#someone is being manipulated by the Web in an office comedy space taken by the Eye | Explore Tumblr Posts and Blogs

drivingsideways · 3 years

Text

Misaeng review

Ok, it's been almost a week, so I feel like I can get my thoughts (somewhat) in order. As usual, I'm late to the party, given that Misaeng aired 6 years ago, and is already considered a kdrama classic. Still: thoughts!

(under the cut)

I came to this drama with quite a lot of expectations, both because I'd seen it on a lot of rec lists, and also because I'd watched director Kim Won-seok's Signal and My Mister, which are justifiably as beloved as Misaeng. I'm happy to report that Misaeng mostly lived up to those expectations!

The writing & direction work together to make Misaeng a very immersive experience, which is good, considering the entire run time is over 20 hrs. The level of seemingly mundane detail of the operational aspects of running a trading firm that they delve into (and other dramas might have avoided for sake of pacing) seemed odd to me at first, but eventually result in a world building that's incredibly well fleshed out. The (formerly unlikely!) high stakes of a misplaced piece of paper or octopuses in a shipment of squid end up being parts of an emotionally wrenching narrative whole fairly seamlessly. Still, at 20+ hours, Misaeng also does get into the kind of pacing issues that most of the slice of life kdramas I've watched so far have. And it didn't need to! I think it had a wonderful ensemble of characters, and if they'd maybe given a little more time and space to characters other than Jang Geu-Rae (Im Si wan) and Oh Sang-sik (Lee Sung-min), the mid portions may not have felt quite so, well, stuck.

But more than the strong writing and direction, it was really the actors who delivered. They made what could have easily been a dull-ish office drama into a heart warming story about human connection and the joys and troubles of leading an "incomplete life". I'd never watched Lee Sung-min in anything before, and about half way through the series I was like, HOW IS HE MAKING A SHORT TEMPERED, ALCHOHOLIC MIDDLE MANAGER SO SEXY? Like, serious props, dude. Lee Sung-min is by turns annoying and brash and too shout-y and stubborn and funny and so incredibly vulnerable as a man trying his best to live by his principles in a world that thinks they are an impediment to "success", that you forget that he's playing a fictional character-- he's someone you know, he's someone you've seen in the mirror.

His performance as Oh Sang-sik is very ably matched by Im Si Wan's Jang Geu-Rae. This series would not have worked if these two actors didn't have the chemistry they do, and play off each other in every scene. I had watched Im Si Wan recently- in JTBC's "Run On", in which I liked his performance quite a lot, but I absolutely loved him as the naive and endearing Jang Geu-rae. Misaeng, is in part, a bildungsroman narrative centered around Jang Geu Rae. Im Si wan brought a kind of vulnerability to the role that might have felt cloying and emotionally manipulative in the hands of other actors, but Im Si-wan manages to do it with a light touch. I feel he's one of those actors that uses his whole body in a scene, not just relying on facial or verbal expression, and it's a joy to watch.

Each of the other actors in the ensemble also bring that dedication and talent to their roles, even if it's in a single scene. There are lots of one-off characters that we meet during the course of the series, and every single one of them leaves an impact.

But! I'm going to pick a fave from the supporting cast and that's Byun Yo-han, whom I'd last watched as the broody, troubled (and very sexy) swordsman Lee Bang-ji in Six Flying Dragons. I can't imagine a character more in opposition to that one than Han Seok-yul in Misaeng, but Byun Yo-han just knocks it out of the park as the scheming, cheerful and mostly inappropriate clown with a heart of gold; Han Seok-yul is the definition of Chaotic Good, and you're equal parts horrified by his antics- which include sexual harassment dont @ me -- and yet charmed by him. I wish they'd given him a few more scenes and a larger plotline to work with, but I also suspect that he might have just walked away with the entire series if they did that. (Am I plotting that series in my head as I write this? MAYBE.)

Alright, this is getting a bit too long, so I'm going to get to the bits that disappointed me. That's really one major thing: the gender politics. I don't know how different the show is from the web toon it's based on, so I can't tell whether they made significant changes to the basic plot and characters. As in- I have no idea if the webtoon was as male dominated in every way as the show is, so I'm not sure how much of the show's treatment of women as a class, and its female characters in particular, I should lay at the door of the original writer vs the screenwriter and director. I'm also lacking the Korean context in which this was written and made and aired, so you may take my criticism with a pinch of salt, if you please!

