That is so cool, yeah living in America that would not ever happen...lots of crazy stalker fans who go overboard. Hopefully if I ever run into a celebrity that I love I can do something nice like that for them...a girl can dream!!!

FuschiaPink -- Well, I don't know what your taste is and I don't want to tell anyone what to or what not to watch... But Devil IS a very well-made show, and if you take a look at the prior work of the production team, Resurrection -- which I admit I didn't catch but has received near-universal praise -- it's got a pretty high pedigree. So if you're enjoying it so far, I'd keep watching.

How cool! Also living in America I see your point- it'd never work in Hollywood. I used to thing fans in asian culture were too overtop (though you can sense obsessive-ness) but its really nice how they send gestures of support. Being a JJH supporter got me interested in Mawang, but the more I hear the greater my anticipation grows- can't wait till i can watch w/ Eng subs

Well I've watched Mawang / The Devil to the end (unfortunately not all episodes had English subs).. But it's a very stylish well directed crime drama.. It doesn't fit the romance comedy genre but its something worth watching if you appreciate great work. Ju Ji Hoon acted very well (it's a role he was born to play) so did Uhm Tae Woong.. Even though I wasn't a big fan of JJH after Goong (found it overrated) this drama sure made a fan out of me..

thats really good and teh yhevil series its really good, and i thought waht japanese fans do its worth it with this series coz this series its really different from teh other korean series and once again its really good. especially JJH and SMA i love they're chemistry.
javabeans do you have the devil ost coz, i really wanna have this ost. the soundtrack its really cool

Hi R and Javabeans, i'm thinking of catching "the devil" but does it have a happy ending? sorry i just have this thing abt watching dramas that end tragically... thanks for sharing

I'm amazed at the level of access they have too. I think the Asian entertainment community are a lot more in tune with the fans, and vice versa.....I mean, counting the incident with the girl from Goong and the DBSK incident, that's only two times I've heard about stalker-type things happening. But in America, it's like, "No way! Nuh uh." The only reason they've never gotten in trouble is that the security's so beefed up. But the Korean stars give their fans so much access it's a wonder nothing ever happens.
Then again, they seem to be a lot more organized. Really huge fan clubs, with the presidents having quite a bit of power. It's odd. ^^ Especially after I read the manhwa Chocolat, which tells about the relationship between a fan and a star.
I wish to watch it too, for JJH....but I'm a romantic comedy fan. I'm not sure I can do such a high crime drama.

i just finished watching The Devil yesterday and it's awesome.

I liked this series a lot. Not only that I praise JJH acting here as much as I loved him in Goong. In this series all actors played well. BTW, I like the girl in here. I think the series as a whole was done in good taste. I felt the romance and cried with the protagonists.

@linda-palapala

Lets go retro. This is the only 2007 post I can find on Dramabeans.

I am up to episode 06 at the moment. As such, the following are just thoughts in progress as I thought it may be more interesting to discuss ideas as you know more about this drama than me.

OMG the skill level in Kdrama land has radically changed in 10 years.
I am still trying to get a read on it as it is no where near as integrated as we now have. I think the advance is a result of the smaller camera rigs, digital editing and skills cross over from Chungmuro.

So we have the 3 main characters
- Mephistopheles
- Faust
- Gretchen

The library location is Mephistopheles the scholar.

You are right....Verticals everywhere...
I am still trying to nail down the verticals...I think this is either the cage or an extension of each person as a book - fate already written.

CAMERA
The camera moves differently for each of them:
Oh-Soo - camera often moves backwards (often off kilter and even shaky hand held)
Seung-Ha - camera appears to move forwards and at angles (always on a dolly)
Hae-In - The overhead shots are interesting...particularly with her gift.

WARDROBE
The white on Hae-In stands out particularly against the 2 black males. This could be the innocent Gretchen. However, I suspect it is more; and it depends if this is the old-world damnation version or the Victorian redemption telling of the story. My hunch is they are playing Gretchen as an fallen angel.

@linda-palapala

I am still working up to an overall take. However, below are some initial observations on the noir visuals

THE DETECTIVES’ OFFICE
This is an unusual space for a Noir. It starts as a space without shadow (There are no shades of grey here). As Oh-Soo’s past catches up with him, the room is slowly contaminated by shadow and he has shots where he is ½ and ½ (even though the other characters are still almost shadowless)

This is not the usual noir detective’s office as a refuge from the world. These detectives are in a fishbowl (windows on 3 sides of the room) yet without traces of the outside.

