(18 episodes; 59 min each)
So following on from my review of Moon Embracing the Sun, I wanted to talk about Love in the Moonlight, which is a much lighter, happier show. I’m not a big fan of the title and don’t see why the translators couldn’t have just stuck to the original title of the book from which the series is derived: Moonlight Drawn by Clouds (by Yoon Yi Soo and Kim Hee Kyung). The image is a metaphor: in this case, the moon is the King and the clouds are the people, and the idea is that of a King “drawn with the will of the people”.
This is important to remember, because at first glance, Love in the Moonlight seems like another Joseon-era romance. Oh, it certainly has the trappings of a palace drama much like Moon Embracing the Sun. But it’s not just that. There is a King on the throne, but he’s a bit unstable, having been very affected by the peasant uprising 10 years ago that left thousands dead. There’s a Queen, but she’s a second wife, daughter of the Prime Minister; the first Queen, mother of the Crown Prince, passed away under suspicious circumstances. There’s the villain of the piece—the Prime Minister (Prime Minister Kim, this time), who pretty much controls the court and prevents the King from doing any good. There’s a Princess, sister to the Crown Prince—Princess Myeong Eun, who is portrayed by one of the few plus-size actresses to appear in a K-Drama (though—spoiler: she undergoes a makeover). And of course, there’s the male lead: the Crown Prince—Lee Yeong—who is based on a real person: Crown Prince Hyomyeong, who lived 1809-1830, who was famous for being a very talented writer, composer and choreographer, and who died very tragically at the age of 20. (His death is not part of this drama though. I wonder why the authors decided to use a real historical figure instead of just making one up.)
In addition, the Crown Prince has a handsome bodyguard, Kim Byung Yeon, who grew up with the prince, as well as with Kim Yoon Sung, the only male heir of Prime Minister Kim’s family (the third side of the love triangle). When they were children, Yoon Sung was once the Crown Prince’s best friend. But now that they are older, they are estranged because of Prime Minister Kim and the Prime Minister’s suspected involvement in the death of the former Queen.
“But what of our female lead?” I hear you ask. Good question! In this drama, she’s a young lady named Hong Ra On who has spent most of her life disguised as a boy named Hong Sam Nom. It’s for reasons she doesn’t quite understand, but her mother said it had to do with her safety. Now at 18 years old, she has lost her mother and is living with a travelling performer who found her just after the peasant uprising 10 years ago and took her in. But he’s sick and feels guilty for being such a burden on her. She makes money by writing novels, giving out relationship advice (for which she has a particular talent) and even writing love letters for people. However, she’s also in debt with some very bad people.
The series opens on the Crown Prince, who isn’t really taking his role as the monarch’s heir seriously. But when he finds out that his sister, Princess Myeong Eun, has been receiving love letters from a stranger, he resolves to put an end to what he sees as an unsuitable relationship. The thing is, Hong Sam Nom has been writing those letters, and her patron begs her to go meet with the Princess (who she doesn’t know is the object of his affection) to call it off and to apologise for falling for her in the first place. Even though Hong Sam Nom is a commoner, she dresses up as an aristocrat to attend the meeting and runs into the Crown Prince, who is in disguise. This confuses her initially as she thought she was going to meet a woman. For his part, the Crown Prince is suspicious of Hong Sam Nom and wants to find out what noble house she belongs to. To extricate herself from the situation, Hong Sam Nom causes them both to fall into a deep hole, and the only way out is for the Crown Prince to hoist her up on his shoulders so she can climb out and go for help. She doesn’t, though: she leaves him in the pit, promising that if they should ever meet again (and you can tell she doesn’t think they will), she will do whatever he says.
Unfortunately Hong Sam Nom’s matchmaking activities have gotten her in trouble and there are people after her. While on the run, she encounters Kim Yoon Sung, grandson of Prime Minister Kim, who works out pretty quickly that Hong Sam Nom is a girl and not a boy, and who helps her. (He also falls for her later, though he pretends not to know her secret.) This respite is short-lived; her debt collectors catch up with her and she is sold to the palace as a eunuch. (The scene where she manages to avoid castration is both hilarious and mildly horrifying in that this is what they used to do to people.) And then when she is forced to enter the palace, she runs into the Crown Prince again (not knowing he is the Crown Prince). He, remembering her promise to him, makes it his mission to help her pass all the eunuch examinations so that she has to stay. And then over time, she and the Crown Prince begin to fall for one another …
Of course, no love story is easy, and there is plenty of drama and heartbreak as their relationship unfolds against the backdrop of palace intrigue/Prime Minister Kim’s machinations, the return of the peasant uprising from 10 years ago, and the truth about Hong Sam Nom’s/Ra On’s identity, which threatens to split the two lovers apart.
