Cinema and television have told many stories that show that it is possible to conquer love through friendship and achieve happiness. One of these stories is undoubtedly 'Eccentric Romance'.
Produced by Hanyang Studio, the series is part of an international audiovisual project that unites South Korea and Thailand, both in story and cast, as it did before with 'Peach of Time', 'Love Is Like a Cat', 'Why R.U?' ('Waialyu'), which should be added at some point, among other series, 'Wuju Bakery'. On this occasion, Studio Sky and Studio Target also participate.
If in the aforementioned series they combined romance with the supernatural, a plot of healing, love and the fusion of two opposite worlds; the stories of enemies to lovers; or how a novel becomes reality, this time it tells us a youth and university story that excellently mixes suspense, crime and police investigation, before becoming a story of self-discovery and acceptance.
Jagwan Gong, also known as Kong Ja Kwan, who spent his early career making adult films, such as 'Pornmaking for Dummies', 'Pizza Dare 1' and 'Pizza Dare 2', 'Buddy's Mom' and 'A Unique Movie ', before moving into the mainstream with his first theatrical feature film, 'The Sex Film', in 2006, he is the director of this LGBT+ themed romantic drama, which uses the quasi-thriller mechanism of a murder mystery in the that the two protagonists will involuntarily find themselves involved. But its narrative transforms into something much better and deeper. 'Eccentric Romance' is actually a story that rises about friendship and love.
Because as the background of a budding romance, the scriptwriter imagined a crime and tells its resolution, step by step, having as investigators some inept and even laughable protagonists and their closest group of friends, all so that the viewer is sometimes deceived, but putting the clues under our noses in such a way that we overlook them and suspect at times of one, at other times of other characters.
This series is the first of a three-level Hanyang Studio project Y Evolution 2023, and began life under the name 'PT is Love', however, shortly after the filming schedule was announced its title was changed to ' Eccentric Romance', although for a time it was also often called "Bizarre Romance".
In just six chapters, each divided into two, each lasting about 17 minutes, the series plans to tell us the story of how a boy does the impossible to be close to his best friend, and in the process, such At the same time, he also conquered something more than his heart, since from the beginning the main organ of the circulatory system of each of them is already in his power.
The story tells us about Jay, a young Thai man who travels to Seoul to meet Seong Hun, his best friend, to study the same degree as him at university. Both, who hide their feelings from each other, which are more than those of one friend can have for another, have built a solid friendship for 8 years, but the last four years they have been distanced, at least geographically, since each one has must attend secondary education in their native country.
With a vibe as dark as it is interesting, the series tells how the two friends are enrolled in the same college elective class called "Health and Happiness" and must submit a physical body assessment for their final project. Although Seong Hun already exercises regularly and has a well-developed physique, Jay does not believe he is in the best shape and wants to develop his physique in the gym.
For this reason, Jay convinces Seong Hun to take him to the gym where he usually goes and thus get in better physical shape to be able to complete the academic exercise.
At the gym, Jin Uk, a personal trainer, shows a special interest in Jay, much to Seong Hun's chagrin. However, there is something strange about Jin Uk. Despite his kindness towards the Thai boy, suspicions begin to arise that Jin Uk may be involved in the murder of a man named Jin Wook. Is there a happy ending in store for Jay and Seong Hun, or will Jay's budding relationship with Jin Uk cost him an untold price?
Will it happen, as in every beautiful suspense story, that nothing is exactly what it seems? I'm waiting for a delicious plot that will surprise me with its twists and turns.
Scripted by Yeon Joo Lee and Yong Ju Lee, 'Eccentric Romance' is based on a story by Keum Lim Lee.

IS IT WORTH IT OR NOT TO WATCH 'ECCENTRIC ROMANCE'?

In reference to the performances, Yoon Jun Won manages to give life in a credible and well-crafted way to a sports-loving boy who shows from the first shots that he has feelings for his Thai friend. It's one of those performances that hits the sweet spot of a friend-to-lovers relationship with the audience. The dynamic, chemistry and sexual tension created between this actor and the one who plays Jay is fascinating.
Yoon Jun Won, the actor and former member of the "multi-tainer" group THE MAN BLK, is known for participating in numerous films and series, such as the three seasons of 'Best Mistake'.
For his part, Save Saisawat, who plays Jay, steals the spotlight when he enters the frame, the happy and sincere way in which he relates to his friend, the laughter that flows from his lips, the secret glances at his friend, along with his facial gestures, he conveys to us from the first moment who we are in front of and what we should expect from him.
Save Saisawat has extensive experience in BL productions. In 2022 he starred in the series 'Why You... Y Me?', and that same year he played Chonlathee in the drama 'Ai Long Nhai', and in 2023 he appeared in the film 'Ai Long Nhai: The Endless Love'.
This main group of actors is missing Lee Geon U, who will play Seung Ju. This actor played the romantic interest of Mew Suppasit in the series and film 'Love is Like a Cat', by South Korean director Kwon Nam Ki, and Taeha, also known as Momoland, as 'Ji Won'.
Finally, after the interesting meeting between the two protagonist boys and Jin Uk, a character played by Go Byung Wan, known for participating in the dramas 'Love Returns' (2018), and 'Bad Thief, Good Thief' (2017), it ends to propose the main elements of the scenario, from which the series begins to take shape to know in the following episodes what the most interesting awaits us.

