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Go Seung Ji

[Drama 2018] My Mister, 나의 아저씨 - Best Drama at 2019 (55th) BaekSang Arts Awards

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9 hours ago, sadiesmith said:

Is it just me or does this article not paint My Ajusshi in a good light?

http://star.ohmynews.com/NWS_Web/OhmyStar/at_pg.aspx?CNTN_CD=A0002438555

 

 

Inchon Business

If It's Love, than even Phone-Tapping is ok? "My Ahjussi" should have been rated Age 19

[TV Review] Thoughts after Drama is Over

Kim, Sun-Hee

5/28/2018

 

I want to think over "My Ahjussi" once more, which has already finished airing. It is a masterwork that follows the pedigree of "Misaeng" and "Reply 1988" so it is difficult to escape its 'imagery' and compared to the viewer ratings, it has inspired a great deal of fondness, so I have a feeling it will have a long, lingering impact. On the other hand, there is never-ending controversy calling attention to the twisted "sexual consciousness" of men who desire relationships with young women. Despite that, this drama was “can’t miss” for me, and I enjoyed it. “My Ahjussi” had the deep, human scent of “Misaeng” and “Reply 1988” and filled the empty space that those dramas had left, enveloping me in an inescapable [__] of sympathy.

 

These are the reasons I determine that this drama is a masterpiece.

 

First, it depicted reality in such shudder-inducing detail that it inspired deep introspection about the recovery of humanity, and in the lives of these plain people, the savory flavors of philosophy and aesthetics were inherent.

 

Second, Dong-Hoon and Ji-An, the main characters, their match was truly amazing. You could not even imagine either of them played by anyone else. They were not the Lee Sun-Kyun and Lee Ji-Eun we had been watching before. It was to the point that if we watched them in their previous works (in other mediums) it felt unfamiliar and you wanted to turn your head. It made you wonder if half the work of a drama is about finding the right actors for the parts, that was how perfectly these roles fitted them.

 

Third, even the small roles and their rough characters seemed so alive, and had so much charisma and gravity that the lines between the main characters and supporting characters blurred.

 

But there are still many problems that we close our eyes to. On top of the age difference between the main character, there is excessive violence, glamorization of crime, inequality in education level, etc. - it became the subject of endless controversies. But despite all that, everyone's story was told with gravity. In the end, everything was wrapped up in the larger meaning, and left a beautiful and strong message, so the show concluded amidst a storm of applause. In the hearts of the modern audience who live repressed lives due to the hard lines of our society, they felt the existence of strong sympathy and humanity and (the drama) left them a warm, healing message.

 

Watching this drama, I felt like I was watching a swindler with his hand on my money pouch strapped to my waist. The drama’s problematic factors were clear, but when I watched without paying attention, it felt like the swindler’s hand reached inside my money pouch. No, at some points, I preferred to be deceived.

 

The Problem Elements of “My Ahjussi” that I Observed

 

These are the problem elements I discovered.

 

First, it was clearly the objective (of the drama) to show a romantic relationship between an adult man and a young woman. There are many pitiful situations in the drama, but Dong-Hoon treats only Ji-An with too much deep empathy and his behavior (towards her) is excessive. The drama subverted these “suspicions” in sophisticated ways and provided meaningful pretext.

 

Looking down at Ji-an’s feet in short socks that exposed her ankles and wearing worn-out sneakers Dong-Hoon said, “Why do you wear such short socks in winter? Do you think it’s sexy?” He goes to a bar in which he had a drink with her before, looks around and asks the owner, “Did you see that girl who came with me before, by chance? That pretty girl…” The drama’s PD insisted that he wanted to depict human love rather than man-woman love, but he insisted on referencing “sexiness” and “pretty,” thereby not letting the viewer’s expectations for romance die. He is a skilled hunter who killed two rabbits with one stone: get high ratings and silence the critics.

 

The second is the glamorization of violence and crime. In the drama, the “victim mentality” is handled with violence. Especially, there is a “solidarity conscience” in which familial or tribal rules govern their actions (rather than government rules), in which people determine for themselves what is right despite being adults, and to assume all consequences (in proportion to) how difficult their lives are. The main character who is in his mid-40s and his family have each failed to achieve independence from such existence and continue to surround each other, and band together in a “sticky” bond and straddle the line between warm human love and collectivism.

 

The most serious thing is the glamorization of Ji-An’s phone-tapping. She begins tapping Dong-Hoon’s phone with the purpose of committing a crime, but through it, she feels compassion and love. But even after she becomes “on his side” and no longer his enemy, the tapping continues. After she is on his side, she feels more compassion and supports him more through the phone-tapping.

 

Through the hot tears of the viewers, many excellent scenes are shown that involve the phone-tapping. If someone comes to truly love you and you become precious to them, then is it okay to be phone-tapped? In this world, would anyone ever feel okay to be phone-tapped? Even if I think about this 100, 1000 times, and it is still appalling.

 

This drama is a genius alchemist, able to draw out the emotions of the viewers. Especially, the phone-tapping becomes the alchemist’s most effective and novel tool. That this feels beautiful actually makes me fearful. So this drama should have been rated Age 19, at least.

 

Third, the biggest, most unpleasant element is that it is centered on one cuckolded man. Dong-Hoon’s wife, Yoon-Hee is having an affair. Her partner happens to be an old foe of her good-hearted husband. Thus, Yoon-Hee’s purpose becomes a "perfect criminal" than no one can sympathize with. None of the character nor any viewer has any reason to sympathize with her.

 

Yoon-Hee is successful in her career, with a kind husband and treated like a queen by her humane (thoughtful) in-laws. But she was lonely. Even after her husband became a father, he regarded his mother and brothers first in his heart and did not give affection to Yoon-Hee. Without missing a day, he hung out with his brothers and neighborhood friends, leaving the spot next her empty.

 

He married, but his heart could not become independent, and he found social satisfaction with his parent, brothers, and friends, so it was a chilly marriage. The drama made sure that Yoon-Hee could not receive sympathy and emphasizes Dong-Hoon’s loneliness. Not only that, Yoon-Hee reproaches herself harshly and determines that she will accept any punishment that Dong-Hoon gives her. She even atones by taking Ji-An’s side, the woman who now fully occupies Dong-Hoon’s heart and helps him sincerely. It cannot be denied that the story is weighted towards the man’s perspective to the point of cruelty.

 

On the other hand, Sang-Hoon (older bro) and Ki-Hoon (younger bro) were excited the moment they became aware of Ji-An’s existence. They wondered if a flirtation had begun between a young woman and their brother, Dong-Hoon, and they became happy and envious. And when they found out about Yoon-Hee’s affair, they became even more enraged and sad than Dong-Hoon did. To show these scenes side-by-side in the same drama feels so shameless that I cannot suppress my feelings of displeasure. In the final episode when Dong-Hoon sobs in his empty house while thinking of Ji-An did we finally have the “space” to properly see the relationship between Dong-Hoon and Ji-An.

 

After being wounded by the perfect criminal Yoon-Hee, Dong-Hoon, who did not have to recover easily, that is this ahjussi’s victory. And for the pursuit of his personal nirvana, Kyum-Duk left Jung-Hee, leaving her with lifelong regret. So for “the greater cause” (of their men) were Yoon-Hee and Jung-Hee sacrificed? It’s hard not to jeer at the excuse that people use, this concept of “the greater cause.”

 

In the end, the loves depicted in this drama are not healthy. Many characters have focused too much of the needs of their original family and never became independent even after their marriage. And the very concept of their family is too biased towards the man’s blood relatives. Dong-Hoon and Ji-An, the man and woman couple is buried in their excessive compassion.

 

It speaks of endlessly warm humanity, but...

 

This drama speaks of endlessly warm humanity. But it is all based on someone’s assumed unconditional sacrifice and devotion. In the end, it skillfully and sophisticatedly indoctrinates a very old-fashioned patriarchal perspective that is dream of by men. But after absorbing its lingering imagery and the many varied opinions, I discovered an even greater monster. More than I expected, I witnessed many people saying, “This is the type of adult I would like to become.”

 

What other drama can so easily transform men and woman of all ages to kind and innocent children, in just one instant? I had a terrifying thought that even the patriarchy was a sacrificial lamb to the needs of this society. (???)

 

The many strifes in this drama was always left to be solved by an individual. Dong-Hoon, who felt deep compassion for Ji-An goes alone to the feisty loan shark in his 20s, Kwang-Il and fights a life-and-death battle with him. Ji-An is left alone to care for her old, infirm grandmother who is also deaf. Seeing her situation, Dong-Hoon tells her to seek government assistance, and Ji-An begins to be saved by Dong-Hoon.

 

Two unemployed brothers in their 40s live with their mother, eating her warm food. When they learn that Dong-Hoon was beaten by Kwang-Il, Hoo-Gye-dong’s residents ran out prepared for battle. When Ji-An’s penniless grandmother dies, Sang-Hoon gives all his hard-earned money he earned by cleaning so that Ji-An can have a grand funeral for her.

 

A mother’s endless sacrifice, a head-of-household who cannot collapse due to his family’s expectations, the wife who endures everything in order for one man to achieve his fulfillment, and the granddaughter, the neighbor… perhaps the irresponsible desires of society are hidden in these “beautiful customs?” We are being given a lifestyle with a different shape. And therefore, time has come for us to acknowledge and protect individual wants and needs in our society rather than sacrifice for the greater good. Thinking about it, this drama's language is too familiar and suits our tastes too well.

 

When our days are bound to be busy and difficult to conquer, it comforts and appeases us so skillfully. Suddenly we have become gentle sheep, making us chant, "Yes, those were the good old days." But we have come to cross a pond that we cannot turn back from. To achieve our current society in which eating and living has not become so difficult, many individuals had to sacrifice so much. Our lives are so that we barely have enough space to save ourselves. Haven't we all experienced so many times in which the most important thing was so protect ourselves?

 

Now that we solved the problem of how to make a living, and now demand protection from society, "My Ahjussi" tells us this. "The old days were good, that is the true way to live," it tells us warmly and beautifully. When I get to this point, in my heart, "My Ahjussi" transforms into "Just an Old Fogey." This is the limit of the swindler's fancy hand tricks.

 

Edited by chickfactor
finished translating, edited
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1 hour ago, ccl82 said:

n contrast, DH is constantly shown to want to fix his relationship with JA. When JA ignored him in front of JH's bar, he seemed disturbed. Enough for him to ask CD about her situation and beat up GI. JA ignored him again before her confession, leading him to ask JA: "Why are you ignoring me again? Why are you mad? What? What is it now

Wow nice inquiry! Never really noticed but it's indeed funny how DH never addresses any problems in his marriage with YH and avoids it for all costs(probably did it for years). While with JA he straight up confronts her and demands to know why she's mad. Then asks to buy another slippers. Heheh DH what a bae

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11 minutes ago, chickfactor said:

Really bad light, actually. I just skimmed it because I don't have time to translate it, but it's saying that there is no excuse for all the criminal acts depicted in the show (like illegal phone-tapping and all the other stuff) because they label it "love."

 

And also, calling it "love" doesn't negate the fact that it's about an older man ultimately preying on a young girl. The article ends with the comment: instead of "My Ahjussi," they should have titled it, "Just an Old Man

Wth how childish can one be to write such idiotic things. Did they even watch the drama?? @chickfactor if there's any contact info of the author let me know, I've got a serious business with them<_<

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@chickfactor @anipanch @sadiesmith  you are all excited about a written article which depicts My Ajusshi as just an Old Man preying on a young girl, and makes excuses for illegal activities like phone tapping and such.

 

If the article's author watched the entire drama, and found it highly offensive and disgusting, then why did the author continued to watch it?  there are several possible reasons which this reader won't enumerate....

 

If the article's author did not watch more than a few episodes, then the comments are based on hearsay, preconceived notions and thus is not valid....certainly not worthy of our  rebuttal.

 

If the article's author wrote it just to shock and makes us angry, then it doesn't work either, because we soompians are happy with THE PAIR and cheer the disgusting Old Ajusshi as he prey on the vulnerable young Ji-an!...and enjoy deliciously all that steamy erotic illegal wire tapping, with all the heavy sighs and breathings...not to say a song about missing some one from far away!  Ahhhhh...how soothing!  So disgust away...!!!  hahaha

 

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@philosophie Ha-ha on your comment about what happened to today's episode! It is now 2 weeks and I still say, think, plead  'what happened to my new episodes!!!

 

@h2ogirl @ccl82 and @anipanch Thank you for the fanfic links!!!

 

Okay this ending is for @noor1 and the comments about the photos on DH's desk at the end.

 

So, after saying their goodbyes DH goes back to the office and throws all his photos in the trash can (he'll tie the trash bag securely and throw them in the proper bin outside later).

DH then looks online for pictures of IU since she seems to be a perfect doppelganger for Jian. He prints out several copies and puts them on his desk. At least until he can get photos of Jian and himself with big happy smiles. He then call Jian and says 'I can't wait. Let's have that dinner tonight! I hate how nobody knows how I feel toward you. I'm going to show you tonight and everyone else will know my true feelings too! Oh, by the way do you need me to buy you anything later?'

 

 

 

 

 

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29 minutes ago, anipanch said:

Wth how childish can one be to write such idiotic things. Did they even watch the drama?? @chickfactor if there's any contact info of the author let me know, I've got a serious business with them<_<

 

The positive side: the author is sure they are not in a platonic relationship :D !

