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The opening of the film with a sequence of subdued coloured aerial night shots and the subsequent shots of Kyungjin's (Jun Jihyun) attempt to commit suicide already suggest that the story is not a pure genre of comedy as indicated by the Chinese translation of the title. In fact, it is a mix of genres of comedy and mournful love story. Director Kwak Jaeyong tactfully manufactures suspense to generate tension in the viewer.

Kwak uses flashback to (1) create the first suspense (Will Kyungjin die when she jumps from the building?) by placing a narrative retardation (as the viewer is no longer given any further information in the flashback) and (2) narrate the story. Thereafter narrative development proceeds within the flashback, beginning with the first crossing path between Kyungjin and Myungwoo (Jang Hyuk) and extends around 4 occasions in which either one or both of the couple are in danger.

Kwak uses storytelling (the Prince and the Princess) in the story (plot) to precipitate information (foretell) that Myungwoo will die. By doing so, he creates the second suspense (How will Myungwoo die?). When Myungwoo really dies, it becomes a repetition (with variation) as it is already foretold in the Prince's story.

The director also adopts 4 visual motifs that add values to the narrative: (1) joining fingers, (2) winds, (3) paper plane, and (4) gun shooting (actual and simulated hand posture). The last one is particularly connotative as Myungwoo was once saved by Jyungjin (the drowning) but is eventually killed by Kyungjin's gunshot.

He places 3 minor surprises to shock (and gratify) the viewer: (1) Kyungjin's falling on a flying hand-shaped hydrogen balloon after she jumps from the building (so that she does not die), (2) an illusion that Myungwoo is still alive after being gunshot by Kyungjin (actually a meditation of Kyungjin during her coma), and (3) having Cha Tae Hyun brought into mise-en-scene in the last sequence. The last surprise is an exploitation of intertextuality in watching movies because viewers will relate substances of a movie to others they watched before, especially for those of the same cast or from the same director. Other intertextual elements (with his previous movies "My Sassy Girl" and "The Classic") in this film include the scenes of walking under raining, the presence of flying pigeons, and even the similarity of the rhythm of music.

Kwak skillfully draws synergies from the timely use of suspense, surprise, humour as well as the aesthetic elements of visual and sound effects to deliver an entertaining screen time of 123 minutes. These constitute the signature of Kwak and are evidence of his being an auteur.

註：本評論純屬影評作者個人意見，並不代表本網立場。
Note: This views presented in this review is solely the views of the critic who wrote it and do not represent the stance of our website.

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