THE USE OF MULTILINGUALISM

There is one issue that seems to bother some viewers: each of the characters speak their native language instead of a single common language. However, this is not a problem for the development of the series.
The actors maintain a special dynamic even though some speak Korean and one of them speaks Thai, as they are perfectly synchronized, comfortable in their own languages, and give the idea of ​​being able to understand each other fully and fluently, achieving a connection with the viewer.
In my opinion, South Korean director Jagwan Gong has been free to use the tool of multilingualism to provide characterization and establish tone, and also to entrench certain linguistic stereotypes.
This situation allows me to remember a brilliant and masterfully choreographed scene from the film 'Everything Everywhere All at Once', by directors Daniel Scheinert and Daniel Kwan, winner of awards in the categories of acting, editing and direction, as well as the coveted award for best film, at the 95th edition of the United States Academy of Motion Picture Arts and Sciences Awards.
I'm referring to the scene where three generations of a chaotic immigrant family speak three different languages at dinner.
This is a solid example of how screenwriters and directors use language in film to do much more than convey dialogue: language and subtitles also help characterization, set the tone of a scene, and anchor fictional stories to the story reality.
What is annoying for some when they watch 'Eccentric Romance', evokes in me the moment when the South Korean filmmaker Bong Joon-ho in his acceptance speech at the Golden Globes for 'Parasites', in 2019, when he stated: when the audience overcomes the "subtitle barrier, a richer cinematic world awaits."
Telling authentic stories in a modern, globalized and multicultural world means fairly portraying the languages spoken and adopted in our society. Hence, sometimes, the need for subtitles.
In some of the best scenes in Todd Field's 'Tár', its protagonist, Cate Blanchett, uses German only during orchestra rehearsals and completely dispenses with subtitles.
Non-German-speaking audiences may not understand the words Blanchett speaks, but are instead encouraged to focus on the visual aspects of the character's communication: her facial expressions, her physical tics and tremors, and the mounting tension, both visible as audible, between her and everyone around her.
Another example of the use of multilingualism in audiovisuals can be found in the Japanese film 'Drive my Car' ('Doraibu mai kâ, Ryûsuke Hamaguchi', 2021), one of the most interesting and stimulating films, and, why not say it, most awarded, of 2022. In it, a Japanese playwright, Yusuke Kafuku, a character played by Nishijima Hidetoshi, intends to stage a new version of the play "Uncle Vania" by the Russian playwright Anton Chekhov. Except for a long forty-minute introduction, the entire film takes place between the rehearsals prior to the premiere and the car trips that the stage director makes daily between his hotel and the theater driven by a laconic woman, Misaki, a role assumed by Miura Toko, that they have assigned him as a driver.
A peculiarity of this new update of Chekhov's text is that the cast of actresses and actors who are going to participate in the production belong to different countries and that they each recite their sentences in a different language (Korean, Mandarin, Japanese and even French. of Korean signs) that is not understood by others. It seems as if gestures and body language were enough for the interpreters to be able to transcend their linguistic particularisms and elevate us to the universality of emotions.
The relationship between Kafuku and Misaki will also strengthen despite the silence, the absence of words, that presides over a good part of their trips. Hence it is no coincidence that the play to be performed is "Uncle Vania." Because the same inability that human beings seem to have, and that Chekhov points out in Russia at the end of the 19th century, to face change, taking refuge in melancholic loss, to assume our desires, abandoning ourselves to guilt, resentment and frustration, of getting out of boredom, routine and boredom, letting ourselves be carried away by a kind of moral inertia, is what Hamaguchi observes in 21st century Japan. And also, and of course, the lack of communication, the insufficiency of language to account for the deepest layers of the human soul. Because both Chekhov's characters and those of the Japanese filmmaker express themselves more in what is not said than in what they really say.

UNSATISFACTORY ENDING

But the series ruins everything towards the end. On the one hand, it fails to engage with the expected increase in tension or an explosive and surprising closure regarding the crime expected by the viewer: the criminal investigation falls into the hands of some inexperienced university students. Although several police officers at one point began the investigations, they were never seen with their investigations again. Will the South Korean Police be so inefficient?
I can't find a real motive to commit a crime, kidnappings and multiple attempted murders. Instead of great villains, the murderers are laughable at most, while the central mystery stops being gripping, if it ever was. The characters never go through dark, dramatic and complicated situations.
The criminal investigation carried out by Jin Uk, Jay, Seong Hun and Ji Won (Kim Tae Ha) also compromises the development of the romance between the two main characters, as they will find themselves lost in the midst of the labyrinth of suspicions and persecutions instead of strengthening the loving bond.
Bottom line: the ending is lackluster and doesn't live up to expectations, it's like a bad dessert after a good meal, and it leaves the viewer with a bad taste in their mouth.