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1 hour ago, maddymappo said:

 I think the monk story is the allegory - she continues to love him but he has to seek his path.   There is guilt, tension, but then the monk returns and apologizes to Jung Hee .  For some reason we are left hanging there, he wants Jung Hee to live happily.  Does that really release her from her attachment?  She seems well enough when we see her later on, but she has been agonizing over this guy for 20 years (or is it 15?).

I think she had never been able to move on before because he never provided her with closure. When someone dumps you, the first thing you do is wonder if there is something wrong with you, that maybe it was something that you did wrong. Imagine how much worse that would be if your former lover ran off to join a monastery? Leaving you to think that maybe you drove him to be a monk?

 

He never provided her with an explanation, and didn’t even tell her where he went. He left DH to take care of her while she frantically searched all the temples in the country to find him. He left her to wonder for years what happened. That maybe he pictured what the rest of his life would be like with her, and she came up short and unworthy. This must have been a huge blow to her ego and self-esteem, especially since she might have driven the man considered to be the best catch in the neighborhood to monkhood. She constantly asks, “Why doesn’t he love me?” and she thinks the answer is, because I am worthless.

 

The monk is the complete opposite of DH. He was completely selfish, even abandoning his sickly parents to their fate.  For years, he was too cowardly and guilty to face the repercussions of his choice, until JH had had enough, and went up the mountain to face him. Then he finally came down his mountain and explained how he avoided her and his parents because of the enormous amount of guilt he felt.

 

The monk needed to be less selfish to finally be set free from his guilt, and DH needed to be more selfish to finally let his heart fly free.

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4 hours ago, popai5 said:

@philosophie Ha-ha on your comment about what happened to today's episode! It is now 2 weeks and I still say, think, plead  'what happened to my new episodes!!!

 

@h2ogirl @ccl82 and @anipanch Thank you for the fanfic links!!!

 

Okay this ending is for @noor1 and the comments about the photos on DH's desk at the end.

 

So, after saying their goodbyes DH goes back to the office and throws all his photos in the trash can (he'll tie the trash bag securely and throw them in the proper bin outside later).

DH then looks online for pictures of IU since she seems to be a perfect doppelganger for Jian. He prints out several copies and puts them on his desk. At least until he can get photos of Jian and himself with big happy smiles. He then call Jian and says 'I can't wait. Let's have that dinner tonight! I hate how nobody knows how I feel toward you. I'm going to show you tonight and everyone else will know my true feelings too! Oh, by the way do you need me to buy you anything later?'

 

 

 

 

 

@popai5  This reader prefers a G rated version of your great ending as follows...

Ajusshi went back to the office but could not work.  he asks the secretary for a coffee, and stares at it seeing a smiling young woman with ponytail inviting him to a delicious meal.  She said she'll call him.

 

BUT, they forgot to exchange cell phone numbers!  How is he going to find her?  Her office is probably close by and he did spy her office name tag....BUT, being too excited and busily grinning earlier, he forgot where she works!    How is he going to find her within 1 square kilometer of here!

 

A quick calculation in his head shows that there must be close to 200,000 office workers in this 1 small area!   It's like looking for a needle in the haystack!  He just have to trust that she will call him...soon!  He looks forward to drinking beers with her while holding his breath!

 

Disappointed, he looks at the photos in front of him showing wife and kid smiling.   He gulped, and turn the photos around so that they point away from him...toward the side wall.  There seems to be something missing on his desk.  He realizes that he has no photo of Ji-an but, remembering how an office worker mentioned long ago that Ji-an has a look alike singer with a strange almost Japanese name, except that Ji-an is too grim and detached to be her!

 

Searching his dim memory bank for the name of the singer...it reminds him of the name of an old Samurai clan's province..... what was it  A... Ai...Aizu, Izu some thing like that.

 

Searching the internet for Korean singer and Aizu, he found IU!  Long behold when he looks at this girl, she looks remarkably like his Ji-an, except her clothing is different and she smile more!

 

So using photo shop, he down loaded photos of this IU girl and within a few hours transformed her into Ji-an... His Ji-an.

 

Now it is getting late, and people start to poke their heads into his office saying good night as they go home.  He turned the computer screen off and guiltily say good night to them.

 

Now that he is alone again, he wonders if that little tomboy will call him?  So he goes back to fixing the photos some more.  finally he gets what he want and print it, then cut off part of the photo and insert it into the picture frame, next to his son, covering the wife.

 

Now he leans back and smile, happily (for some unknown reason, he has been smiling a lot that day)....just as the office number rings.

 

He quickly grabs the phone and a familiar young female voice rings out "is this Hoon's Engineering and Construction, may I talk to the president please?" 

 

Taking a deep breath, he says into the phone "Speaking, I'm the president"....

 

 

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2 hours ago, maddymappo said:

but he has these high standards, he is a purist, ethical in all things. The one time we see him slip was when he put

Exactly, so I think thats why it’s all the more amazing to see his character development. From how he was before, what he did for Jian esp. in the last episodes is a complete turnaround for his character. He was changed and stripped of the things that restrained him. 

 

And so im more convinced that the writer/director trusted us the audience to pick up what they were trying to tell us by showing us instead.Quoting this one down - I think we’re not wrong to pick up from what theyve shown and told that there’s that possibility theyre together in the end. Although it has to be done in a very subtle manner, to pacify others. It feels like theyve put in tiny pieces of ‘crumbs’ here and there for us to follow and pick from the whole thing. 

2 hours ago, chickfactor said:

The audience knows the code, because the writer-PD taught it to them. You can refuse to see it if you need absolute confirmation via traditional visuals (kissing, etc), and/or don't want to believe in this romance, which is fine.

 

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3 hours ago, chickfactor said:

 

 

인천경기

사랑하면 도청도 ok? '나의 아저씨'는 19금이어야 했다

[TV 리뷰] 뒤끝 있는 드라마 후기 <나의 아저씨>

김선희(good77)

18.05.28

 

If It's Love, than even Phone-Tapping is ok? "My Ahjussi" should have been rated Age 19

[TV Review] Thoughts after Drama is Over

Kim, Sun-Hee

5/28/2018

 

이미 지난 5월 17일에 종영한 tvN 수목드라마 <나의 아저씨>를 다시 한 번 곱씹고 싶다. <미생> <응답하라 1998>의 계보를 잇는 수작이기에 그 여운에서 쉽게 빠져나올 수가 없었고 시청률에 비해 많은 애호가를 남긴 작품이기에 두고두고 파장을 남기리라는 예측이 들기도 한다. 한편, 어린 여성과의 이성교제를 로망 하는 남성들의 삐뚤어진 성의식을 비롯한 각종 논란도 끊임이 없었다. 그럼에도 불구하고 나는 이 드라마를 한 회도 빠짐없이 본방사수로 즐겼다. <나의 아저씨>는 진한 사람 냄새를 풍긴 <미생>과 <응팔>의 빈자리를 메꾸어 주며 헤어 나올 수 없는 공감의 장으로 나를 끌어 들였다.

 

I want to think over "My Ahjussi" once more, which has already finished airing. It is a masterwork that follows the pedigree of "Misaeng" and "Reply 1988" so it is difficult to escape its 'imagery' and compared to the viewer ratings, it has inspired a great deal of fondness, so I have a feeling it will have a long, lingering impact. On the other hand, there is never-ending controversy calling attention to the twisted "sexual consciousness" of men who desire relationships with young women. Despite that, this drama was “can’t miss” for me, and I enjoyed it. “My Ahjussi” had the deep, human scent of “Misaeng” and “Reply 1988” and filled the empty space that those dramas had left, enveloping me in an inescapable [__] of sympathy.

 

이 드라마를 수작으로 꼽는 이유는 다음과 같다.

 

These are the reasons I determine that this drama is a masterpiece.

 

첫째, 소름 끼치게 섬세한 현실묘사를 통해 인간성 회복에의 깊은 성찰을 이끌어 냈으며 평범한 이들의 삶 속에 내재한 철학과 미학이 깊이 있는 감칠맛을 더했다.

 

First, it depicted reality in such shudder-inducing detail that it inspired deep introspection about the recovery of humanity, and in the lives of these plain people, the savory flavors of philosophy and aesthetics were inherent.

 

둘째, 동훈과 지안이라는 주인공들의 캐릭터 매칭이 그야말로 기가 막혔다. 동훈을, 그리고 지안을 더는 다른 인물로 상상하기조차 어렵게 했다. 그들은 그간 보아온 이선균과 이지은이 아니었다. 그들 본래의 모습이 다른 매체를 통해 나올 때면 오히려 낯설어 고개를 돌리고 싶을 지경이었다. 두 인물과 배역의 매칭이 드라마의 중반에서 후반으로 갈수록 드라마 완성도의 반은 차지하는 게 아닐까 싶을 정도로 꼭 맞는 옷이었다.

 

Second, Dong-Hoon and Ji-An, the main characters, their match was truly amazing. You could not imagine either of them played by anyone else. They were not the Lee Sun-Kyun and Lee Ji-Eun we had been watching before. It was to the point that if we watched them in their previous works (in other mediums) it felt unfamiliar and you wanted to turn your head. It made you wonder if half the work of a drama is about finding the right actors for the parts, that was how perfectly it fitted them.

 

셋째, 다소 낯선 조역들의 거칠거칠한 연기마저도 흡인력 있는 연출로 녹여내어 주인공과 조역의 구분이 모호할 정도로 살아있는 묵직한 캐릭터들을 완성시켜 나갔다.

 

Third, even the small roles and their rough characters showed so much charisma and gravity that the lines between the main characters and supporting characters blurred.

 

그러나 끝내 눈 감아 주기 어려운 문제가 남아있다. 드라마는 남녀 주인공의 나이 격차를 비롯하여 과도한 폭력, 범죄의 미화, 양성 불평등 시각 등에 대한 끊임없는 논란의 대상이 되었다. 그럼에도 불구하고 자신들의 이야기를 우직하게 이어 나갔다. 결국 그 모든 것이 더 크고 중요한 의미로 귀결됨으로써 아름답고 강렬한 메시지를 남기며 박수갈채 속에서 마무리 되었다. 첨예한 경계들에 치여 잔뜩 움츠린 채 살아가는 현대인들의 가슴 속에 깊은 연민과 뜨거운 인간애의 존재를 확인시키며 따뜻한 치유의 메시지를 남긴 것이다.

 

But there are still many problems that we close our eyes to. On top of the age difference between the main character, there is excessive violence, glamorization of crime, inequality in education level, etc. - it became the subject of endless controversies. But everyone was wrapped up in the larger meaning, and left a beautiful and strong message, so it concluded amidst a storm of applause. In the hearts of the modern audience who live repressed lives due to the hard lines of our society, they felt the existence of strong sympathy and humanity and (the drama) left them a warm, healing message.

 

이 드라마를 보면서 나는 내내 허리춤에 찬 전대에 손을 대고 야바위꾼의 놀음을 지켜보는 심정이었다. 드라마가 가진 문제적 요소들이 선명한데, 뭔가 정신 줄 놓고 구경하다보면 내 전대의 돈이 다 야바위꾼의 호주머니로 들어갈 것만 같았다. 아니, 어느 지점에서는 차라리 속아버리고도 싶었다.

 

Watching this drama, I felt like I was watching a swindler with his hand on my money pouch strapped to my waist. The drama’s problematic factors were clear, but when I watched without paying attention, it felt like the swindler’s hand reached inside my money pouch. No, at some points, I preferred to be deceived.

 

내가 목격한 <나의 아저씨> 속 문제적 요소들

 

The Problem Elements of “My Ahjussi” that I Observed

 

내가 발견한 문제적 요소는 다음과 같다.

 

These are the problem elements I discovered.

 

첫째, 기성인 남성과 어린 여성에 대한 이성 관계구도는 엄연히 의도된 것이다. 드라마 안에는 수많은 연민의 대상들이 있지만 동훈은 유독 지안(이지은 분)에게 너무나 깊게 이입하고 과하게 행동한다. 드라마는 이러한 의혹을 세련되게 따돌리면서도 의미 있는 빌미를 제공하기도 한다.

 

First, it was clearly the objective (of the drama) to show a romantic relationship between an adult man and a young woman. There are many pitiful factors in the drama, but Dong-Hoon treats only Ji-An with too much deep empathy and his behavior (towards her) is excessive. The drama subverted these “suspicions” in sophisticated ways and provided meaningful pretext.

 

발목이 드러난 짧은 양말에 낡은 운동화를 신은 지안의 발을 내려다보며 동훈(이선균 분)은 말한다. "추운 겨울에 발목이 드러나는 양말을 신는 건 왜지? 섹시하다고 생각하나?" 동훈이 지안과 술 한 잔 하던 술집에 들어서서 지안을 찾는 듯 두리번거리다가 술집 주인에게 묻는다. "전에 저랑 같이 왔던 그 애 혹시 안 왔나요? 왜 그 예쁜 애..." 드라마 감독은 남성과 여성이 아닌 인간애를 그리고 싶다고 밝히면서도 굳이 '섹시함', '예쁜 애' 등을 언급함으로써 굳이 남녀관계에 대한 시청자들의 기대감을 잠재우지 않는다. 시청률과 비판여론 잠재우기의 두 마리 토끼를 잡는 노련한 사냥꾼이다.