That the show features mainly male characters is perhaps unsurprising and realistic, since we know that the kind of corporate life it depicts is very male dominated, top to bottom. The show also portrays the very real and horrific overt and subtle misogyny that women face in the workplace and out of it; mainly in the character of Ahn Young-yi, played with steely determination and quiet suffering by the lovely Kang so-ra. There are only 3 other female characters that have any sort of real speaking role- Sun Ji Young (played by Shin Eun jung), a senior manager at the company, Jang Geu-rae's unnamed(!) mother (played by the amazing Sung Byoung-Sook) and Oh Sang-sik's unnamed (!) wife (played by Oh Yoon-Hong, who's a delight in every tiny scene she has). There are other women who appear but in very minor roles, and often in "comedy" moments that often rely on sexist tropes to start with.

Anyway, right there you can see one of the problems- 4 women characters that have any kind of real screen time, and only 2 of them are named. Aigoo! Screenwriter Jung Yoon-jung is a woman, and like, I don't like putting the burden on any one woman to y'know fix structural misogyny, but I can't also help feeling disappointed that she overlooked even this "small" thing among the larger things.

But that apart, the main issue for me was that while the show doesn't shy away from depicting egregious sexism in the form of sexual harrassment, verbal and physical and certainly emotional abuse, in a manner that's clear that we are meant to be horrified by it--it falls short of depicting how women deal and work with it. It just doesn't give enough space to women or their worldview.

It's very comfortable depicting victimhood, but doesn't put work into depicting the ways in which women survive by finding solidarity with other women. We have a scene or two where Ahn Young-yi who is this show's poster child for female victimhood interacts with the older women who offer sympathy and understanding, but no real strategy or support. And yes, we see men also being targeted by their seniors for the grossest verbal and physical abuse; and it's men who help Ahn Young-yi strategise on how to deal with her situation. Real life experience tells me that it's the women who do this work for other women. I have certainly been on both sides of this equation, for one, and so has every woman that I know in corporate life. And yes, one of the show's core philosophies is that those who endure, survive--but it is none the less extremely painful to watch Ahn Young yi "endure" the kind of abuse she does as a coping strategy and a survival strategy.

At the end of it, when she slowly manages to gain the support of her sexist team, it's shown as a victory-- though naturally imperfect, because this show takes its Realism very seriously (right until the end where it makes a tonal shift into quirky that I was a little ?? about)-- and y'know, sure, it is a victory. And I absolutely understand the choices she makes and why she does it-- I guess I just got annoyed by the fact that other antagonistic figures in the narrative get a more straightforward comeuppance for their egregious behavior, but Ahn Young-yi doesn't even get a goddamned apology from her abusers. Instead, we have a half humourous, half serious moment where she comments on how she's working at turning herself into "someone cute"- because she understands now that sometimes the right strategy is to "go with the flow". Be the water that slowly wears away at the rock. It's an interesting moment- the men she tells this to are taken aback by her bluntness, but also a little clueless about what she means. It's the kind of nuance that I would and do enjoy. Unfortunately, it also closely follows one of the show's most annoying scenes at the tail end of the series- where it tries to play off workplace sexism and misogyny as comedy- boys being boys-Reader, when I tell you that I had to WORK to unclench my jaw--!

I'm not saying we should have a single and obvious narrative of female emancipation. I'm not against realism in fiction, but god, sometimes, please do remember that when we look for escapism, we are actually imagining a better world. The first step toward liberation is allowing yourself to imagine it.

And the show does allow other characters its moments of unfettered fantasy- Im Si Wan parkour-ing all over the rooftops of Amman- and having a semi mystical + Indiana Jones moment in the deserts of Jordan--so why, I ask, are the women not given that gift?

*looks into the camera *

Tl;dr: I enjoyed it, it made me cry every episode, and I cared about all the characters, and if you haven't watched it yet, treat yourselves.

PS. Yes, Han Seok-yul is a disaster bi, sorry, I don't make the rules. Yes, hotties Oh Min Seok and Kang Ha-neul are canonically naked in a hot tub six feet apart because they are bros. Yes, I will be writing the fix it in which they fuck like angry bunnies. Yes, I am going to put my shipper cooties all over this gen slice of life show, deal with it.

#misaeng #kdrama #thinky thoughts

22 notes · View notes