LIBRARY
The collection shelves are shot as a corridor with a blown out light at the end (symbolism????). In this location, we get scenes with asymmetrical balance of 2 characters separated by distance yet both in focus. The depth of field is tightly aligned to the length of the bookshelf corridor.

BLOCKING
Rather than blocking shots with light/dark typical of classic Noir, now the effect is by physical obstructions (walls, people and objects). This ramps up as we move through the episodes and characters become more ensnarled in their own past. Some scenes leave only a sliver of the face to both isolate them and exaggerate our attention.

I suspect they were trying to create a blocking effect with the split screens, but this does not appear as successful. (I need to wait to see if this has another meaning that has not been revealed yet)

CLOSEUPS
Close ups are ratcheting tighter each episode to compress the protagonists as the secrets threaten their normality.

The camera explores characters in detail before revealing them. Often starting with their extremities…only to track along their body before going to their focus of intention. Characters aren’t seen, they are analysed…we are not neutral; we are warily inspect them to judge.

INTERROGATION ROOM
The single central actuated light blocks all detail but the faces. We don’t see nervousness expressed on the body. Now we only focus on emotions through expressions. Not as we normally see them but accentuated by the up lighting. Contrary to convention, in this interrogation space, no one is dominant; instead the most comfortable are those who are at home in the dark.

TEA ROOM
This space’s central light has parallels to the INTERROGATION ROOM. However, it is circled by indirect colour lighting. Here, Hae-In’s light clothes and face are brought to life by this ring of colours so she controls the space. This effect is amplified by her shots being colour/emotion themed and she is clearly separated from the other characters by being framed with a different colour.

@linda-palapala

Character Visual update (I am currently up to episode 10).

Not only does the episode 6 start with the arresting sequence ending with Seung-Ha’s gothic skeletal wings. It then continues this visual device in the following scenes by stageing them so his forest wings and vertical stripes (pin-stripe suit, building) appear to ensnarl Oh-Soo. Shots are framed so Seung-Ha is an extension of the forest and in the background forest surrounds Oh-Soo. Here visually Oh-Soo has no escape from his past. It is such a nice visual device, I immediately thought it was reminiscent of Macbeth with Seung-Ha bringing the forest of Dunsinane (wrong story :D).

It delivers this fully in ep07 when we learn about Seung-Ha’s direct association of the tree with death. General scenes that have a foreboding element now use this branch motif.

Young-Chul is also starting to share the branching visual with Seung-Ha. It has reappeared at a number of his pivotal scenes: The phone box, in the park with Sora.

Originally I thought this might mean that Seung-Ha was pulling the strings. However, Seung-Ha actions make it now look like they may be associated. (I am concerned the use of the motif will be caught out by the change in seasons as the branches are already starting to show signs of buds).

Hae-In’s home has been interestingly out of place and the association of Seung-Ha with skeletal branches may have revealed the intent. Vertical lines totally dominate the exterior of Hae-In’s home. However, her interior is floral in an obvious contrast to the other visual elements of the drama – potentially this is to set a equal but opposite role to Seung-Ha (2 bladed sides to the sword).

The Episode 7/8 scene of Oh-Soo + Hae-In in the library is so interesting. Both characters are placed in a similar spatial construction in the collection. However, on Oh-Soo’s side, the subtle turning over of the books to physically extend out of the shelf and reveal their pages (rather than spines) give the feeling he is now trapped inside the books. Where as Hae-In is still a separate keeper of books.

Episode 8 and 9, shadows become far stronger and expressive. In these episodes, the actor groupings are starting to use asymmetrical balance with deep depth of field. However, both the visual of the drama and the immersiveness of the story are hampered by the traditional actor to camera dialog scenes. Although these latter scenes establish a strong blocking, it is not enough to dial up the emotional level and these scenes feel static.

Just a note. Have you notice that in Mawang, wardrobe and hair remain almost consistent. Not only in each shot, but characters have remained almost in the same wardrobe in all the episodes. This is totally different to where Kdrama is at now. EG. BTIOFL the hair and wardrobe changed to allow it be part of the visual language not only across episodes, but also within individual shots. This is a more...

@linda-palapala

Episode 11 was all sorts of interesting.