 

Looking down at Ji-an’s feet in short socks that exposed her ankles and wearing worn-out sneakers Dong-Hoon said, “Why do you wear such short socks in winter? Do you think it’s sexy?” He goes to a bar in which he had a drink with her before, looks around and asks the owner, “Did you see that girl who came with me before, by chance? That pretty girl…” The drama’s PD insisted that he wanted to depict human love rather than man-woman love, but he insisted on referencing “sexiness” and “pretty,” thereby not letting the viewer’s expectations for romance die. He is a skilled hunter who killed two rabbits with one stone: high ratings and silence the critics.

 

둘째, 폭력과 범죄의 미화이다. 드라마 속 피해의식은 주로 폭력으로 대처된다. 특히, 혈연이나 지연으로 맺어진 연대의식은 과한 감정이입으로 갈등의 주체가 성인임에도 불구하고 스스로의 판단으로 대처해나가기 어려울 만큼 온통 뒤얽히기 일쑤이다. 40대 중반의 주인공과 그 가족들은 각각의 삶 속에서 독립하지 못하고 서로에게 매몰되어 있으며 끈끈한 지역사회의 연대 또한 따뜻한 인간애과 집단이기주의의 경계를 수도 없이 넘나든다.

 

The second is the glamorization of violence and crime. In the drama, the “victim mentality” is handled with violence. Especially, there is a “solidarity conscience” in which familial or tribal rules govern their actions (rather than government rules), in which people determine for themselves what is right despite being adults, and to assume all consequences (in proportion to) how difficult their lives are. The main character who is in his mid-40s and his family have each failed to achieve independence from such existence and continue to surround each other, and band together in a “sticky” bond and straddle the line between warm human love and collectivism.

 

무엇보다 가장 심각한 점은 지안의 도청에 대한 미화이다. 지안은 범죄를 목적으로 동훈의 휴대폰에 도청 프로그램을 심고 도청을 하게 되지만 그 과정에서 동훈에게 연민과 사랑을 느낀다. 그러나 동훈이 더 이상 적이 아닌 같은 편이 된 이후에도 도청은 계속된다. 동훈의 편에 선 지안은 도청을 통해 그를 더욱 더 연민하고 지지한다.

 

The most serious thing is the glamorization of Ji-An’s phone-tapping. She begins tapping Dong-Hoon’s phone with the purpose of committing a crime, but through it, she feels compassion and love. But even after she becomes “on his side” and no longer his enemy, the tapping continues. After she is on his side, she feels more compassion and supports him more through the phone-tapping.

 

많은 시청자들이 뜨거운 눈물로 함께한 명장면 중 많은 장면들이 도청 상황에서 벌어진다. 도청을 통해 그 누군가가 나를 진심으로 사랑하고 아끼게 된다면 도청을 당해도 좋을까? 이 세상 그 누가 나를 도청해도 상관이 없을 수 있을까? 백 번 천 번 생각해봐도 끔찍한 일이다.

 

Through the hot tears of the viewers, many excellent scenes are shown that involve the phone-tapping. If someone comes to truly love you and you become precious to them, then is it okay to be phone-tapped? In this world, is it ever okay to be phone-tapped? I think about this 100, 1000 times, and it is still appalling.

 

이 드라마는 등장인물, 또는 시청자들의 공감을 이끌어내는 가히 천재적인 연금술사이다. 특히, 도청은 연금술사의 가장 효과적이고 참신한 도구로 사용된다. 그것이 너무나 아름답게 그려져 있다는 점은 심지어 두려운 마음까지 들게 한다. 그래서 이 드라마는 최소한 19금이었어야 한다.

 

This drama is a genius alchemist, able to draw out the emotions of the viewers. Especially, the phone-tapping becomes the alchemist’s most effective and novel tool. That this feels beautiful actually makes me fearful. So this drama should have been rated Age 19.

 

셋째, 드라마의 인물, 이야기, 주제 그 모든 것을 한 코에 꿰고 있는 남성 중심 구조가 가장 불쾌한 문제적 요소이다. 동훈의 아내, 윤희(이지아 분)는 바람을 피운다. 상대는 하필이면 세상 착한 동훈의 숙적인 도준영(김영민 분)이다. 그럼으로써 윤희의 외도는 그 누구도 연민할 수 없는 완벽범죄가 되고 만다. 극중 인물들도 시청자들도 그녀를 연민할 이유가 전혀 없다.

 

Third, the biggest, most unpleasant element is that it is centered on one cuckolded man. Dong-Hoon’s wife, Yoon-Hee is having an affair. Her partner happens to be an old foe of her good-hearted husband. Thus, Yoon-Hee’s purpose becomes a "perfect criminal" than no one can sympathize with. None of the character nor any viewer has any reason to sympathize with her.

 

윤희는 직업적으로 성공한 여성이고 착한 남편과 인간미 넘치는 시댁 가족들에게 떠받들어지는 여왕 같은 존재이다. 그러나 그녀는 외로웠다. 남편은 결혼 후 한 아이의 아빠가 되어서도 어머니와 형제들만을 최우선으로 인식하며 윤희에게 정을 주지 않았다. 거의 하루도 빠짐없이 형제들이나 동네 친구들과 어울려 윤희의 곁을 비우기 일쑤였다.

 

Yoon-Hee is successful in her career, with a kind husband and treated like a queen by her humane in-laws. But she was lonely. Even after her husband became a father, he regarded his mother and brothers first in his heart and did not give affection to Yoon-Hee. Without missing a day, he hung out with his brothers and neighborhood friends, leaving the spot next her empty.

 

결혼은 했지만 마음은 독립하지 못한 채 부모형제, 친구들의 대리 만족을 채우기에만 급급한 서늘한 결혼생활이었다. 드라마는 그런 윤희가 동정 받을 수 없는 단단한 장치를 마련해두고 동훈의 외로움을 부각시킨다. 더군다나 윤희 자신마저도 스스로를 맹렬히 비난하고 동훈의 어떠한 처분에도 순응하리라 결심한다. 동훈의 마음을 지배하고 있는 지안의 편에 서서 진심으로 돕는 것으로 속죄하기도 한다. 잔인할 만큼 남성의 입장에 편중되어 있다는 느낌을 지울 수가 없다.

 

He married, but his heart could not become independent, and he found social satisfaction with his parent, brothers, and friends, so it was a chilly marriage. The drama made sure that Yoon-Hee could not receive sympathy and emphasizes Dong-Hoon’s loneliness. Not only that, Yoon-Hee herself reproaches herself harshly and determines that she will accept any punishment that Dong-Hoon gives her. She even atones by taking Ji-An’s side, the woman who now fully occupies Dong-Hoon’s heart and helps him sincerely. It cannot be denied that the story is weighted towards the man’s perspective to the point of cruelty.

 

한편, 동훈의 형 상훈(박호산 분)과 동생 기훈(송새벽 분)은 지안의 존재를 의식했을 때 분명 들떠 있었다. 젊은 여자애와 동훈 사이에서 뭔가 썸이 생기나보다 즐거워하고 부러워했다. 그랬던 그들이 윤희의 외도를 알게 되자 동훈보다 더한 분노와 슬픔을 드러냈다. 적어도 한 드라마에서 나란히 표현하기에는 너무도 염치없는 장면이 아닌가 하는 불쾌감을 누를 길이 없었다. 결국 마지막 회에서 보여준 빈집에 홀로 남아 지안을 떠올리며 오열하는 동훈의 모습을 통해 내심 동훈과 지안의 관계를 지지하는 여지를 남겼다고 생각한다.

 

On the other hand, Sang-Hoon (older bro) and Ki-Hoon (younger bro) were excited the moment they became aware of Ji-An’s existence. They wondered if a flirtation had begun between a young woman and their brother, Dong-Hoon, and they became happy and envious. And when they found out about Yoon-Hee’s affair, they became even more enraged and sad than Dong-Hoon did. To show these scenes side-by-side in the same drama feels so shameless that I cannot suppress my feelings of displeasure. In the final episode when Dong-Hoon sobs in his empty house while thinking of Ji-An did we finally have the “space” to properly see the relationship between Dong-Hoon and Ji-An.

 

완벽한 범죄자 윤희에게 상처받고 회복이 결코 쉽지 않아도 되는 동훈, 그 아저씨의 승리이다. 동훈은, 그리고 자신의 성불을 위해 일방적으로 정희를 떠나 정희에게 있어 평생의 한으로 남은 겸덕(박해준 분)은 소위 말하는 대의명분을 위해 윤희를, 그리고 정희(오나라 분)를 희생시킨 것일까? 이 지점에서 소위 큰일 한다는 사람들의 변명거리로 남용되는 '대의명분'이라는 표현에 대해 조소가 번지는 것을 멈추기 어려웠다.

 

After being wounded by the perfect criminal Yoon-Hee who cannot recover easily, that is this ahjussi’s victory. And for the pursuit of his personal nirvana, Kyum-Duk left Jung-Hee, leaving her with lifelong regret. So for “the greater cause” (of their men) were Yoon-Hee and Jung-Hee sacrificed? It’s hard not to jeer at the excuse that people make for “the greater cause.”

 

결론적으로 이 드라마에서 다뤄진 사랑은 그다지 건강하지 않았다. 여러 인물들이 결혼을 통해 독립한 이후에도 원가족의 욕구에 지나치게 이입하고, 정신적으로 독립하지 못했다. 게다가 그 가족이라는 개념마저도 남성의 혈육 중심으로 편향되어 있었다. 동훈과 지안, 두 남녀의 서로에 대한 사랑 또한 자기연민에 의한 과도한 감정의 매몰에 불과했다.

 

In the end, the love(s) depicted in this drama is not a healthy one. Many characters have focused too much of the needs of their original family and never became independent even after their marriage. And the very concept of their family is too biased towards the man’s blood relatives. Dong-Hoon and Ji-An, the man and woman couple is based originally on excessive compassion.

 

끊임없이 따뜻하고 깊은 인간애를 말하지만...

 

It speaks of endlessly warm humanity, but...

 

드라마는 끊임없이 따뜻하고 깊은 인간애를 말한다. 그러나 그 모든 것은 누군가의 무조건적인 희생과 헌신을 전제로 한다. 결국 과거의 남성중심 사회로의 회기를 꿈꾸는 기성세대 남성의 욕망이 너무나 잘 만들어진 드라마적 기술 속에서 세련되게 주입되고 있다. 그러나 긴 여운만큼이나 다양한 감상평을 남긴 후기를 접하면서 나는 더 큰 괴물을 발견하게 되었다. 생각보다 많은 사람들이 이 드라마를 통해 "나도 이런 어른이 되고 싶다"고 말하는 것을 보게 된 것이다.

 

This drama speaks of endlessly warm humanity. But it is based on someone’s assumed unconditional sacrifice and devotion. It skillfully and sophisticatedly indoctrinates a very old-fashioned patriarchal perspective. But after absorbing its lingering imagery and the many varied opinions, I discovered an even greater monster. More than I expected, I witnessned many people saying, “This is the type of adult I would like to become.”

 

그 어떤 드라마가 이렇게 손쉽게 수많은 남녀노소를 한 순간 착하고 순수한 어린이로 만들 수 있다는 말인가. 이 지점에서 기성세대 남성의 욕망마저도 이 사회가 품은 욕망을 위해 바쳐진 희생양에 불과하다는 섬뜩한 기분이 들었다.

 

What other drama can so easily transform men and woman of all ages to kind and innocent children, in just one instant? I had a terrifying thought that even the patriarchy was a sacrificial lamb to the needs of this society. (???)

 

이 드라마 속 수많은 갈등의 해결자는 모두 개인의 몫이었다. 지안에게 깊은 연민을 느낀 동훈은 홀로 혈기 왕성한 20대 사채업자, 광일(장기용 분)을 찾아가 목숨을 건 몸 싸움을 벌인다. 청각장애에 노환까지 겹친 노조모(손숙 분)를 어린 지안이 책임진다. 그 처지를 알고 기관의 도움을 받도록 알려주는 것으로 지안은 동훈에게 구원받기 시작한다.

 

The many strifes in this drama was always solved by an individual. Dong-Hoon, who felt deep compassion for Ji-An goes alone to the feisty loan shark in his 20s, Kwang-Il and fights a life-and-death fight with him. Ji-An alone is left to care for her old, infirm grandmother who is also deaf. Seeing her situation, Dong-Hoon tells her to seek government assistance, and Ji-An begins to be saved by Dong-Hoon.

 

40이 넘은 두 실업자 아들은 노모의 집에 얹혀 따신 밥을 먹고 산다. 동훈이 광일에게 맞은 사실을 알고 후계동 주민들은 전투태세로 가해자를 찾아 나선다. 무일푼 지안의 할머니가 돌아가시자 동훈의 형, 상훈은 청소해서 어렵게 모은 돈으로 지안으로 하여금 폼 나는 장례를 치르도록 도와준다.

 

Two unemployed brothers in their 40s live with their mother, eating her warm food. When they learn that Dong-Hoon was beaten by Kwang-Il, Hoo-Gye-dong’s residents ran out prepared for battle. When Ji-An’s penniless grandmother dies, Sang-Hoon gives all his hard-earned (with cleaning) money so that Ji-An can have a grand funeral for her.

