River Where the Moon Rises is an adaptation of the novel “Princess Pyeonggang” (평강공주) by Choi Sa Gyu (최사규), which is a romanticized interpretation of the love story between Princess Pyeonggang and On Dal, characters in a classic Goguryeo folktale entitled Pyeonggang and Ondal.

The timeline is set during the late 6th century, in an era when the 3 ancient kingdoms of Goguryeo, Silla and Baekje were at war with one another, while facing the looming threat of invasion by the neighbouring Northern Zhou of ancient China’s Northern Dynasties. Certain historical events as recorded in the Samguk Sagi (History of the Three Kingdoms) are incorporated into the overall setting. It is directed by Yoon Sang Ho who has extensive experience in sageuk notably with King Maker: The Change of Destiny, Saimdang Light’s Diary and his first Goguryeo drama, The Legend.

Initially beset by controversy due to a scandal involving its lead actor, Kim Ji Soo, the production team reacted swiftly by replacing him with Na In Woo from episode 7 onwards, although about 80% of the production had reportedly been completed. Fortunately the drama continued with only a brief delay in its airing schedule and the producers even decided to re-shoot the earlier episodes with Na In Woo in order to preserve the continuity of the story flow as well as for marketing and distribution purposes.

RWTMR is a dramatic sageuk that features decent production values, an engrossing plot, impressive cinematography and art direction. Through usage of cinematic colour grading, the scenery shots are absolutely breathtaking. The equally outstanding set designs provide an authentic depiction of the Goguryeo era, which appear markedly different from the usual Joseon settings. The characters are compellingly portrayed for the most part and, although by no means a sweeping epic, the finale itself certainly is, in every sense of the word. This engaging sageuk is presented in 20 episodes and headlined by a talented young cast.

The drama takes its time to meticulously chronicle how Pyeonggang and On Dal fall in love with each other and grow together to become the power couple of Goguryeo. It thoroughly explores the themes of family, friendship, loyalty, betrayal, revenge and love. There is no shortage of action, adventure, court intrigue and melodrama. The politics and schemes are not overly complicated or convoluted, while the action involves a combination of large-scale battles between opposing armies as well as concentrated sword fights and individual duels. The swordplay choreography is somewhat lacking (this isn’t up to the standard of Six Flying Dragons) but the battle scenes do not disappoint.

The pacing of the storytelling is somewhat uneven, particularly at the midway point where certain plotlines play out longer than necessary. Most notably the love triangle involving Pyeonggang, On Dal and Go Geon. The story arc concerning On Dal’s foster mother as well as the Sonno tribe village scenes prolonged a fair bit. The infusion of light-hearted comedic moments feel forced and out of place at times, especially involving the interactions between the characters of Sa Poong Gae, Tara Jin, Tara San, and the child Wol Yi. The drama does conclude in an extremely thrilling fashion where the final 4 episodes in particular are inundated with numerous action sequences and the closure of several story arcs.

The development of certain characters appear inconsistent where they are shown to behave irrationally and even out-of-character towards the end. I’m unsure whether this is due to the source material or the script. This applies to Pyeonggang, Go Geon and Hae Mo Yong. The angst of the “mini-separation” between the leads culminating in a 4-year time jump feels quite redundant. The said time jump also resulted in an explicable shift in the Crown Prince’s characterization. Pyeongang’s growth trajectory from amnesiac assassin to seasoned politician within such a short period (within a year or less) isn’t realistic. The military coup and replacement of the Crown Prince or even the King himself supposedly initiated by the Gyeru Tribe takes unbelievably long to transpire until it’s all too late. But the biggest issue I have is of the “events” that take place in the last episode - it’s difficult not to be disappointed with certain aspects of the writing.

As far as the acting is concerned, personally it took a while to warm up to both Kim So Hyun and Na In Woo in their respective roles of Pyeonggang and On Dal. In particular In Woo who was immediately parachuted in as replacement in episode 7. However, they both steadily grew into their roles and have been rewarded with a Baeksang nomination each, for Best Actress and Best New Actor.

I do feel that perhaps Kim So Hyun lacks a little bit of the nuance and gravitas in her portrayal, especially during the second half when the final phase of the storytelling transitioned to the palace. She tries hard but she’s only 21 and lacks the experience and conviction of the other Baeksang Best Actress nominees that she’s competing against. On the contrary, I think Na In Woo’s characterization seems rather more seamless as he embodies the innocence and simplicity of On Dal’s character perfectly. I’m extremely surprised and impressed with his portrayal. His presence in this production is a blessing in disguise indeed, for he elevates the entire show with his superb performance. What is also beyond doubt is the chemistry between these two characters, which makes the romance aspect convincing.

Lee Ji Hoon and Choi Yoo Hwa both deliver a very commendable portrayal of Go Geon and Hae Mo Yong respectively. Lee Ji Hoon’s performance, in particular, is worthy of much praise. As the secondary couple of the drama, the steady progression of their emotional connection to each other is compellingly depicted. These two characters very much mirror each other, through their shared hopelessness of being duty-bound to the expectations that are thrust upon them. Oftentimes I just wished that they could ride off into the sunset together and leave all their troubles behind.

The main villain is expertly portrayed by veteran actor Lee Hae Young as the nefarious and conniving Go Won Pyo. I honestly believe he would have made a more competent King than the incumbent, the blundering King Pyeong Won (as written and depicted in the drama). Special mention goes to the charismatic Kang Ha Neul, who guest stars as On Hyub. Despite his limited screen presence, he absolutely lights up the screen whenever he does appear. There’s a reason this man won Best Actor at the 56th Baeksang - the quality of his portrayal is flawless. Kim Seung Soo deserves acknowledgement for his guest role of Silla’s King Jin Heung.

The musical aspect is perfectly executed, with a well arranged original score and a number of beautifully written evocative songs.

I become love to you by ZIA
Tears Of The Moon by Kang Tae Kwan
Against The Wind by Ahn Ye Eun
This is my way by Na Yoon Kwon
You are my destiny by Lily Lily

On the whole, RWTMR is a visually sumptuous period piece that presents a poignant depiction of heartwarming yet bittersweet romance, amidst the politics and tragic outcomes of the chaotic era. Despite the inconsistencies in the script and character design, as well as my disappointment with aspects of the ending, this drama remains engaging for the most part with sufficient thrilling twists and turns to keep things interesting. There is enjoyment to be found as long as expectations are properly managed.