To this pesky drama, Run On adds shades by introducing another inter-class relationship in the push and pull of Seo Dan-ah (Sooyoung), girl boss extraordinaire, the attitude a carefully constructed façade that the writing gradually uncovers, and art student Yeong-hwa (Kang Tae-oh), one who can pour his heart out but cannot take it in kind. Like loans and rents for Mi-joo, who loves cinema but is forced to take up work as tutor or interpreter, entering Seon-gyeom’s inner circle. Korean dramas are often great in highlighting the tedium of everyday life within larger plots. Seon-gyeom (Im Si-wan) is awkward in more than just social setting and circumstance displaces him from his prisons – track and field and his family, a marriage of convenience between elite political and social class. Every character is displaced in some form. “Flung out of space” defines Run On, Carol explaining her own rhetorical, “What a strange girl you are”, to Therese. Translating “flung out of space” literally into Tamil or Korean won’t cut it for that over the shoulder shot, scenes preceding it and Rooney Mara’s muted acknowledgement of bespoke flattery. A good film subtitlist chooses her words carefully and with appropriate context to convey the import of an exchange (Run On throws in a couple of references to stress this fact). Second, this Korean drama is a bildungsroman Run On’s premier characters are aloof, alone or both and unable to communicate effectively within their worlds. One, it plays hide and seek with queerness of all its main characters and whenever presented with an opportunity, the side characters too.
It lingers for four seconds but proves momentous for the larger themes of Run On.
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