 

어머니의 한없는 희생, 가족의 기대 속에서 결코 무너지지 않는 가장의 희생, 한 남자의 뿌듯한 삶을 완성하기까지 모든 걸 감내하는 아내의 희생, 그리고 손녀, 이웃... 이 모든 것의 뒤에 미풍양속으로 둔갑한 무책임한 사회의 욕망이 숨어 있는 것은 아닐까? 이제 우리에게 새로운 형태의 삶이 주어지고 있다. 따라서 사회도 구성원의 인정과 희생에 기댄 교화와 감독의 기능에서 개인의 부족을 채우고 보완하는 보호체제로 달라져야할 지점에 와 있다고 생각한다. 그럼에도 불구하고 오늘을 사는 기성세대에게 있어 익숙한 사회의 기능은 우리의 무지함을 일깨우고 더 힘차게 살아가기를 계도하는 감독자로서의 기능이다. 그러다보니 이 드라마의 어법은 너무나도 친숙하고 구미에 착 감긴다.

 

A mother’s endless sacrifice, a head-of-household who cannot collapse due to his family’s expectations, the wife who endures everything in order for one man to achieve his fulfillment, and the granddaughter, the neighbor… perhaps the irresponsible desires of society are hidden in these “beautiful customs?” We are being given a lifestyle with a different shape. And therefore, time has come for us to acknowledge and protect individual wants and needs in our society.

 

하마터면 만만치 않은 오늘의 나의 삶에 급급할 뻔한 우리를 아주 능숙하게 회유하고 달랜다. 어느새 우리 모두 순한 양이 되어서 "그래, 그때가 좋았어"라고 읊조리게 만든다. 그러나 우리는 돌아갈 수 없는 강을 건너왔다. 먹고 사는데 어려움이 없는 사회를 이룩하기 위해 개인들은 얼마나 많은 희생들을 감내했던가. 우리의 삶은 이미 나 자신을 구원하기에도 버거운 온갖 촘촘한 갈등구조에 둘러싸여 있다. 나를 지키는 것만이 최선인 상황을 얼마나 많이들 경험하고 있는가.

 

먹고사는 문제를 해결했으니 사회의 보호를 받을 차례라고 말하는 개인들에게 <나의 아저씨>는 말하고 있다. '예전이 좋았지 않느냐고, 그게 진짜로 살아가는 맛이라고' 따뜻하고 아름답게 타이르고 있다. 여기까지 느꼈을 때 내 마음 속에서 <나의 아저씨>라는 제목은 <그저 꼰대>로 둔갑한다. 야바위꾼의 화려한 손기술은 딱 여기까지이다.

 

--

 

I got too tired and I'll translate the rest later.

 

My impression:

 

It's too philosophical. It's not really an actual TV review. The conclusion is about how this show promotes old-fashioned values of total sacrifice and that our modern society does not need this kind of message?

 

Ugh, I don't know. This one gave me a headache.

 

There is no real conclusion, just some comments about how people shouldn't sacrifice themselves for others and instead look out for themselves instead, but this show sends the wrong message ... and I'm doubtful that it was written by a staff writer, but looks like some blog post instead? No real conclusion, just a string of observations.

 

@chickfactor, thank you so much for even attempting to partially translate that long article. I am quoting your whole post because some people might have missed this at the top of the page. While the piece as a whole gave me a whiplash, she completely saw through the veiled attempt at non-romance.   LOL at these parts:

 

First, it was clearly the objective (of the drama) to show a romantic relationship between an adult man and a young woman. There are many pitiful factors in the drama, but Dong-Hoon treats only Ji-An with too much deep empathy and his behavior (towards her) is excessive. The drama subverted these “suspicions” in sophisticated ways and provided meaningful pretext.

 

Looking down at Ji-an’s feet in short socks that exposed her ankles and wearing worn-out sneakers Dong-Hoon said, “Why do you wear such short socks in winter? Do you think it’s sexy?” He goes to a bar in which he had a drink with her before, looks around and asks the owner, “Did you see that girl who came with me before, by chance? That pretty girl…” The drama’s PD insisted that he wanted to depict human love rather than man-woman love, but he insisted on referencing “sexiness” and “pretty,” thereby not letting the viewer’s expectations for romance die. He is a skilled hunter who killed two rabbits with one stone: high ratings and silence the critics.

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4 hours ago, chickfactor said:

My impression:

 

It's too philosophical. It's not really an actual TV review. The conclusion is about how this show promotes old-fashioned values of total sacrifice and that our modern society does not need this kind of message?

 

Ugh, I don't know. This one gave me a headache.

 

There is no real conclusion, just some comments about how people shouldn't sacrifice themselves for others and instead look out for themselves instead, but this show sends the wrong message ... and I'm doubtful that it was written by a staff writer, but looks like some blog post instead? No real conclusion, just a string of observations.

 

Thanks @sadiesmith for uncovering this gem of an article and @chickfactor for translating. I’ll try and do the rest this afternoon if you don’t have time. It’s a fascinating piece!

 

She’s not wrong. My screenwriter friend voiced the same concerns. And the fact is for many of them, the patriarchy they live and deal with on an every day basis is very, very real. So I can see why they are concerned that the show legitimizes all these acts towards women.

 

BUT to all these I repeat Lee Ji An.

 

”Do you know what it means to like someone? Why do you keep talking about it like it’s something negative?”

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34 minutes ago, justamom said:

 

Thanks @sadiesmith for uncovering this gem of an article and @chickfactor for translating. I’ll try and do the rest this afternoon if you don’t have time. It’s a fascinating piece!

 

She’s not wrong. My screenwriter friend voiced the same concerns. And the fact is for many of them, the patriarchy they live and deal with on an every day basis is very, very real. So I can see why they are concerned that the show legitimizes all these acts towards women.

 

BUT to all these I repeat Lee Ji An.

 

”Do you know what it means to like someone? Why do you keep talking about it like it’s something negative?”

 

I LOVE your Lee Ji An's quote.  Do you know if this drama is equally well-received by both men and women?

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  5 hours ago, sadiesmith said:

Is it just me or does this article not paint My Ajusshi in a good light?

http://star.ohmynews.com/NWS_Web/OhmyStar/at_pg.aspx?CNTN_CD=A0002438555

@chickfactor  said

Spoiler

인천경기

사랑하면 도청도 ok? '나의 아저씨'는 19금이어야 했다

[TV 리뷰] 뒤끝 있는 드라마 후기 <나의 아저씨>

김선희(good77)

18.05.28

 

If It's Love, than even Phone-Tapping is ok? "My Ahjussi" should have been rated Age 19

[TV Review] Thoughts after Drama is Over

Kim, Sun-Hee

5/28/2018

 

이미 지난 5월 17일에 종영한 tvN 수목드라마 <나의 아저씨>를 다시 한 번 곱씹고 싶다. <미생> <응답하라 1998>의 계보를 잇는 수작이기에 그 여운에서 쉽게 빠져나올 수가 없었고 시청률에 비해 많은 애호가를 남긴 작품이기에 두고두고 파장을 남기리라는 예측이 들기도 한다. 한편, 어린 여성과의 이성교제를 로망 하는 남성들의 삐뚤어진 성의식을 비롯한 각종 논란도 끊임이 없었다. 그럼에도 불구하고 나는 이 드라마를 한 회도 빠짐없이 본방사수로 즐겼다. <나의 아저씨>는 진한 사람 냄새를 풍긴 <미생>과 <응팔>의 빈자리를 메꾸어 주며 헤어 나올 수 없는 공감의 장으로 나를 끌어 들였다.

 

I want to think over "My Ahjussi" once more, which has already finished airing. It is a masterwork that follows the pedigree of "Misaeng" and "Reply 1988" so it is difficult to escape its 'imagery' and compared to the viewer ratings, it has inspired a great deal of fondness, so I have a feeling it will have a long, lingering impact. On the other hand, there is never-ending controversy calling attention to the twisted "sexual consciousness" of men who desire relationships with young women. Despite that, this drama was “can’t miss” for me, and I enjoyed it. “My Ahjussi” had the deep, human scent of “Misaeng” and “Reply 1988” and filled the empty space that those dramas had left, enveloping me in an inescapable [__] of sympathy.

 

이 드라마를 수작으로 꼽는 이유는 다음과 같다.

 

These are the reasons I determine that this drama is a masterpiece.

 

첫째, 소름 끼치게 섬세한 현실묘사를 통해 인간성 회복에의 깊은 성찰을 이끌어 냈으며 평범한 이들의 삶 속에 내재한 철학과 미학이 깊이 있는 감칠맛을 더했다.

 

First, it depicted reality in such shudder-inducing detail that it inspired deep introspection about the recovery of humanity, and in the lives of these plain people, the savory flavors of philosophy and aesthetics were inherent.

 

둘째, 동훈과 지안이라는 주인공들의 캐릭터 매칭이 그야말로 기가 막혔다. 동훈을, 그리고 지안을 더는 다른 인물로 상상하기조차 어렵게 했다. 그들은 그간 보아온 이선균과 이지은이 아니었다. 그들 본래의 모습이 다른 매체를 통해 나올 때면 오히려 낯설어 고개를 돌리고 싶을 지경이었다. 두 인물과 배역의 매칭이 드라마의 중반에서 후반으로 갈수록 드라마 완성도의 반은 차지하는 게 아닐까 싶을 정도로 꼭 맞는 옷이었다.

 

Second, Dong-Hoon and Ji-An, the main characters, their match was truly amazing. You could not imagine either of them played by anyone else. They were not the Lee Sun-Kyun and Lee Ji-Eun we had been watching before. It was to the point that if we watched them in their previous works (in other mediums) it felt unfamiliar and you wanted to turn your head. It made you wonder if half the work of a drama is about finding the right actors for the parts, that was how perfectly it fitted them.

 

셋째, 다소 낯선 조역들의 거칠거칠한 연기마저도 흡인력 있는 연출로 녹여내어 주인공과 조역의 구분이 모호할 정도로 살아있는 묵직한 캐릭터들을 완성시켜 나갔다.

 

Third, even the small roles and their rough characters showed so much charisma and gravity that the lines between the main characters and supporting characters blurred.

 

그러나 끝내 눈 감아 주기 어려운 문제가 남아있다. 드라마는 남녀 주인공의 나이 격차를 비롯하여 과도한 폭력, 범죄의 미화, 양성 불평등 시각 등에 대한 끊임없는 논란의 대상이 되었다. 그럼에도 불구하고 자신들의 이야기를 우직하게 이어 나갔다. 결국 그 모든 것이 더 크고 중요한 의미로 귀결됨으로써 아름답고 강렬한 메시지를 남기며 박수갈채 속에서 마무리 되었다. 첨예한 경계들에 치여 잔뜩 움츠린 채 살아가는 현대인들의 가슴 속에 깊은 연민과 뜨거운 인간애의 존재를 확인시키며 따뜻한 치유의 메시지를 남긴 것이다.

 

But there are still many problems that we close our eyes to. On top of the age difference between the main character, there is excessive violence, glamorization of crime, inequality in education level, etc. - it became the subject of endless controversies. But everyone was wrapped up in the larger meaning, and left a beautiful and strong message, so it concluded amidst a storm of applause. In the hearts of the modern audience who live repressed lives due to the hard lines of our society, they felt the existence of strong sympathy and humanity and (the drama) left them a warm, healing message.

 

이 드라마를 보면서 나는 내내 허리춤에 찬 전대에 손을 대고 야바위꾼의 놀음을 지켜보는 심정이었다. 드라마가 가진 문제적 요소들이 선명한데, 뭔가 정신 줄 놓고 구경하다보면 내 전대의 돈이 다 야바위꾼의 호주머니로 들어갈 것만 같았다. 아니, 어느 지점에서는 차라리 속아버리고도 싶었다.

 

Watching this drama, I felt like I was watching a swindler with his hand on my money pouch strapped to my waist. The drama’s problematic factors were clear, but when I watched without paying attention, it felt like the swindler’s hand reached inside my money pouch. No, at some points, I preferred to be deceived.

 

내가 목격한 <나의 아저씨> 속 문제적 요소들

 

The Problem Elements of “My Ahjussi” that I Observed

 

내가 발견한 문제적 요소는 다음과 같다.

 

These are the problem elements I discovered.

 

첫째, 기성인 남성과 어린 여성에 대한 이성 관계구도는 엄연히 의도된 것이다. 드라마 안에는 수많은 연민의 대상들이 있지만 동훈은 유독 지안(이지은 분)에게 너무나 깊게 이입하고 과하게 행동한다. 드라마는 이러한 의혹을 세련되게 따돌리면서도 의미 있는 빌미를 제공하기도 한다.

 

First, it was clearly the objective (of the drama) to show a romantic relationship between an adult man and a young woman. There are many pitiful factors in the drama, but Dong-Hoon treats only Ji-An with too much deep empathy and his behavior (towards her) is excessive. The drama subverted these “suspicions” in sophisticated ways and provided meaningful pretext.

 

발목이 드러난 짧은 양말에 낡은 운동화를 신은 지안의 발을 내려다보며 동훈(이선균 분)은 말한다. "추운 겨울에 발목이 드러나는 양말을 신는 건 왜지? 섹시하다고 생각하나?" 동훈이 지안과 술 한 잔 하던 술집에 들어서서 지안을 찾는 듯 두리번거리다가 술집 주인에게 묻는다. "전에 저랑 같이 왔던 그 애 혹시 안 왔나요? 왜 그 예쁜 애..." 드라마 감독은 남성과 여성이 아닌 인간애를 그리고 싶다고 밝히면서도 굳이 '섹시함', '예쁜 애' 등을 언급함으로써 굳이 남녀관계에 대한 시청자들의 기대감을 잠재우지 않는다. 시청률과 비판여론 잠재우기의 두 마리 토끼를 잡는 노련한 사냥꾼이다.