There is a lot I love about this show. The leads are absolutely adorable: Kim Yoo Jung (who plays the younger version of Heo Yeon Woo, the female lead in Moon Embracing the Sun) is gorgeously expressive, regardless of whether she’s doing a comedic scene or a dramatic one. She doesn’t quite pass for a boy (everyone keeps going on about how she’s too pretty), but she does a decent job at playing one, and clearly seems to relish some of the freedoms that passing as a male gives her.
Park Bo Gum, who I had never seen before in a K-Drama, makes a wonderfully handsome Crown Prince, and the way he brings out the prince’s emotions throughout the course of their turbulent love affair makes him very deserving of the awards he won for that role.
The chemistry between those two are part of what make the series so very addictive, and I could watch the scenes where they come to know the truth about each other over and over again, and not get sick of them. (The scene when Hong Sam Nom learns that Lee Yeong is the Crown Prince is absolutely hilarious!) Also, unlike Jung Ji Woon, the male lead in The King’s Affection, the Crown Prince, in the midst of falling for Hong Sam Nom/Ra On does actually seem conflicted about the idea that he might be gay, instead of glossing over the issue (though that doesn’t last very long).
The leads aside, my favourite cast member is Kwak Dong Yeon (who makes a brief appearance in very memorable episode of It’s Okay Not to Be Okay as the son of an assemblyman who has been diagnosed with mania). Dong Yeon plays the bodyguard, Kim Byung Yeon, who is trusted and valued by the Crown Prince but who is also secretly working for the resistance. Although he doesn’t say much, he does a lot of acting with his eyes and his body, and you can really see how conflicted he is, torn between his loyalty to the cause, and his friendship with both the Crown Prince and Hong Sam Nom/Ra On. (There’s a lovely scene at the end of the second episode when the three of them are enjoying a chicken dinner outside, sitting on a pyung sang—that is, one of those square wooden benches found in the yards of Korean houses—and Hong Sam Nom/Ra On is waxing lyrical about how unpopular the Crown Prince is among the palace staff while Byung Yeon is trying not to laugh and failing, much to the Crown Prince’s disgust.) Also, the way Byung Yeon puts out candlelight—and the way Hong Sam Nom/Ra On complains about it—had me in stitches.
The other minor characters are also terrific and well-rounded. I particularly liked Cho Ha Yeon, daughter of Minister Cho, who becomes Hong Sam Nom’s/Ra On’s rival, but not in a way that reduced her to a two-dimensional stereotype like the Queen in Moon Embracing the Sun. In addition, if you’ve seen Moon Embracing the Sun, you’ll notice some of those actors popping up in this—for example, the actor who played the King and the actress who played the Chief Shaman.
Secondly, I appreciated seeing palace life from the perspective of the eunuchs and ladies-in-waiting—something that was not really present in Moon Embracing the Sun. These are the people who work closely with the royal family, tending to their needs and carrying out their wishes. But I’d be willing to bet very little is known about them and their inner lives. I liked learning small historical details about them—for example, I did not know that women who serve in the palace are considered property of the King and are not allowed to have relationships with other men. There were little shots of what the palace kitchens were like (I find it interesting that the food is usually cooked outdoors). Also, there’s a couple of attempted poisonings, and you can see why Korean royalty were paranoid and ate off metal tableware using metal chopsticks in the hopes of detecting dangerous substances.
Thirdly, I liked how the romance plot tied in so well with the larger story about the kingdom and the different factions wrestling for control of it. The lovers’ suffering always feels organic instead of forced, and at times, I did wonder how on earth things were going to result in a Happily Ever After.
That said, there were two things that made me unhappy. Firstly, as usual, the love triangle doesn’t end well. I don’t know if that’s a spoiler, but it never seems to end well for the extraneous side—which is a shame, because I really liked Kim Yoon Sung, and he could have had a happy ending. Secondly—and this is my main critique of the series—I liked the way the whole thing unfolded up until the very last 20 minutes when everything felt really rushed. Apparently the network wanted the creators to make 20 episodes, but the actors had only been booked for 18, so they only made 18. I think they could have used at least one more to tie up all the loose ends. This is why the ending feels less like a Happily Ever After and more like a Happily For Now, and I found it less satisfying than Moon Embracing the Sun. That said, perhaps my expectations were wrong: this is not solely about the core romantic relationship, but also about the King being drawn by the will of the people. In that respect, at least, I guess it sort of lived up to its title, and perhaps I am just being greedy in wanting a little more.
Final thing: apparently this drama is leaving Netflix on 15 May, which is sad. You can also find it on Viki Rakuten, but not if you’re in Australia (or at least not yet. Perhaps that will change once it leaves Netflix). If you do check it out, I hope you enjoy it as much as I did.