subtle when it came to its villains – their names were a too on the nose (Pruneface, Flattop, Itchy, The Brow, to name a few) and most of the time they were petty criminals. The Dick Tracy comic strip first appeared in 1931, during Prohibition, so it’s not surprising that Dick Tracy would be squaring off against bootleggers, racketeers, and gangsters. It was very much a product of its time. It would also be difficult to update Dick Tracy without stirring controversy.  Hell, the 1960s cartoon is now a subject of controversy because of its use of ethnic stereotypes (Dick Tracy would often call upon minorities to do the footwork for him – there was the Japanese detective, Joe Jitsu; the Mexican officer, Go Go Gomez (he is basically a human Speedy Gonzalez); and the Irish police officer, Heap O’ Calorie).  Even in his own cartoon show, Dick Tracy was the least interesting character.



There had been previous attempts at adapting Dick Tracy to the big screen – there were four serials made between 1937 to 1941 that starred Ralph Byrd as the detective (Dick Tracy, Dick Tracy Returns, Dick Tracy’s G-Men, and Dick Tracy vs. Crime, Inc). In 1946 and 1947, RKO studios produced four Dick Tracy movies (Dick Tracy, Dick Tracy vs. Cueball, Dick Tracy’s Dilemma, and Dick Tracy Meets Gruesome), the first two starred Morgan Conway as the title character, and then Ralph Byrd reprised the role in the latter two. These were low budget movies that were produced to make a quick buck and, interestingly, none of them feature a villain from the comic strip.  Dick Tracy Meets Gruesome gets a huge boost by having Boris Karloff as the title villain, but it is still forgettable fare.  Ralph Byrd was perfectly cast as the strait-laced detective, while Morgan Conway is an extremely bland leading man (he is a poor man’s Humphrey Bogart). It is not surprising RKO brought back Byrd for the latter movies.  There is the occasional stylish moment in the series – in Dick Tracy vs. Cueball, there is a scene where the title villain strangles a double-crossing woman, and it is shot from his point of view – anticipating the slasher genre by a good thirty years.  Dick Tracy vs. Cueball was also included in the Harry/Michael Medved book, Fifty Worst Films of All Time (And How They Got That Way). The book is an interesting read, but it also has a few questionable entries. Dick Tracy vs. Cueball is no classic, but it is not that bad! The four Dick Tracy movies RKO produced are mildly entertaining – there are certainly worse ways to waste sixty minutes.   Fun fact: Mike Mazurki, who played the villain, Splitface, in the 1946 Dick Tracy has a cameo in the 1990 version as “Old Man at Hotel.” It was his final screen appearance.  It is a nice tip of the hat by Beatty to Old Hollywood.



I first saw
Dick Tracy at second run theatre (the Rivoli in Cedarburg) and enjoyed it immensely. My eleven-year-old self didn’t like the scenes with Breathless Mahoney and Dick Tracy, but I liked the colorful villains and, hell, I even liked the Kid.  Thirty-five years later, I still have a soft spot for Dick Tracy, though my opinion of the Breathless Mahoney scenes hasn’t changed (I do, however, like the musical numbers that Madonna performs throughout the movie). It is no surprise that Madonna excels in the musical number scenes but struggles in the more dramatic moments. Movie stardom is something that has eluded Madonna – her most successful movies were also ones where she was a supporting role (Dick Tracy, A League of Their Own). The only exception to the rule was Evita, which has based off a popular stage musical by Andrew Lloyd Webber and Tim Rice. Prior to Dick Tracy, her two starring features, Who's That Girl and A Shanghai Surprise were box office duds. Her later starring vehicles like Swept Away and The Next Best Thing didn't fare so well, either.  However, in the context of 1990 it made perfect sense to cast Madonna in a femme fatale role – she was the current IT girl and a controversial figure. She was also coming off one of her most successful years as an artist – in 1989, she released the album, Like a Prayer, which featured the hit singles Like a Prayer, Express Yourself, and Cherish.  The album sold over 15 million copies and was a turning point in Madonna’s career. In 1990, months before the release of Dick Tracy, she kicked off the Blonde Ambition tour. She was all over the place. She was also dating Warren Beatty, her Dick Tracy co-star and director. This is an example of corporate synergy at work – Disney, and Beatty, were hoping to cash in on Madonna’s notoriety and cast her in the role of the nightclub singer/femme fatale, Breathless Mahoney. There was also a Dick Tracy soundtrack that featured Madonna performing original songs by Stephen Sondheim. 