 

Looking down at Ji-an’s feet in short socks that exposed her ankles and wearing worn-out sneakers Dong-Hoon said, “Why do you wear such short socks in winter? Do you think it’s sexy?” He goes to a bar in which he had a drink with her before, looks around and asks the owner, “Did you see that girl who came with me before, by chance? That pretty girl…” The drama’s PD insisted that he wanted to depict human love rather than man-woman love, but he insisted on referencing “sexiness” and “pretty,” thereby not letting the viewer’s expectations for romance die. He is a skilled hunter who killed two rabbits with one stone: high ratings and silence the critics.

 

둘째, 폭력과 범죄의 미화이다. 드라마 속 피해의식은 주로 폭력으로 대처된다. 특히, 혈연이나 지연으로 맺어진 연대의식은 과한 감정이입으로 갈등의 주체가 성인임에도 불구하고 스스로의 판단으로 대처해나가기 어려울 만큼 온통 뒤얽히기 일쑤이다. 40대 중반의 주인공과 그 가족들은 각각의 삶 속에서 독립하지 못하고 서로에게 매몰되어 있으며 끈끈한 지역사회의 연대 또한 따뜻한 인간애과 집단이기주의의 경계를 수도 없이 넘나든다.

 

The second is the glamorization of violence and crime. In the drama, the “victim mentality” is handled with violence. Especially, there is a “solidarity conscience” in which familial or tribal rules govern their actions (rather than government rules), in which people determine for themselves what is right despite being adults, and to assume all consequences (in proportion to) how difficult their lives are. The main character who is in his mid-40s and his family have each failed to achieve independence from such existence and continue to surround each other, and band together in a “sticky” bond and straddle the line between warm human love and collectivism.

 

무엇보다 가장 심각한 점은 지안의 도청에 대한 미화이다. 지안은 범죄를 목적으로 동훈의 휴대폰에 도청 프로그램을 심고 도청을 하게 되지만 그 과정에서 동훈에게 연민과 사랑을 느낀다. 그러나 동훈이 더 이상 적이 아닌 같은 편이 된 이후에도 도청은 계속된다. 동훈의 편에 선 지안은 도청을 통해 그를 더욱 더 연민하고 지지한다.

 

The most serious thing is the glamorization of Ji-An’s phone-tapping. She begins tapping Dong-Hoon’s phone with the purpose of committing a crime, but through it, she feels compassion and love. But even after she becomes “on his side” and no longer his enemy, the tapping continues. After she is on his side, she feels more compassion and supports him more through the phone-tapping.

 

많은 시청자들이 뜨거운 눈물로 함께한 명장면 중 많은 장면들이 도청 상황에서 벌어진다. 도청을 통해 그 누군가가 나를 진심으로 사랑하고 아끼게 된다면 도청을 당해도 좋을까? 이 세상 그 누가 나를 도청해도 상관이 없을 수 있을까? 백 번 천 번 생각해봐도 끔찍한 일이다.

 

Through the hot tears of the viewers, many excellent scenes are shown that involve the phone-tapping. If someone comes to truly love you and you become precious to them, then is it okay to be phone-tapped? In this world, is it ever okay to be phone-tapped? I think about this 100, 1000 times, and it is still appalling.

 

이 드라마는 등장인물, 또는 시청자들의 공감을 이끌어내는 가히 천재적인 연금술사이다. 특히, 도청은 연금술사의 가장 효과적이고 참신한 도구로 사용된다. 그것이 너무나 아름답게 그려져 있다는 점은 심지어 두려운 마음까지 들게 한다. 그래서 이 드라마는 최소한 19금이었어야 한다.

 

This drama is a genius alchemist, able to draw out the emotions of the viewers. Especially, the phone-tapping becomes the alchemist’s most effective and novel tool. That this feels beautiful actually makes me fearful. So this drama should have been rated Age 19.

 

셋째, 드라마의 인물, 이야기, 주제 그 모든 것을 한 코에 꿰고 있는 남성 중심 구조가 가장 불쾌한 문제적 요소이다. 동훈의 아내, 윤희(이지아 분)는 바람을 피운다. 상대는 하필이면 세상 착한 동훈의 숙적인 도준영(김영민 분)이다. 그럼으로써 윤희의 외도는 그 누구도 연민할 수 없는 완벽범죄가 되고 만다. 극중 인물들도 시청자들도 그녀를 연민할 이유가 전혀 없다.

 

Third, the biggest, most unpleasant element is that it is centered on one cuckolded man. Dong-Hoon’s wife, Yoon-Hee is having an affair. Her partner happens to be an old foe of her good-hearted husband. Thus, Yoon-Hee’s purpose becomes a "perfect criminal" than no one can sympathize with. None of the character nor any viewer has any reason to sympathize with her.

 

윤희는 직업적으로 성공한 여성이고 착한 남편과 인간미 넘치는 시댁 가족들에게 떠받들어지는 여왕 같은 존재이다. 그러나 그녀는 외로웠다. 남편은 결혼 후 한 아이의 아빠가 되어서도 어머니와 형제들만을 최우선으로 인식하며 윤희에게 정을 주지 않았다. 거의 하루도 빠짐없이 형제들이나 동네 친구들과 어울려 윤희의 곁을 비우기 일쑤였다.

 

Yoon-Hee is successful in her career, with a kind husband and treated like a queen by her humane in-laws. But she was lonely. Even after her husband became a father, he regarded his mother and brothers first in his heart and did not give affection to Yoon-Hee. Without missing a day, he hung out with his brothers and neighborhood friends, leaving the spot next her empty.

 

결혼은 했지만 마음은 독립하지 못한 채 부모형제, 친구들의 대리 만족을 채우기에만 급급한 서늘한 결혼생활이었다. 드라마는 그런 윤희가 동정 받을 수 없는 단단한 장치를 마련해두고 동훈의 외로움을 부각시킨다. 더군다나 윤희 자신마저도 스스로를 맹렬히 비난하고 동훈의 어떠한 처분에도 순응하리라 결심한다. 동훈의 마음을 지배하고 있는 지안의 편에 서서 진심으로 돕는 것으로 속죄하기도 한다. 잔인할 만큼 남성의 입장에 편중되어 있다는 느낌을 지울 수가 없다.

 

He married, but his heart could not become independent, and he found social satisfaction with his parent, brothers, and friends, so it was a chilly marriage. The drama made sure that Yoon-Hee could not receive sympathy and emphasizes Dong-Hoon’s loneliness. Not only that, Yoon-Hee herself reproaches herself harshly and determines that she will accept any punishment that Dong-Hoon gives her. She even atones by taking Ji-An’s side, the woman who now fully occupies Dong-Hoon’s heart and helps him sincerely. It cannot be denied that the story is weighted towards the man’s perspective to the point of cruelty.

 

한편, 동훈의 형 상훈(박호산 분)과 동생 기훈(송새벽 분)은 지안의 존재를 의식했을 때 분명 들떠 있었다. 젊은 여자애와 동훈 사이에서 뭔가 썸이 생기나보다 즐거워하고 부러워했다. 그랬던 그들이 윤희의 외도를 알게 되자 동훈보다 더한 분노와 슬픔을 드러냈다. 적어도 한 드라마에서 나란히 표현하기에는 너무도 염치없는 장면이 아닌가 하는 불쾌감을 누를 길이 없었다. 결국 마지막 회에서 보여준 빈집에 홀로 남아 지안을 떠올리며 오열하는 동훈의 모습을 통해 내심 동훈과 지안의 관계를 지지하는 여지를 남겼다고 생각한다.

 

On the other hand, Sang-Hoon (older bro) and Ki-Hoon (younger bro) were excited the moment they became aware of Ji-An’s existence. They wondered if a flirtation had begun between a young woman and their brother, Dong-Hoon, and they became happy and envious. And when they found out about Yoon-Hee’s affair, they became even more enraged and sad than Dong-Hoon did. To show these scenes side-by-side in the same drama feels so shameless that I cannot suppress my feelings of displeasure. In the final episode when Dong-Hoon sobs in his empty house while thinking of Ji-An did we finally have the “space” to properly see the relationship between Dong-Hoon and Ji-An.

 

완벽한 범죄자 윤희에게 상처받고 회복이 결코 쉽지 않아도 되는 동훈, 그 아저씨의 승리이다. 동훈은, 그리고 자신의 성불을 위해 일방적으로 정희를 떠나 정희에게 있어 평생의 한으로 남은 겸덕(박해준 분)은 소위 말하는 대의명분을 위해 윤희를, 그리고 정희(오나라 분)를 희생시킨 것일까? 이 지점에서 소위 큰일 한다는 사람들의 변명거리로 남용되는 '대의명분'이라는 표현에 대해 조소가 번지는 것을 멈추기 어려웠다.

 

After being wounded by the perfect criminal Yoon-Hee who cannot recover easily, that is this ahjussi’s victory. And for the pursuit of his personal nirvana, Kyum-Duk left Jung-Hee, leaving her with lifelong regret. So for “the greater cause” (of their men) were Yoon-Hee and Jung-Hee sacrificed? It’s hard not to jeer at the excuse that people make for “the greater cause.”

 

결론적으로 이 드라마에서 다뤄진 사랑은 그다지 건강하지 않았다. 여러 인물들이 결혼을 통해 독립한 이후에도 원가족의 욕구에 지나치게 이입하고, 정신적으로 독립하지 못했다. 게다가 그 가족이라는 개념마저도 남성의 혈육 중심으로 편향되어 있었다. 동훈과 지안, 두 남녀의 서로에 대한 사랑 또한 자기연민에 의한 과도한 감정의 매몰에 불과했다.

 

In the end, the love(s) depicted in this drama is not a healthy one. Many characters have focused too much of the needs of their original family and never became independent even after their marriage. And the very concept of their family is too biased towards the man’s blood relatives. Dong-Hoon and Ji-An, the man and woman couple is based originally on excessive compassion.

 

끊임없이 따뜻하고 깊은 인간애를 말하지만...

 

It speaks of endlessly warm humanity, but...

 

드라마는 끊임없이 따뜻하고 깊은 인간애를 말한다. 그러나 그 모든 것은 누군가의 무조건적인 희생과 헌신을 전제로 한다. 결국 과거의 남성중심 사회로의 회기를 꿈꾸는 기성세대 남성의 욕망이 너무나 잘 만들어진 드라마적 기술 속에서 세련되게 주입되고 있다. 그러나 긴 여운만큼이나 다양한 감상평을 남긴 후기를 접하면서 나는 더 큰 괴물을 발견하게 되었다. 생각보다 많은 사람들이 이 드라마를 통해 "나도 이런 어른이 되고 싶다"고 말하는 것을 보게 된 것이다.

 

This drama speaks of endlessly warm humanity. But it is based on someone’s assumed unconditional sacrifice and devotion. It skillfully and sophisticatedly indoctrinates a very old-fashioned patriarchal perspective. But after absorbing its lingering imagery and the many varied opinions, I discovered an even greater monster. More than I expected, I witnessned many people saying, “This is the type of adult I would like to become.”

 

그 어떤 드라마가 이렇게 손쉽게 수많은 남녀노소를 한 순간 착하고 순수한 어린이로 만들 수 있다는 말인가. 이 지점에서 기성세대 남성의 욕망마저도 이 사회가 품은 욕망을 위해 바쳐진 희생양에 불과하다는 섬뜩한 기분이 들었다.

 

What other drama can so easily transform men and woman of all ages to kind and innocent children, in just one instant? I had a terrifying thought that even the patriarchy was a sacrificial lamb to the needs of this society. (???)

 

이 드라마 속 수많은 갈등의 해결자는 모두 개인의 몫이었다. 지안에게 깊은 연민을 느낀 동훈은 홀로 혈기 왕성한 20대 사채업자, 광일(장기용 분)을 찾아가 목숨을 건 몸 싸움을 벌인다. 청각장애에 노환까지 겹친 노조모(손숙 분)를 어린 지안이 책임진다. 그 처지를 알고 기관의 도움을 받도록 알려주는 것으로 지안은 동훈에게 구원받기 시작한다.

 

The many strifes in this drama was always solved by an individual. Dong-Hoon, who felt deep compassion for Ji-An goes alone to the feisty loan shark in his 20s, Kwang-Il and fights a life-and-death fight with him. Ji-An alone is left to care for her old, infirm grandmother who is also deaf. Seeing her situation, Dong-Hoon tells her to seek government assistance, and Ji-An begins to be saved by Dong-Hoon.

 

40이 넘은 두 실업자 아들은 노모의 집에 얹혀 따신 밥을 먹고 산다. 동훈이 광일에게 맞은 사실을 알고 후계동 주민들은 전투태세로 가해자를 찾아 나선다. 무일푼 지안의 할머니가 돌아가시자 동훈의 형, 상훈은 청소해서 어렵게 모은 돈으로 지안으로 하여금 폼 나는 장례를 치르도록 도와준다.

 

Two unemployed brothers in their 40s live with their mother, eating her warm food. When they learn that Dong-Hoon was beaten by Kwang-Il, Hoo-Gye-dong’s residents ran out prepared for battle. When Ji-An’s penniless grandmother dies, Sang-Hoon gives all his hard-earned (with cleaning) money so that Ji-An can have a grand funeral for her.