I noticed the sound much more this episode. I don’t know if that’s because of your comment or it was just different. The piece of music that was almost a Russian dirge for Seung-Ha was fantastic. (Particularly after Over the Rainbow) So…much…melancholy.

I haven’t notice the low base note (I will listen for it), but it doesn’t surprise me. It would be a great device for the character

The show as uses car mirrors to almost get a Claude glass effect on several scenes. It was uber good this episode with the shady dealings in the car.

I was so worried about the show losing its tree metaphor with the change of season. Instead, it just found new expression. The scene of Seung-Ha + Hae-In walking under the cherry blossoms was the mixing of their two hidden metaphors (dark branches and chintz florals).

The tarot cards moved from being a statement of fact to now being obscure for all involved. People who have them are obfuscating and Seung-Ha getting one throws motivations up in the air. Just after Seung-Ha receives the tower card, the camera deliberately goes to dutch angle and in the next scene his wardrobe changes and for the first time he matches Oh-Soo’s as he sits drinking.

Oh-Soo’s confession at the end is not as Seung-Ha attempted, in a church, but to Hae-In (interesting…). Here he expresses what has become evident for the several preceding episodes. His actions have unleased irrevocable forces on those around him, absolution for himself can’t remove the effects on others. He is now at the point where he realises he may not be who he wants to be… and to look into one own soul is a scary thing.

@linda-palapala

Ep12. Lots to write on this episode as the drama is starting to come together. I Suspect later episodes wont generate as much analysis as they will be more about how the rules are applied not where I just start to see the rules as now.

The story is gathering pace. The plot is both opening up to reveal more of the antagonists. At the same time it squeezes the main actors tighter into their demise. It is now clear that all players are unable to take the way out Hae-In gives in episode 5 (where she both gives the whole story, and gives Oh-Soo the way out (which he rejects).

Oh-Soo continuously talks redemption, yet his actions remain personal, where he determines if the actions are suitable for it. I suspect the show is leading to the point where redemption requires the offering of self (weather it is taken or redeemed is for the other to decide).

The following is not to diminish the story or sound of the episode but to just cover how visuals are getting better as the drama progresses…I cant believe this was bottom of its time slot in its ratings. I suspect if the show was able to deliver its vision that it is able to do now (ep12) at the start…It may have not given up its early viewer interest

Ep 12 has lots visually to play with. This show is getting so good at its staging sequences (at or near the start)…I think this one was its best so far.

As Seung-Ha listens to the recording the apartment is in that over-the-top blue light. As we reach the moment where his past is outed, he cuts his finger to see his inner redness (is this his humanness or other), then as he contemplates the ramifications of the information he is instantly ambiguously haloed (or inspected) by the glare of the white spotlight…Once he recomposes himself, he then displays the darkness within his red reflection (nice repeated use of the red fridge).

Hae-In is starting to share visual associations with Seung-Ha. Before the end of the apartment scene, Seung-Ha returns to blue behind the branching wire screen. We later cut to Hae-In who now is in the same solid blue outside against the branching vegetation.

.....Continued below

@linda-palapala

RE: YELLOW
In this exercise, we are trying to work back from the finished drama to unpack the ideas the creators have used to construct their work and embed meaning. (I often find the visuals can be a more literal take on the drama events as most viewers are not fully aware of this aspect and only react emotionally to them).

All we can do is work with the rules the creators set.

Its important to remember, we are not being absolutist, films that do strictly apply the visual rules become incredibly abstract…”Hero”, “The Cook, the Thief, his Wife and her Lover”. All we can do is look for the clues and use our judgement and its context to see if it conforms to the reading. Some elements will be easier than others. Eg. back lighting (its always applied so it wont be a random colour). Items applied in post-production or filters applied to camera. Eg. When a shot is colour shifted to emphasize a particular colour

……………………………
Excuse this tangent paragraph…
Cultural readings are not universal.…There was a conceptual project to sign radioactive waste for 10,000 years (which is nothing compared to the 250,000yr danger). Key learnings were that cultural constructs were not fixed + 10,000yr is longer than any human culture or language so we have no history of retaining artefacts/meanings at that scale… There is no singular cultural reading and meanings change over time.
……………………………

….Cont below

@linda-palapala

RE: Blue.

OOOOH. The tunnel reference is great; I think that adds so much.