The interesting thing is that even though Madonna and Warren Beatty were having a torrid love affair in real life, it didn't translate to the silver screen. The movie’s idea of seduction is to have Breathless Mahoney wear revealing outfits and utter a few double entendres at Dick Tracy. I always found the scene in Breathless Mahoney’s dressing room to be more cartoonish than sexy (“Don’t you want to frisk me?”). It is also reminiscent of a similar scene in Who Framed Roger Rabbit, where the animated femme fatale, Jessica Rabbit, visits the cynical detective, Eddie Valiant, at his office. Yet even though this scene is played for laughs, it some how is filled with more sexual tension that any of the scenes with Dick Tracy and Breathless Mahoney.

There is also no way that a square like Dick Tracy would fall for a woman like Breathless Mahoney – he is too in love with Tess Trueheart to even consider another woman. Warren Beatty, definitely! Dick Tracy, hell no! There also significantly better chemistry between Dick Tracy and Tess Trueheart, largely because Glenne Headly is a superior actress. Tess Trueheart is the type of role actresses dread to play – she is the long suffering but loyal girlfriend. There really isn’t much depth to the character, but Headly gives an endearing performance and even manages to inject humor into her characterization – when the Kid tells Tess, “I don’t like dames.” She responds, “Good! Neither do I!” and then gives him the stink eye.



There are even aspects of Beatty’s performance that I like. He doesn’t look anything like the character from the comic strip, but his performance is spot on. Beatty’s Dick Tracy is a man who likes the status quo – Tess and him eat at the same diner and engage in comedic banter with the owner, Mike. Even though he loves Tess, he still can’t bring himself to pop the big question, because it would change their current relationship. He is at home in Mike's diner, but he sticks out like a sore thumb, with his yellow fedora and overcoat, at the nightclub that Breathless works at (and that “Big Boy” Caprice stole from “Lips” Manlis). He is awkward and stiff whenever he is in the same room as Breathless Mahoney – she puts the moves on him, but he shoots her down and tells her that he wants her to testify against “Big Boy” Caprice.

Beatty and his screenwriters deserve credit for trying to give Dick Tracy some depth – this a truly Herculean feat given how one dimensional the source material was. He is a devoted, and honest, detective but it comes at the expense of his relationship with Tess. The two of them rarely enjoy a quiet moment together – Dick and Tess are watching an opera when he gets a call over his wrist radio and is forced to leave to check out a murder scene. Later, when Tess tells Dick Tracy that she is leaving town (and moving in with her mother), their conversation is interrupted by a call over Tracy’s wrist radio – he wants to talk her out of moving away, but duty calls and Tess urges him to go. Dick Tracy's work interrupting his private life was often a running gag in early film adaptations and each time this happened it would end with an exasperated Tess shouting, "OH DICK!"  In the 1990 movie, it eventually takes its toll on their relationship. 