 

어머니의 한없는 희생, 가족의 기대 속에서 결코 무너지지 않는 가장의 희생, 한 남자의 뿌듯한 삶을 완성하기까지 모든 걸 감내하는 아내의 희생, 그리고 손녀, 이웃... 이 모든 것의 뒤에 미풍양속으로 둔갑한 무책임한 사회의 욕망이 숨어 있는 것은 아닐까? 이제 우리에게 새로운 형태의 삶이 주어지고 있다. 따라서 사회도 구성원의 인정과 희생에 기댄 교화와 감독의 기능에서 개인의 부족을 채우고 보완하는 보호체제로 달라져야할 지점에 와 있다고 생각한다. 그럼에도 불구하고 오늘을 사는 기성세대에게 있어 익숙한 사회의 기능은 우리의 무지함을 일깨우고 더 힘차게 살아가기를 계도하는 감독자로서의 기능이다. 그러다보니 이 드라마의 어법은 너무나도 친숙하고 구미에 착 감긴다.

 

A mother’s endless sacrifice, a head-of-household who cannot collapse due to his family’s expectations, the wife who endures everything in order for one man to achieve his fulfillment, and the granddaughter, the neighbor… perhaps the irresponsible desires of society are hidden in these “beautiful customs?” We are being given a lifestyle with a different shape. And therefore, time has come for us to acknowledge and protect individual wants and needs in our society.

 

하마터면 만만치 않은 오늘의 나의 삶에 급급할 뻔한 우리를 아주 능숙하게 회유하고 달랜다. 어느새 우리 모두 순한 양이 되어서 "그래, 그때가 좋았어"라고 읊조리게 만든다. 그러나 우리는 돌아갈 수 없는 강을 건너왔다. 먹고 사는데 어려움이 없는 사회를 이룩하기 위해 개인들은 얼마나 많은 희생들을 감내했던가. 우리의 삶은 이미 나 자신을 구원하기에도 버거운 온갖 촘촘한 갈등구조에 둘러싸여 있다. 나를 지키는 것만이 최선인 상황을 얼마나 많이들 경험하고 있는가.

 

먹고사는 문제를 해결했으니 사회의 보호를 받을 차례라고 말하는 개인들에게 <나의 아저씨>는 말하고 있다. '예전이 좋았지 않느냐고, 그게 진짜로 살아가는 맛이라고' 따뜻하고 아름답게 타이르고 있다. 여기까지 느꼈을 때 내 마음 속에서 <나의 아저씨>라는 제목은 <그저 꼰대>로 둔갑한다. 야바위꾼의 화려한 손기술은 딱 여기까지이다.

 

 

 

 

 

"I got too tired and I'll translate the rest later.

 

My impression:

 

It's too philosophical. It's not really an actual TV review. The conclusion is about how this show promotes old-fashioned values of total sacrifice and that our modern society does not need this kind of message?

 

Ugh, I don't know. This one gave me a headache.

 

There is no real conclusion, just some comments about how people shouldn't sacrifice themselves for others and instead look out for themselves instead, but this show sends the wrong message ... and I'm doubtful that it was written by a staff writer, but looks like some blog post instead? No real conclusion, just a string of observation"

 

  @chickfactor    Thank you for the translation of the article.  It is very profound and philosophical as you say, but I found myself nodding in agreement.  I made several comments about YH, as being the perfect bad wife, that no one could sympathize with. The only characteristics DH displayed which could irk her was his devotion and attentions to his family to the neglect of her, and also his lack of ambition.   That does not seem like enough to justify her having a affair with his worst enemy.   (the writer never lets us see anymore about that relationship. Did they sleep together?  Jian could hear everything going on but we never hear in on what happened in the bedroom).  Then at the end Jian asks YH how she could betray such a perfect guy? and YH says there are 100, 1000 reasons. Really?  Well we can't sympathize if we do not know what they are. We are purposely kept in the dark.  (and of course the little boy being in the USA - kept us from hoping the family would stay together, and not hurt the child).  Even the actress who played the role of YH, said that she does not miss playing this part because she was such a difficult character. I think JH was someone who must have deep reasons for her actions but it is never seen.

 

 The writer of this article also picks up on how both of DH's brothers were kidding DH and playful at the idea of DH meeting up with a young girl in a bar, yet of course horrified that YH would cheat on DH.  The double standard in a patriarchal conservative world. ( I mentioned about the brothers attitude toward the flirting with JiAn on this thread too.)   I think the article writer is delving very deep but she/he has come up with some pearls here. Ultimately the collective conservative elements won. 

 

I just want to add that I really enjoyed this drama, it was so well done. All around great acting, no one performance let us down. But cannot ignore the sociological angle that the writer of the article points out, because I felt the same way, that I was being played.

 

EDIT:  Just wanted to add that his article writer also brought out the idea of tribalism, collectivism. I think I missed that because I live in a big city in USA, but it is more felt in Korea.  I noted how they would all walk each other home in a pack. And then they absorbed JiAn into the pack.  She was protected by them The alpha dog (DH) had introduced her to the pack and so she was accepted, even grandma's funeral.   Interesting YH was never seen united with the pack. For whatever reason DH kept her out, or made her apart, or perhaps she was a modern woman who didn't feel comfortable that way. We will never know what was in her mind and experience (can you imagine having to act out her character, and not know why she does what she does or how she feels?).    

 

Yes there is right and wrong.  But even the wrong of murder is justified in JiAn's case because we know the circumstances, background, why she did what she did. We never know this about YH. 

 

 

 
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13 hours ago, justamom said:

 

Thanks @sadiesmith for uncovering this gem of an article and @chickfactor for translating. I’ll try and do the rest this afternoon if you don’t have time. It’s a fascinating piece!

 

She’s not wrong. My screenwriter friend voiced the same concerns. And the fact is for many of them, the patriarchy they live and deal with on an every day basis is very, very real. So I can see why they are concerned that the show legitimizes all these acts towards women.

 

BUT to all these I repeat Lee Ji An.

 

”Do you know what it means to like someone? Why do you keep talking about it like it’s something negative?”

@justamom @sadiesmith @chickfactor  

 

Thanks to chickfactor for that great translation.  The writer of the article who agrees that My Ajusshi is a great tale, but then compared it to an addiction, to being pickpocketed by conmen who steers the audience to accept what is not right for society... she names Ajusshi-young girl relation, crimes from fighting to clannishness to modern phone tap, to patricentric notion of duty and self sacrifice.

 

In effect many of the things that has been a virtue for milleniums are not right in the new millennium.

 

1) As has been pointed out by soompian members, in previous centuries, it was not unusual for young girl to be married to rich  ajusshi, if it helps the girl's family in advancing their wealth or prestige....the opinion of the girl was immaterial...and if she runs away, she will be brought back to her new family.  Her lots in life is to endure the embrace of an old man, and bear him a son if she can... that would bring even more prestige and wealth to her family.

 

In Lee Ji-an case, it is she who pursue the scrupulous ajusshi, who tries as hard as he can to avoid their wonderful relationship from becoming an intimate relation.  As modern civilized human, we all have our will,  and  have the ability to speak our mind  and form our own decisions... if we choose to do so.  Since Ji-an likes Ajusshi, like justamon quote of Ji-an:  Why is liking some one a dirty word?

That is the concept of modern society isn't it?  Isn't it based upon free choice?

 

2) Clannishness is a concept that is as ancient as there is human.  Before there is a state or a nation or an empire, there was the family and extended family and the clan.  It helps us human survive the bitter winter, the flood, the famine which as individual, many of us wouldn't survive.  It helps us survive warfare, and protects us from the urges of others to rob us of our own livelihood.  It is a small town concept which many city dwellers throughout the world looks down on.... why do I need to know my neighbor, don't I have the state, the judicial system and the police to protect me.? I am a civilized educated person, why should I live like a bunch of cavemen from the past, fighting drinking?

 

This reader says that having a small town mentality is not necessarily bad, especially in natural disaster.  The case of what happened with the Tsunami and nuclear disaster in Fukushima, Japan is a good example.  it is the small town friendship which allows many of the survivors to live by collectively help and share with the less fortunate ones, what ever meager supply that one have.  This was reciprocated by the less fortunate, as repayment for the kindness of the others.  Those who espouse to individualism will find that they can drown or die of hunger or wound long before the state can come to help them....   this concept also applies to poorer communities where neighbors share, help and fight for each other by necessity.  In many poor dysfunctional neighborhoods, the police drives by once or twice per night, and if there is gunfire, killing, violence, then IT'S TOO BAD!.... Where is the justice in inner city North America when some youngster got shot by a drive by gang member?  The reason these lawlessness exist in the inner city is because the people living there espouse the modern concept of reliance on the state fore everything...from their sustenance to their domicile.  If those communities would have the mentality of THE GANG/CLAN as in My Ajusshi, justice would be swift and the offending pick-pocketer or thief would remember not come there again...once they get out of the hospital!  This reader sees nothing wrong with the action of THE GANG.  They protect and support each other, and as long as what they do is not excessive (i.e. they don't commit murder or protect illicit activities like those communities in Mexico who protect the drug traffickers because they are from their towns),  is some thing laudable.

 

2a)  the wire tapping crime that Ji-an committed did not go unpunished.  She with advice from Ajusshi and Lawyer wife, confessed her crime and was punished by the Law.  She, recognizing her grave mistake, apologized 10 times on her knees and repented.   What more can that article writer wants from her?  That she should kill herself for her crime?

 

3)  Self sacrifice especially from the standpoint of a modern woman toward her spouse family was raised as the 3rd and horrible monster by the article writer.   In her opinion, Ajusshi got all the benefit and none of the harm, while his wife was depicted as an unredeemable monster!  that is not true.  It is clearly seen in the tale that Lawyer made terrible mistakes which she tried very hard to amend, but what she had was an unworkable marriage where both sides just coexist, each travelling a parallel path but not together.  The writer is disgusted with the three brothers who never cut tie with each other, living always attached by their umbilical cords to mother and to their extended clan.

 

This reader can only say that some people do live that way, while others don't.  there is neither right nor wrong in this matter.  Those who wish to marry into such family must realize and accept that, or the marriage will fail... like between Engineer and Lawyer.  On the other hand Ji-an would not have any problem adapting into such society.... in fact she would fit in perfectly and be happy!  In the soccer match at the end of the funeral scene, one can see three women dressed in black who obviously had no problem seeing their men showing their manhood on the soccer field.... in fact (except for ji-an who was mourning) they truly relish this spectacle and empathize thoroughly with their men!

 

In conclusion, the article writer has many angst about what she wants society to be like... her version!  Society, like any society is complex and diverse with many different opinions and norms.  Who is to say that one person's norm which is different from other,  is better or worse than another's norm.

 

Whether a culture thinks it is good etiquette to slurp their soup and belch, or not, depends on that culture.... What really matter is whether a person is good or has intention of harming other... that is the whole point.

 

PS:  The only JUSTICE that Ji-an got in her entire life, was through AJUSSHI'S FIST! not the court, not the justice system, not the police.  Justice for the middle and upper class is via their lawyers and state apparatus.  for the down-trodden who cannot afford a lawyer, justice is the left over that society throw to the poor, like the bone to a dog unless the dog happens to be lucky and has a kind master..... My Ajusshi clearly points this out....

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27 minutes ago, mylovelystar said:
Spoiler

 

Simply amazing. Mydramalist score is currently at 9.3 and I believe it's sitting at number one spot. Which three Korean dramas sit higher on the Chinese site?

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Interesting observations on rewatching (for the nth time):

  • YH doesn't have any pictures with DH / the three of them together on her office desk. When DH was still working at Saman E&C, surrounded by the watchful eyes of coworkers, he probably felt a social obligation to feign a happy marriage, through happy pictures of the three of them together. He adds his family picture to his new office (after being promoted to director) almost as an afterthought (*dusts photo frame* "I guess I should add this one too."). But at his own company, he feels free to be honest. Yes, YH is still an important part of his life - as the mother of his child only; he no longer feels the need to feign a happy marriage via a "complete" family unit picture anymore. YH probably practiced independently (I don't recall seeing coworkers in her office space) and never felt the need to confine to the societal norm of happy marriage pictures at her workplace... so at least her office space looked honest.

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  • My favorite meta comment in ep 1: No one would watch a show only about ahjussi's, so DH recommends the missing ingredient... a woman... and then in the next scene, we see who the "woman" in this show is... Not some pitiful kid who needs fatherly affections, but a woman. How many more subtle hints do you need, people?
    Spoiler

    qEIUGVe.jpg

 

  • KH and SH find out about JA early on in the series, and they tease DH to death about her. But remarks meant to be jokey become very real later on... (Also, DH starts calling her a "kid" to thwart their teasing.)
    Spoiler

    exV4ZGa.jpg

     

    uzbjaRs.jpg

    I find it interesting that the latter sequence forms the opening scene for a third of the episodes. It must have some meaning.

     

    QFiwyDi.jpg

    6FtVURe.png

     

    JA / Fire = temptation... DH is clearly shaken after she attempts to kiss him... Where did the father / daughter thingy come from?!

 

  • When his brothers realize that their relationship / feelings are no joke, they stop teasing DH completely. Instead, they start looking out for him - changing the topic from JA when it gets tense, calling DH when they spot her at JH's. When they do ask him about JA, they do so out of concern and aren't joking around.
  • Coming from someone who's watching Reply 1988 right now, this scene is reminiscent of the bus scene where Jung Hwan pops his muscles to keep others (and himself) from bumping into Duk Seon. Clear romantic undertones. 
    (I guess JA's shadiness does spoil it a bit... but the romantic undertones are there.)
    Spoiler

    aIMfDMQ.jpg

     

    giphy.gif

 

  • JA's Ahjussi was always drawn to her simplicity / straightforwardness, starting with her resume. Even before the wiretapping started, both of them were strikingly honest / straightforward in their interactions.
    Spoiler

    nA6icFZ.jpg

     

     

     

    PELON85.jpg

 

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I want to share my thoughts on what I've read on the last few pages here but I need to gather them first.  So, in the meanwhile, I thought I might include the first words we hear in My Ahjussi at Saman E&C and contrast them with what we hear in the last episode at Dong Hoon's Structures Company.  I think I see some hints the PDnim's trying to throw at us, because we all know that nothing is wasted with him (or the writer).