……………….

BLUE = The unseen actor.

Fear not, this is not a technical term; it’s just me making my best interpretation of how the colour is used for character motivations (we’re both doing an estimated guess). What I was trying to say in this term was: these are characters plotting events but others are unable to see their role.

Seung-Ha is the clearest for this with his duality of hidden/seen. He is both seen as a player (lawyer) but is unseen as Mephistopheles.
• When he is weaving his manipulations, typically this is associated with blue.
• When he is direct and known in his manipulations he is in red,
• When he is the living dead and he is constructing an appearance there is yellow.

The blue-lit house where he enacts the manipulations is very similar to the tunnel he is unable to leave. The tunnel metaphor naturally infers…if he is totally surrounded….it must also be a place where others cannot see him. (The tunnel reference would also explain the ceiling detail)

There are times when Hae-In is in blue that others cannot see her role as the devil.

@linda-palapala

Below are just some of my thoughts on points you raise in your posts above. You may see them differently, let me know.

SHADOW
Shadow is usually ramped up when conflict or threat is higher. The half-light, half-shadow is typically a metaphor for the immersion in darkness. However there are variations to the half shadow.
- If one eye is hidden, this is a particularly sinister characterization.
- If the contast is high (chiaroscuro) then the intensity of the forboding/risk increases.

BLINDS
The shots of characters at the blinds I inferred as their unwillingness to step back from the fate already written.

…”Even though God has
predetermined fate…but
people can change the
destiny”…

These characters are not just trapped but determined to stay that way (look at their expressions…not fear or resignation…all of them are defiant). In Seung-Ha's case, he is clearly not leaving his tunnel. He is now in the “Das Unheimliche” were darkness is a place of freedom (things can not be defined and they are free from others definitions).

LEAVING THE TUNNEL
Har-In is the dispassionate version of the Lucifer = the light bearer (i.e. this is not the mischief making devil…just the necessary inverse of God who judges actions). The drama indicates that eye-for-an-eye justice is a never-ending cycle of damnation. This Lucifer is not interested in perpetual darkness. She is abiding by the same rule and is encouraging people to amend fates—probably not their own, those will be judged at the time—but those of new victims.

@linda-palapala

EP13
This is an episode all about character transitions towards their final forms.

CEILINGS:
I really like the use of ceilings in this show. It uses them for 2 key readings:
- Incidental analytical plot points –bright white light – typically strip fluro.
- When characters are struggling – complex ceiling forms (Suk Jin often has this)

GROUPINGS.
The show has finally started to move away from straight to camera simple groupings of two. This facilitates more nuanced interactions between the characters and is able to show tensions and alliances.

From the very opening, the drama is gaining confidence. I think the street and tunnel scenes are homage to “THE THIRD MAN”. (now that is a great film)

THE BLUE STREET.
Oh-Soo stands as a silhouette at the apex of a bend, the “hidden actors” remain unseen. Although he is chasing a suspect, everything in the scene put him as the subject of inspection. The long shadow, the sharp edge of darkness…here he is exposed and the unseen actor toys with him. When the camera turns to see his face, he is caught in a confusion of form.

THE RED TUNNEL
Seung-Ha’s tunnel is not dark…it’s lit with rage. Its uniformity and gritty simplicity almost makes it more terrifying. There are no crevices to hide in, no escaping the endless depth and its dinginess is weeping at the surface, lit by red.

GREAT OPENING.

….Cont below

@linda-palapala

Now that I think we have similar positions on the visual structures, I’ll limit comments to where aspects are interesting regarding the story. (The visual components continue in other scenes but it’s probably unnecessary to discuss them in any detail)

THE OFFERS OF REDEMPTION
Ep14 starts with a pivotal moment where Seung-Ha rejects the offer for an out of his torment. His tears more painful as you know inside he is looking at a battle between his vengeance and his soul…He forgoes his soul for the pain of the loss of is family. As he takes his coat, the background shifts to red… His future is cast and the music returns to his dirge theme. (Great use of the yellow car) the scene finishes with him walking towards the world with both of them in asymmetrical balance with separate spotlights and both in focus.

Seung-Ha’s offer for redemption is followed by the scene where Seung-Ha in his probing of Oh-Soo, now seems to be offering Oh-Soo a way out. The result is the same. Oh-Soo won’t countenance offering of himself…instead saying only he and Tae-Hyeon know the truth of the stabbing. (This scene reinforces that we probably have never had a reliable telling of the incident). Seung-Ha’s expression at the end says it all. Whatever qualms he had about completing his task are now gone.