While Dick Tracy is hesitant to take risks in his private life, he is willing to take a role of the dice when it comes to his job. While investigating the scene of “Lips” Manlis, Tracy comes across a bunch of smashed walnut shells and suspects “Big Boy” Caprice because of his fondness for walnuts. He takes a roll of the dice and has “Big Boy” Caprice arrested, despite the flimsy evidence. When the forensic department fails to find fingerprints on the walnuts, he has no choice but to release the gangster. “Big Boy” uses this as an opportunity to complain to the press about police corruption. Tracy later brings in “Mumbles” for questioning and tries to sweat a confession out of Big Boy’s incoherent lackey – he sits Mumbles under a heat lamp and asks the same question over again, “Who killed Lips Manlis?” He taunts Mumbles by drinking a cold glass of water, which causes the perspiring henchmen to break down and incoherently babble. Later on, when Tracy plays back the recording to Mumbles and slows it down, he clearly says “Big Boy did it!”



The heart of the movie is Dick Tracy’s relationship with the Kid (who later chooses the name Dick Tracy, Jr.) The movie is at best when it focuses on Dick Tracy slowly embracing the role of fatherhood. The Kid is first introducing running out Mike’s diner – he has stolen the wallet of a patron. Dick Tracy chases after him and finds him living under the tyrannical rule of a hobo, who forces the Kid to commit petty crimes in exchange for food and shelter. Tracy saves the Kid from the abusive hobo, but then he is left with the question on what do the Kid.  He initially wants to hand the Kid over to orphanage, but he grows fond of the boy and keeps putting it off. More importantly, he proves to be a positive role model for the Kid – it is implied that had the Kid not met Dick Tracy, he might have easily fallen into the clutches of Al “Big Boy” Caprice, or some other gangster. A common tactic used by crime bosses was to groom wayward boys into a life of crime – they would often pay children good money to run errands for them (get the paper, shine their shoes, etc.) and when they grew up, they would be chosen to do shadier activities. This is an interesting plot point in the James Cagney classic, The Public Enemy.

Beatty also avoids making the Kid overly cute and precocious (especially when you compare The Kid to “Junior” in the 1940s Dick Tracy movies– like most preteen boys, he is kind of a shithead. He scarfs down his food and always asks, “When do we eat?” When Tess wants to buy him a new set of clothes, he makes a huge fuss out of it. He also rides on the backboards of cars, despite the objections of Tracy. However, once Tracy has gained the Kid’s trust, he proves to be a loyal and valuable ally. He even manages to save the detective's life on two occasions. When Dick Tracy is framed for the murder of the corrupt D.A, the Kid stands by him and goes to the police chief to express his belief in his mentor's innocence.



The most memorable aspect of Dick Tracy is its galley of grotesque villains – the make-up artists certainly earned their paychecks on this movie. Al Pacino chews the scenery with his portrayal of the flamboyant gangster, Al “Big Boy” Caprice. I always enjoyed Pacino’s over the top performance, because it perfectly suits this film. The comic strip had a larger-than-life quality, and a more naturalistic performance would be out of place. “Big Boy” wants to run the city – he eliminates the first obstacle in his path, “Lips” Manlis and then arranges a meeting where he tries to persuade the other crime bosses to unite with him. The only hold out – “Spud” Spaldoni (James Caan under heavy makeup) – gets blown up for his refusal. This also leads to one of my gripes about the movie – most of the memorable villains from the comic strip are relegated to being Caprice’s henchmen. For instance, the character of The Influence is practically a background extra – in the comic strip he wore a special set of contacts that gave him the ability to hypnotize his victims. In the movie, he has a few lines of a dialogue, fades into the background, and then gets killed in the final shootout.  




There are a few standout performances: Dustin Hoffman is a riot as “Mumbles.” A running gag throughout the movie is how Dick Tracy will bring in “Mumbles” for questioning and be bombarded with incoherent babble.  William Forsythe and Ed O’ Ross are appropriately creepy as Big Boy’s henchmen, Flattop and Itchy. Both characterizations are accurate to comic strip – they were usually depicted as killers for hire (in the cartoon, Itchy was Pruneface’s lackey). 

