The narrative of Love in The Big City, inspired by Sang Young Park’s acclaimed 2021 novel, has taken two diverse forms in 2024: a K-drama featuring Nam Yoon-su and a film headlined by Kim Go-eun and Noh Sang-hyun. Each adaptation offers a unique interpretation of the intricate themes surrounding love, identity, and life in an urban setting.
The K-drama presents itself as an anthology of interconnected tales, with Nam Yoon-su portraying Go Young. This series comprises episodes directed by a quartet of filmmakers—Hur Jin-ho, Hong Ji-young, Son Tae-gyum, and Kim Se-in—each bringing their own vision to the project. This episodic format allows for a comprehensive exploration of Go Young’s journey through love and friendship as he maneuvers through the vibrant yet challenging environment of Seoul.
In contrast, the film adaptation, starring Kim Go-eun (Exhuma) and Noh Sang-hyun (Pachinko), adopts a more intimate narrative style. Helmed by director Lee Eon-hie, the movie hones in on a specific narrative thread, focusing closely on the relationship between Jae-hee (Kim Go-eun) and Heung-soo (Noh Sang-hyun).
Jae-hee, a free-spirited individual, intertwines with Heung-soo, a reserved gay man, presenting a contrast in their attitudes toward love and life, which forms the emotional heart of the film. Meanwhile, in the K-drama, the roles are slightly flipped with Heung-soo as Go Young and Jae-hee as Choi Mi-ae, a creative decision that lends a unique flavor to both adaptations.
Love in the Big City — Contrasting Representations of a Reflective World
The K-drama, Love in the Big City, unfolds over four sections, each consisting of two episodes for a total of eight. The initial episodes, directed by Son Tae-gyum, delve into Go Young’s early romantic experiences, emphasizing his first love, Kim Nam-gyu (Kwo Hyuk), alongside his friendship with Mi-ae (Lee Soo-kyung).
Here are five distinct differences that illustrate how the film diverges from the drama adaptation:
1) Anthology Style of the K-drama vs. Focused Narrative of the Film
The drama series allows for an exploration of Go Young’s familial bonds, particularly with his ailing mother, and portrays his secondary love story. Directors like Hur Jin-ho, known for his romantic classic Christmas in August, join forces with Hong Ji-young to bring uniqueness and varied emotional depth to different segments of the show, highlighting Go Young’s significant emotional development.
On the other hand, the film spans 13 years of Heung-soo and Jae-hee’s lives, starting from their college days, showcasing how their changing emotions and growth impact their relationship. Noh Sang-hyun delivers a nuanced portrayal of Heung-soo, whose journey of self-acceptance contrasts Jae-hee’s free-spirited disposition.
This concentrated character study enables a profound examination of their emotional odyssey, rendering it more intimate compared to the wider scope of the drama series. At the same time, the K-drama amplifies the focus on Go Young’s ten-year journey, detailing friendships with his four gay companions.
2) Broader Urban Itinerary vs. Focused Connection
The K-drama depicts the gradual estrangement of Mi-ae and Go Young as she marries Lee Joon-ho, whom she meets at work. Despite Go Young’s struggles, including a moment of attempted suicide, Mi-ae remains unaware of the emotional distance that has developed due to their differing priorities and life paths, injecting a realistic dimension into the drama compared to the movie’s more idealistic portrayal.
In contrast, the film adopts a linear storytelling technique that enhances emotional engagement, allowing viewers to follow Heung-soo and Jae-hee’s relationship in a clearer narrative arc. Significant moments of vulnerability are spotlighted, particularly Heung-soo’s eventual willingness to embrace intimacy.
The drama further captures the novel’s non-linear essence by illustrating Go Young’s relationships as both distinct yet interconnected, thus emphasizing the complexities of contemporary love. The episodic nature also facilitates deeper insights into side characters, like Go Young’s peers, enriching the overall narrative landscape.
3) Variation in Themes and Tone Between Film and K-drama
While both adaptations delve into the themes of love and identity against the backdrop of urban Seoul, their tones and emphasis starkly differ. The K-drama’s anthology format accentuates the vibrancy and tumult of city life, presenting the highs and lows of relationships through varying directorial perspectives.
The tonal shifts range from bittersweet to comedic, mirroring the diverse experiences of the protagonist. It also highlights larger societal issues such as family expectations and self-discovery amidst the city’s bustling chaos.
Conversely, the film offers a more intimate reflection centered on Jae-hee and Heung-soo, portraying the nuanced platonic love and deep friendship they share, irrespective of romantic affiliations. The film’s steadiness and reflective quality intensify its emotional impact.
4) LGBTQ+ Representation in Love in The Big City
Both adaptations thoughtfully incorporate LGBTQ+ themes from the original novel. In the K-drama, Go Young’s interactions with male characters are examined in greater detail, enriching his journey as a gay man in Seoul. The series presents his sexuality as a normalized element of a more comprehensive narrative on love and relationships.
The film, while also touching upon LGBTQ+ issues through Heung-soo’s journey toward self-acceptance and intimacy, focuses more broadly on his enduring friendship with Jae-hee over the course of 13 years rather than addressing the wider socio-political dimensions of queer identity in South Korea.
In the film, Heung-soo’s LGBTQ+ identity is portrayed more subtly, intricately woven into his character’s complexity. The K-drama, with Nam Yoon-su as Go Young, subverts typical “green flag”male lead tropes, characterized by both heartache and heartbreak in his romantic endeavors.
5) Visual Aesthetics and Directorial Choices in Both Adaptations
The K-drama’s multiple directors and its episodic nature create a diverse visual style, ranging from romantic and whimsical to somber and reflective tones. This aesthetic variety maintains the series’ dynamism, as each director imparts their unique interpretation of Go Young’s life.
In stark contrast, the film, under the single direction of Lee Eon-hie, showcases a consistent visual narrative. It emphasizes quieter, introspective scenes that underline the emotional journeys of its characters. The cinematography captures intimate moments between Jae-hee and Heung-soo, reinforcing the film’s focus on deep personal connections.
The hustle and bustle of city life plays a pivotal role in the K-drama, shaping the rhythm of Go Young’s interactions and decisions. Conversely, the film narrows its focus, prioritizing character introspection over the broader societal elements that feature prominently in the K-drama.
Love in The Big City stands as a rich and varied cinematic representation of Park Sang-young’s novel. Both newcomers and dedicated fans will find elements to appreciate across the K-drama and film adaptations, whether they lean toward a sweeping narrative of romance or a focused emotional experience.
The K-drama is available for streaming on TVING and Viki, having premiered on October 21, 2024. The film made its debut at the Toronto International Film Festival (TIFF) on September 13, 2024, and began showing in theaters across South Korea on October 1, 2024, with an OTT release yet to be announced.
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