Interestingly the gods have not closed off the chance to change fates. Hae-In’s mother again offers Seung-Ha a path for redemption with the simple act of giving food (delivered in a yellow bag…nice touch). As he pushes her away both the offer and her interrogation of his past the shadows subtly get more contrasting and the green sign fills the background.

Hee-Soo appears to be offering Suk Jin a moment for redemption in their office conversation. However, it is couched in a threat and it is unclear if he wants him to take it or is forcing him to reject it.

Seung-Ha’s sister’s journey is completed from green to white. As she interrogates him in her room she is now white and the window is cast by a white glare. Again, she standing in the light appears to be offering a way out of his tunnel (moment for redemption) yet Seung-Ha is fixed. He chooses to stay in the shadows. These offers are never not absolute and although rejected, she continues to have faith in this person The offer remains there and she give some comfort that someone would be waiting if he chooses to leave his tunnel.

….Cont below

@linda-palapala

EP15
This episode pushes everyone to the edge and characters are now precariously placed. No one is able to see the full story, but everyone is exposed to risk.

In his subconscious, Oh-Soo’s version of the stabbing is more troubling. Its as if here his self-delusions removed. Later we see that he has never been able to submit himself before those he hurt. He only decries for absolution from others with the key proviso that his life has been affected.

As Oh-Soo’s actions have contaminated the station, the detectives’ room is shot so the colour shifts to green and shadow is far more evident. The lead detective is almost never shown as neutral. He is a facilitator of Oh-Soo who he knows is rogue and out of control and yet apologizes for admonishing him. He is no more than one of Oh-Soo’s gang when he was young…covering for him and giving him the show of force in numbers to enabling him to wreak his havoc on others. (Hence his blue outfit) It is not until his hand is forced that he becomes the bearer of dispassionate judgment that he shifts to white.

Oh-Soo enters the tunnel via Young-Chul’s office to declare that he will follow then to hell. However, his conversation betrays that he still sees the impacts of his actions as predominantly singular limited to the event…never acknowledging the sequential ramifications. I suspect this is why his apology to Young-Chul was unable to sway him.

Once Oh-Soo learns of the facts around Tae Sung and builds to the realisation of Seung-Ha’s identity, he is now sporting a yellow shirt…(I think this is a first for his character wardrobe)

….Cont below

@linda-palapala

Ep16

The drama’s final act begins…both Soon-Ki and Suk Jin receive tarot cards. Once again, the police allow our rogue detective who is not on the case to contaminate evidence for his own purposes…with the obvious risks this has for all involved.

Soon-Ki and Suk Jin are now both playing the options in their head and every word they utter drives a wedge further between them. The scene is full of tilted camera and awkward angles. The entire visual world of the apartment is unsettled and their suspicious instincts are coming to the fore as these two seek means for self-preservation. Once Oh-Soo arrives, the scene normalizes but there is still no balance. Instead the room is all grids and verticals.

The scene with gangster is repeating how Mephistopheles doesn’t make people bad, he only seeks out those whose souls have already wandered. Visually Seung-Ha is framed so the bridge’s red skeletal structure replaces the usual gothic branching motif (unfortunately, it gives this visual up for tighter focus on the faces which is less powerful). This seen appears unimportant, yet it is a visual precursor to the beating and it shows the full power of Seung-Ha to control players. (Even the congressman does not wield this power over our gangster)

Shifting back to Hee-Soo’s office, we see its colour slightly shifted towards yellow hues as these 2 are manipulating for position regarding the secret affair. As the pressure builds on Suk Jin, the camera zoom also brings a longer lens so as to visually compress him between the 2 grids (horizontal blinds and vertical wallpaper) as these 2 planes are visually pulled in on to him from both front and back, the shallow depth of field makes us see the immense pressure he is under. It is hear that you realize how awkward a fit his soul is for the congressman’s world. (I wonder what secret has forced him to inherit his father’s position)

….Cont below

@linda-palapala

Just curious if you have re-watched any episodes again after our discussions. (thanks to normal life, time for dramas is always limited)

I am intersted to know if you are seeing the visual language or if you see a different one emerging.