The plot has always been criticized for being “threadbare” but that was also the case with the comic strip. Dick Tracy is a rather simple premise – the comic strip (and cartoon) all followed “the villain of the week” format – a villain would go on a crime spree and Dick Tracy would have to stop them. The villain was usually disposed of in a rather gruesome manner. The movie tries to liven up the proceedings by introducing a mystery to the plot – a gangster known as “The Blank” (because their face is devoid of features) uses 88 Keys (the piano player at Big Boy’s club) to frame Dick Tracy for the murder of D.A. John Fletcher.  The Blank later frames Big Boy Caprice for the kidnapping of Tess Trueheart. With the Blank’s two rivals out of the way, they will control the city.  The audience is supposed to keep guessing who this criminal mastermind is, but it’s pretty obvious from the get-go. There is only one character who has a clear motive for wanting to get rid of them both, and who inhabits both of their worlds. However, in this one instance, I will not spoil for the people who like to figure it out for themselves.



While one might find the storyline lacking, there is no doubt movie the movie is triumph of production design. The movie looks like the Dick Tracy comic strip come to life – rather than shoot on location, Beatty shot entirely in the studio and relied heavily on matte paintings to expand the city and bring it to life. As a result, each shot in the movie looks like the panel of a comic strip – Beatty will often keep the camera stationary as characters walk in and out of frame. When we are first introduced to Dick Tracy, he is framed though the window of his apartment building, grabbing his yellow hat and jacket. The also has a limited color palette – primarily red, green, blue, and yellow, each of the exact same shade. This further adds to the comic book look of the movie.  It is also fitting that the Beatty uses film techniques that were popular in the 1930s – the use of matte painting is most obvious, but his use of montage editing (when Dick Tracy is arresting Big Boy’s lackeys) looks like something out of a Warner Brothers gangster movie from that period.  




Dick Tracy is definitely curio – it was an attempt at old fashioned filmmaking before CGI took over the industry. Out of the main comic book adaptations that was released in 1989/1990, it is the odd man out. It is also interesting to watch a comic book that wasn’t made with the intent of starting a movie franchise – both Batman and Teenage Mutant Ninja Turtles were given the sequel treatment, but Dick Tracy is a self-contained movie. There is nowhere Beatty could go with a sequel, considering that he killed off all of the main villains from the comic book. It is almost Beatty knew this would be his only shot at making a Dick Tracy movie and decided to include as many villains as possible. Warren Beatty has sat on the rights to Dick Tracy for the last thirty plus years and, with the exception of two specials, has done nothing with the character – probably because he knows it would be tough for this character to compete with all the CGI spectacles that dominate theatres.

 

Cast: Warren Beatty (Dick Tracy), Al Pacino (Al “Big Boy” Caprice), Madonna (Breathless Mahoney), Glenne Headly (Tess Trueheart), Charlie Korsmo (Kid), William Forsythe (Flattop), Ed O’ Ross (Itchy), Mandy Patinkin (88 Keys), Dustin Hoffman (Mumbles), Dick Van Dyke (D.A. Fletcher), Seymour Cassel (Sam Catchem), James Keane (Pat Patton), Charles Durning (Chief Brandon), Michael J. Pollard (Bug Bailey), James Tolkan (Numbers), R.G. Armstrong (Pruneface), Henry Silva (Influence), Paul Sorvino (“Lips” Manlis), Tom Signorelli (Mike), James Caan (“Spud” Spaldoni), Frank Campanella (Judge Harper), Kathy Bates (Mrs. Green), Catherine O’ Hara (“Texie” Garcia), Estelle Parsons (Mrs. Trueheart), Allen Garfield (Reporter), Charles Fleischer (Reporter), Mike Mazurki (Old Man at Hotel), Ian Wolfe (Munger).

Director: Warren Beatty
Writers: Jim Cash, Jack Epps, Jr. Based off the comic strip by Chester Gould.
Running Time: 105 minutes.

Doona! (2023)

  One of the biggest inconveniences to befall humanity is the inability to control who you fall in love with. We are often haunted by the ...