 

What I'm hearing in epi 1 is unsurety, lack of sufficient manpower and reinforcing materials, etc.  What I hear at DH's company is certainty (because of expertise) and a firm plan to provide in the case of an emergency - an escape route, because the current blueprint will not cut it.  Notice that while DH talks of an escape route, the camera pans over the pics on his desk.  Might that allude to his escape from an unhappy marriage and life with the help of Ji An?  Could the "current blueprint" mean that marriage?  Am I reading too much into this?  You be the judge!

 

 

Episode 1 - At Saman E&C...

 

Well, we don’t know about that yet.

Can’t we use something else?

We don’t have enough manpower, so that’s…

I don’t think you will be able to reassign it now.  Yes..

We’re a bit short on concrete.  So I think we’ll need another way to reinforce it.  Yes.

Have the initial plans been submitted yet?

So how many people are using concrete?

How many people would it take, then?

Alright, so after creating the blueprint for this…

Did you get a call from them yet?

No, not yet.

Oh, this one.

Huh?  100 x 22 millimeters?

I told you, there are only 10 on site.

I don’t think 10 will be enough.

The issue there is the fire escape door here.

Let me look at the screen for a second.

What do we do?

Let me look at the screen for a second.

We’ll have to reinforce it through any means necessary.

But how, without cement?

Is it a newly built building?

That one is, and the other one isn’t.

What did you decide to do about that?

Did you decide to paint the wall, or…

Since it’s a new building, I think that we’ll need to be careful since they might decide to put molding on the wall.  

The fastest that we could…

(YELL because of flying bug)

 

--------------------

 

Episode 16 - At Dong Hoon Structures…

 

At first, we thought that the SG2 here was the problem but it turned out that the pillar here wasn’t connected well.

CEO, you have a call from Yeonwoo Structures. I’ll forward it to you.

Hello, you’ve been transferred.

Yes, yes, I checked it.

But we need to consider a possible emergency.  In order to evacuate 4000 people in 20 minutes we will need another escape route (panning desktop pics of family) Yes, it won’t be possible with the current blueprint we have.

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15 hours ago, ninaanin said:

 

lol You were so polite!!! Maybe because I'm Christian I will feel myself freeler to be more "rude" lol. 

@ninaanin and @justamom, I am a Christian and saw no rudeness in your comments. The pastor has replied back and posted a question to you, @justamom. After you read it I dare you to show him the link to your fabulous fanfic. :lol:

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8 hours ago, chickfactor said:

 

 

인천경기

사랑하면 도청도 ok? '나의 아저씨'는 19금이어야 했다

[TV 리뷰] 뒤끝 있는 드라마 후기 <나의 아저씨>

김선희(good77)

18.05.28

 

If It's Love, than even Phone-Tapping is ok? "My Ahjussi" should have been rated Age 19

[TV Review] Thoughts after Drama is Over

Kim, Sun-Hee

5/28/2018

 

이미 지난 5월 17일에 종영한 tvN 수목드라마 <나의 아저씨>를 다시 한 번 곱씹고 싶다. <미생> <응답하라 1998>의 계보를 잇는 수작이기에 그 여운에서 쉽게 빠져나올 수가 없었고 시청률에 비해 많은 애호가를 남긴 작품이기에 두고두고 파장을 남기리라는 예측이 들기도 한다. 한편, 어린 여성과의 이성교제를 로망 하는 남성들의 삐뚤어진 성의식을 비롯한 각종 논란도 끊임이 없었다. 그럼에도 불구하고 나는 이 드라마를 한 회도 빠짐없이 본방사수로 즐겼다. <나의 아저씨>는 진한 사람 냄새를 풍긴 <미생>과 <응팔>의 빈자리를 메꾸어 주며 헤어 나올 수 없는 공감의 장으로 나를 끌어 들였다.

 

I want to think over "My Ahjussi" once more, which has already finished airing. It is a masterwork that follows the pedigree of "Misaeng" and "Reply 1988" so it is difficult to escape its 'imagery' and compared to the viewer ratings, it has inspired a great deal of fondness, so I have a feeling it will have a long, lingering impact. On the other hand, there is never-ending controversy calling attention to the twisted "sexual consciousness" of men who desire relationships with young women. Despite that, this drama was “can’t miss” for me, and I enjoyed it. “My Ahjussi” had the deep, human scent of “Misaeng” and “Reply 1988” and filled the empty space that those dramas had left, enveloping me in an inescapable [__] of sympathy.

 

이 드라마를 수작으로 꼽는 이유는 다음과 같다.

 

These are the reasons I determine that this drama is a masterpiece.

 

첫째, 소름 끼치게 섬세한 현실묘사를 통해 인간성 회복에의 깊은 성찰을 이끌어 냈으며 평범한 이들의 삶 속에 내재한 철학과 미학이 깊이 있는 감칠맛을 더했다.

 

First, it depicted reality in such shudder-inducing detail that it inspired deep introspection about the recovery of humanity, and in the lives of these plain people, the savory flavors of philosophy and aesthetics were inherent.

 

둘째, 동훈과 지안이라는 주인공들의 캐릭터 매칭이 그야말로 기가 막혔다. 동훈을, 그리고 지안을 더는 다른 인물로 상상하기조차 어렵게 했다. 그들은 그간 보아온 이선균과 이지은이 아니었다. 그들 본래의 모습이 다른 매체를 통해 나올 때면 오히려 낯설어 고개를 돌리고 싶을 지경이었다. 두 인물과 배역의 매칭이 드라마의 중반에서 후반으로 갈수록 드라마 완성도의 반은 차지하는 게 아닐까 싶을 정도로 꼭 맞는 옷이었다.

 

Second, Dong-Hoon and Ji-An, the main characters, their match was truly amazing. You could not imagine either of them played by anyone else. They were not the Lee Sun-Kyun and Lee Ji-Eun we had been watching before. It was to the point that if we watched them in their previous works (in other mediums) it felt unfamiliar and you wanted to turn your head. It made you wonder if half the work of a drama is about finding the right actors for the parts, that was how perfectly it fitted them.

 

셋째, 다소 낯선 조역들의 거칠거칠한 연기마저도 흡인력 있는 연출로 녹여내어 주인공과 조역의 구분이 모호할 정도로 살아있는 묵직한 캐릭터들을 완성시켜 나갔다.

 

Third, even the small roles and their rough characters showed so much charisma and gravity that the lines between the main characters and supporting characters blurred.

 

그러나 끝내 눈 감아 주기 어려운 문제가 남아있다. 드라마는 남녀 주인공의 나이 격차를 비롯하여 과도한 폭력, 범죄의 미화, 양성 불평등 시각 등에 대한 끊임없는 논란의 대상이 되었다. 그럼에도 불구하고 자신들의 이야기를 우직하게 이어 나갔다. 결국 그 모든 것이 더 크고 중요한 의미로 귀결됨으로써 아름답고 강렬한 메시지를 남기며 박수갈채 속에서 마무리 되었다. 첨예한 경계들에 치여 잔뜩 움츠린 채 살아가는 현대인들의 가슴 속에 깊은 연민과 뜨거운 인간애의 존재를 확인시키며 따뜻한 치유의 메시지를 남긴 것이다.

 

But there are still many problems that we close our eyes to. On top of the age difference between the main character, there is excessive violence, glamorization of crime, inequality in education level, etc. - it became the subject of endless controversies. But everyone was wrapped up in the larger meaning, and left a beautiful and strong message, so it concluded amidst a storm of applause. In the hearts of the modern audience who live repressed lives due to the hard lines of our society, they felt the existence of strong sympathy and humanity and (the drama) left them a warm, healing message.

 

이 드라마를 보면서 나는 내내 허리춤에 찬 전대에 손을 대고 야바위꾼의 놀음을 지켜보는 심정이었다. 드라마가 가진 문제적 요소들이 선명한데, 뭔가 정신 줄 놓고 구경하다보면 내 전대의 돈이 다 야바위꾼의 호주머니로 들어갈 것만 같았다. 아니, 어느 지점에서는 차라리 속아버리고도 싶었다.

 

Watching this drama, I felt like I was watching a swindler with his hand on my money pouch strapped to my waist. The drama’s problematic factors were clear, but when I watched without paying attention, it felt like the swindler’s hand reached inside my money pouch. No, at some points, I preferred to be deceived.

 

내가 목격한 <나의 아저씨> 속 문제적 요소들

 

The Problem Elements of “My Ahjussi” that I Observed

 

내가 발견한 문제적 요소는 다음과 같다.

 

These are the problem elements I discovered.

 

첫째, 기성인 남성과 어린 여성에 대한 이성 관계구도는 엄연히 의도된 것이다. 드라마 안에는 수많은 연민의 대상들이 있지만 동훈은 유독 지안(이지은 분)에게 너무나 깊게 이입하고 과하게 행동한다. 드라마는 이러한 의혹을 세련되게 따돌리면서도 의미 있는 빌미를 제공하기도 한다.

 

First, it was clearly the objective (of the drama) to show a romantic relationship between an adult man and a young woman. There are many pitiful factors in the drama, but Dong-Hoon treats only Ji-An with too much deep empathy and his behavior (towards her) is excessive. The drama subverted these “suspicions” in sophisticated ways and provided meaningful pretext.

 

발목이 드러난 짧은 양말에 낡은 운동화를 신은 지안의 발을 내려다보며 동훈(이선균 분)은 말한다. "추운 겨울에 발목이 드러나는 양말을 신는 건 왜지? 섹시하다고 생각하나?" 동훈이 지안과 술 한 잔 하던 술집에 들어서서 지안을 찾는 듯 두리번거리다가 술집 주인에게 묻는다. "전에 저랑 같이 왔던 그 애 혹시 안 왔나요? 왜 그 예쁜 애..." 드라마 감독은 남성과 여성이 아닌 인간애를 그리고 싶다고 밝히면서도 굳이 '섹시함', '예쁜 애' 등을 언급함으로써 굳이 남녀관계에 대한 시청자들의 기대감을 잠재우지 않는다. 시청률과 비판여론 잠재우기의 두 마리 토끼를 잡는 노련한 사냥꾼이다.

 

Looking down at Ji-an’s feet in short socks that exposed her ankles and wearing worn-out sneakers Dong-Hoon said, “Why do you wear such short socks in winter? Do you think it’s sexy?” He goes to a bar in which he had a drink with her before, looks around and asks the owner, “Did you see that girl who came with me before, by chance? That pretty girl…” The drama’s PD insisted that he wanted to depict human love rather than man-woman love, but he insisted on referencing “sexiness” and “pretty,” thereby not letting the viewer’s expectations for romance die. He is a skilled hunter who killed two rabbits with one stone: high ratings and silence the critics.

 

둘째, 폭력과 범죄의 미화이다. 드라마 속 피해의식은 주로 폭력으로 대처된다. 특히, 혈연이나 지연으로 맺어진 연대의식은 과한 감정이입으로 갈등의 주체가 성인임에도 불구하고 스스로의 판단으로 대처해나가기 어려울 만큼 온통 뒤얽히기 일쑤이다. 40대 중반의 주인공과 그 가족들은 각각의 삶 속에서 독립하지 못하고 서로에게 매몰되어 있으며 끈끈한 지역사회의 연대 또한 따뜻한 인간애과 집단이기주의의 경계를 수도 없이 넘나든다.

 

The second is the glamorization of violence and crime. In the drama, the “victim mentality” is handled with violence. Especially, there is a “solidarity conscience” in which familial or tribal rules govern their actions (rather than government rules), in which people determine for themselves what is right despite being adults, and to assume all consequences (in proportion to) how difficult their lives are. The main character who is in his mid-40s and his family have each failed to achieve independence from such existence and continue to surround each other, and band together in a “sticky” bond and straddle the line between warm human love and collectivism.

 

무엇보다 가장 심각한 점은 지안의 도청에 대한 미화이다. 지안은 범죄를 목적으로 동훈의 휴대폰에 도청 프로그램을 심고 도청을 하게 되지만 그 과정에서 동훈에게 연민과 사랑을 느낀다. 그러나 동훈이 더 이상 적이 아닌 같은 편이 된 이후에도 도청은 계속된다. 동훈의 편에 선 지안은 도청을 통해 그를 더욱 더 연민하고 지지한다.

 

The most serious thing is the glamorization of Ji-An’s phone-tapping. She begins tapping Dong-Hoon’s phone with the purpose of committing a crime, but through it, she feels compassion and love. But even after she becomes “on his side” and no longer his enemy, the tapping continues. After she is on his side, she feels more compassion and supports him more through the phone-tapping.

 

많은 시청자들이 뜨거운 눈물로 함께한 명장면 중 많은 장면들이 도청 상황에서 벌어진다. 도청을 통해 그 누군가가 나를 진심으로 사랑하고 아끼게 된다면 도청을 당해도 좋을까? 이 세상 그 누가 나를 도청해도 상관이 없을 수 있을까? 백 번 천 번 생각해봐도 끔찍한 일이다.

 

Through the hot tears of the viewers, many excellent scenes are shown that involve the phone-tapping. If someone comes to truly love you and you become precious to them, then is it okay to be phone-tapped? In this world, is it ever okay to be phone-tapped? I think about this 100, 1000 times, and it is still appalling.

 

이 드라마는 등장인물, 또는 시청자들의 공감을 이끌어내는 가히 천재적인 연금술사이다. 특히, 도청은 연금술사의 가장 효과적이고 참신한 도구로 사용된다. 그것이 너무나 아름답게 그려져 있다는 점은 심지어 두려운 마음까지 들게 한다. 그래서 이 드라마는 최소한 19금이었어야 한다.

 

This drama is a genius alchemist, able to draw out the emotions of the viewers. Especially, the phone-tapping becomes the alchemist’s most effective and novel tool. That this feels beautiful actually makes me fearful. So this drama should have been rated Age 19.

 

셋째, 드라마의 인물, 이야기, 주제 그 모든 것을 한 코에 꿰고 있는 남성 중심 구조가 가장 불쾌한 문제적 요소이다. 동훈의 아내, 윤희(이지아 분)는 바람을 피운다. 상대는 하필이면 세상 착한 동훈의 숙적인 도준영(김영민 분)이다. 그럼으로써 윤희의 외도는 그 누구도 연민할 수 없는 완벽범죄가 되고 만다. 극중 인물들도 시청자들도 그녀를 연민할 이유가 전혀 없다.

 

Third, the biggest, most unpleasant element is that it is centered on one cuckolded man. Dong-Hoon’s wife, Yoon-Hee is having an affair. Her partner happens to be an old foe of her good-hearted husband. Thus, Yoon-Hee’s purpose becomes a "perfect criminal" than no one can sympathize with. None of the character nor any viewer has any reason to sympathize with her.

 

윤희는 직업적으로 성공한 여성이고 착한 남편과 인간미 넘치는 시댁 가족들에게 떠받들어지는 여왕 같은 존재이다. 그러나 그녀는 외로웠다. 남편은 결혼 후 한 아이의 아빠가 되어서도 어머니와 형제들만을 최우선으로 인식하며 윤희에게 정을 주지 않았다. 거의 하루도 빠짐없이 형제들이나 동네 친구들과 어울려 윤희의 곁을 비우기 일쑤였다.

 

Yoon-Hee is successful in her career, with a kind husband and treated like a queen by her humane in-laws. But she was lonely. Even after her husband became a father, he regarded his mother and brothers first in his heart and did not give affection to Yoon-Hee. Without missing a day, he hung out with his brothers and neighborhood friends, leaving the spot next her empty.

 

결혼은 했지만 마음은 독립하지 못한 채 부모형제, 친구들의 대리 만족을 채우기에만 급급한 서늘한 결혼생활이었다. 드라마는 그런 윤희가 동정 받을 수 없는 단단한 장치를 마련해두고 동훈의 외로움을 부각시킨다. 더군다나 윤희 자신마저도 스스로를 맹렬히 비난하고 동훈의 어떠한 처분에도 순응하리라 결심한다. 동훈의 마음을 지배하고 있는 지안의 편에 서서 진심으로 돕는 것으로 속죄하기도 한다. 잔인할 만큼 남성의 입장에 편중되어 있다는 느낌을 지울 수가 없다.

 

He married, but his heart could not become independent, and he found social satisfaction with his parent, brothers, and friends, so it was a chilly marriage. The drama made sure that Yoon-Hee could not receive sympathy and emphasizes Dong-Hoon’s loneliness. Not only that, Yoon-Hee herself reproaches herself harshly and determines that she will accept any punishment that Dong-Hoon gives her. She even atones by taking Ji-An’s side, the woman who now fully occupies Dong-Hoon’s heart and helps him sincerely. It cannot be denied that the story is weighted towards the man’s perspective to the point of cruelty.

 

한편, 동훈의 형 상훈(박호산 분)과 동생 기훈(송새벽 분)은 지안의 존재를 의식했을 때 분명 들떠 있었다. 젊은 여자애와 동훈 사이에서 뭔가 썸이 생기나보다 즐거워하고 부러워했다. 그랬던 그들이 윤희의 외도를 알게 되자 동훈보다 더한 분노와 슬픔을 드러냈다. 적어도 한 드라마에서 나란히 표현하기에는 너무도 염치없는 장면이 아닌가 하는 불쾌감을 누를 길이 없었다. 결국 마지막 회에서 보여준 빈집에 홀로 남아 지안을 떠올리며 오열하는 동훈의 모습을 통해 내심 동훈과 지안의 관계를 지지하는 여지를 남겼다고 생각한다.

 

On the other hand, Sang-Hoon (older bro) and Ki-Hoon (younger bro) were excited the moment they became aware of Ji-An’s existence. They wondered if a flirtation had begun between a young woman and their brother, Dong-Hoon, and they became happy and envious. And when they found out about Yoon-Hee’s affair, they became even more enraged and sad than Dong-Hoon did. To show these scenes side-by-side in the same drama feels so shameless that I cannot suppress my feelings of displeasure. In the final episode when Dong-Hoon sobs in his empty house while thinking of Ji-An did we finally have the “space” to properly see the relationship between Dong-Hoon and Ji-An.

 

완벽한 범죄자 윤희에게 상처받고 회복이 결코 쉽지 않아도 되는 동훈, 그 아저씨의 승리이다. 동훈은, 그리고 자신의 성불을 위해 일방적으로 정희를 떠나 정희에게 있어 평생의 한으로 남은 겸덕(박해준 분)은 소위 말하는 대의명분을 위해 윤희를, 그리고 정희(오나라 분)를 희생시킨 것일까? 이 지점에서 소위 큰일 한다는 사람들의 변명거리로 남용되는 '대의명분'이라는 표현에 대해 조소가 번지는 것을 멈추기 어려웠다.

 

After being wounded by the perfect criminal Yoon-Hee who cannot recover easily, that is this ahjussi’s victory. And for the pursuit of his personal nirvana, Kyum-Duk left Jung-Hee, leaving her with lifelong regret. So for “the greater cause” (of their men) were Yoon-Hee and Jung-Hee sacrificed? It’s hard not to jeer at the excuse that people make for “the greater cause.”

 

결론적으로 이 드라마에서 다뤄진 사랑은 그다지 건강하지 않았다. 여러 인물들이 결혼을 통해 독립한 이후에도 원가족의 욕구에 지나치게 이입하고, 정신적으로 독립하지 못했다. 게다가 그 가족이라는 개념마저도 남성의 혈육 중심으로 편향되어 있었다. 동훈과 지안, 두 남녀의 서로에 대한 사랑 또한 자기연민에 의한 과도한 감정의 매몰에 불과했다.

 

In the end, the love(s) depicted in this drama is not a healthy one. Many characters have focused too much of the needs of their original family and never became independent even after their marriage. And the very concept of their family is too biased towards the man’s blood relatives. Dong-Hoon and Ji-An, the man and woman couple is based originally on excessive compassion.

 

끊임없이 따뜻하고 깊은 인간애를 말하지만...

 

It speaks of endlessly warm humanity, but...

 

드라마는 끊임없이 따뜻하고 깊은 인간애를 말한다. 그러나 그 모든 것은 누군가의 무조건적인 희생과 헌신을 전제로 한다. 결국 과거의 남성중심 사회로의 회기를 꿈꾸는 기성세대 남성의 욕망이 너무나 잘 만들어진 드라마적 기술 속에서 세련되게 주입되고 있다. 그러나 긴 여운만큼이나 다양한 감상평을 남긴 후기를 접하면서 나는 더 큰 괴물을 발견하게 되었다. 생각보다 많은 사람들이 이 드라마를 통해 "나도 이런 어른이 되고 싶다"고 말하는 것을 보게 된 것이다.

 

This drama speaks of endlessly warm humanity. But it is based on someone’s assumed unconditional sacrifice and devotion. It skillfully and sophisticatedly indoctrinates a very old-fashioned patriarchal perspective. But after absorbing its lingering imagery and the many varied opinions, I discovered an even greater monster. More than I expected, I witnessned many people saying, “This is the type of adult I would like to become.”

 

그 어떤 드라마가 이렇게 손쉽게 수많은 남녀노소를 한 순간 착하고 순수한 어린이로 만들 수 있다는 말인가. 이 지점에서 기성세대 남성의 욕망마저도 이 사회가 품은 욕망을 위해 바쳐진 희생양에 불과하다는 섬뜩한 기분이 들었다.

 

What other drama can so easily transform men and woman of all ages to kind and innocent children, in just one instant? I had a terrifying thought that even the patriarchy was a sacrificial lamb to the needs of this society. (???)

 

이 드라마 속 수많은 갈등의 해결자는 모두 개인의 몫이었다. 지안에게 깊은 연민을 느낀 동훈은 홀로 혈기 왕성한 20대 사채업자, 광일(장기용 분)을 찾아가 목숨을 건 몸 싸움을 벌인다. 청각장애에 노환까지 겹친 노조모(손숙 분)를 어린 지안이 책임진다. 그 처지를 알고 기관의 도움을 받도록 알려주는 것으로 지안은 동훈에게 구원받기 시작한다.

 

The many strifes in this drama was always solved by an individual. Dong-Hoon, who felt deep compassion for Ji-An goes alone to the feisty loan shark in his 20s, Kwang-Il and fights a life-and-death fight with him. Ji-An alone is left to care for her old, infirm grandmother who is also deaf. Seeing her situation, Dong-Hoon tells her to seek government assistance, and Ji-An begins to be saved by Dong-Hoon.

 

40이 넘은 두 실업자 아들은 노모의 집에 얹혀 따신 밥을 먹고 산다. 동훈이 광일에게 맞은 사실을 알고 후계동 주민들은 전투태세로 가해자를 찾아 나선다. 무일푼 지안의 할머니가 돌아가시자 동훈의 형, 상훈은 청소해서 어렵게 모은 돈으로 지안으로 하여금 폼 나는 장례를 치르도록 도와준다.

 

Two unemployed brothers in their 40s live with their mother, eating her warm food. When they learn that Dong-Hoon was beaten by Kwang-Il, Hoo-Gye-dong’s residents ran out prepared for battle. When Ji-An’s penniless grandmother dies, Sang-Hoon gives all his hard-earned (with cleaning) money so that Ji-An can have a grand funeral for her.

 

어머니의 한없는 희생, 가족의 기대 속에서 결코 무너지지 않는 가장의 희생, 한 남자의 뿌듯한 삶을 완성하기까지 모든 걸 감내하는 아내의 희생, 그리고 손녀, 이웃... 이 모든 것의 뒤에 미풍양속으로 둔갑한 무책임한 사회의 욕망이 숨어 있는 것은 아닐까? 이제 우리에게 새로운 형태의 삶이 주어지고 있다. 따라서 사회도 구성원의 인정과 희생에 기댄 교화와 감독의 기능에서 개인의 부족을 채우고 보완하는 보호체제로 달라져야할 지점에 와 있다고 생각한다. 그럼에도 불구하고 오늘을 사는 기성세대에게 있어 익숙한 사회의 기능은 우리의 무지함을 일깨우고 더 힘차게 살아가기를 계도하는 감독자로서의 기능이다. 그러다보니 이 드라마의 어법은 너무나도 친숙하고 구미에 착 감긴다.

 

A mother’s endless sacrifice, a head-of-household who cannot collapse due to his family’s expectations, the wife who endures everything in order for one man to achieve his fulfillment, and the granddaughter, the neighbor… perhaps the irresponsible desires of society are hidden in these “beautiful customs?” We are being given a lifestyle with a different shape. And therefore, time has come for us to acknowledge and protect individual wants and needs in our society.

 

하마터면 만만치 않은 오늘의 나의 삶에 급급할 뻔한 우리를 아주 능숙하게 회유하고 달랜다. 어느새 우리 모두 순한 양이 되어서 "그래, 그때가 좋았어"라고 읊조리게 만든다. 그러나 우리는 돌아갈 수 없는 강을 건너왔다. 먹고 사는데 어려움이 없는 사회를 이룩하기 위해 개인들은 얼마나 많은 희생들을 감내했던가. 우리의 삶은 이미 나 자신을 구원하기에도 버거운 온갖 촘촘한 갈등구조에 둘러싸여 있다. 나를 지키는 것만이 최선인 상황을 얼마나 많이들 경험하고 있는가.

 

먹고사는 문제를 해결했으니 사회의 보호를 받을 차례라고 말하는 개인들에게 <나의 아저씨>는 말하고 있다. '예전이 좋았지 않느냐고, 그게 진짜로 살아가는 맛이라고' 따뜻하고 아름답게 타이르고 있다. 여기까지 느꼈을 때 내 마음 속에서 <나의 아저씨>라는 제목은 <그저 꼰대>로 둔갑한다. 야바위꾼의 화려한 손기술은 딱 여기까지이다.

 

--

 

I got too tired and I'll translate the rest later.

 

My impression:

 

It's too philosophical. It's not really an actual TV review. The conclusion is about how this show promotes old-fashioned values of total sacrifice and that our modern society does not need this kind of message?

 

Ugh, I don't know. This one gave me a headache.

 

There is no real conclusion, just some comments about how people shouldn't sacrifice themselves for others and instead look out for themselves instead, but this show sends the wrong message ... and I'm doubtful that it was written by a staff writer, but looks like some blog post instead? No real conclusion, just a string of observations.

 

  • Confused 1

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