A drama about a strongly characterized, secretive and broken family finally getting together at last to communicate and harmonize with the death of the father Kim Doo Soo.
Kim Doo Soo is a never-giving up, adventurous and optimistic local newspaper reporter who has guts. At home, he is a patriarchal and dictorial father. Not having been able to connect with his family, Kim Doo Soo brings his broken up family back together again with his dead near.
Runtime: 65 minutes
Happy Ending - Happy ending - Netflix
A happy ending is an ending of the plot of a work of fiction in which almost everything turns out for the best for the protagonists, their sidekicks, and almost everyone except the villains. In storylines where the protagonists are in physical danger, a happy ending mainly consists of their survival and successful completion of the quest or mission; where there is no physical danger, a happy ending may be lovers consummating their love despite various factors which may have thwarted it. A considerable number of storylines combine both situations. In Steven Spielberg's version of “War of the Worlds”, the happy ending consists of three distinct elements: The protagonists all survive the countless perils of their journey; humanity as a whole survives the alien invasion; and the protagonist father regains the respect of his estranged children. The plot is so constructed that all three are needed for the audience's feeling of satisfaction in the end. A happy ending is epitomized in the standard fairy tale ending phrase, “happily ever after” or “and they lived happily ever after”. (One Thousand and One Nights has the more restrained formula “they lived happily until there came to them the One who Destroys all Happiness” (i.e. Death); likewise, the Russian versions of fairy tales typically end with “they lived long and happily, and died together on the same day”.) Satisfactory happy endings are happy for the reader as well, in that the characters he or she sympathizes with are rewarded. However, this can also serve as an open path for a possible sequel. For example, in the 1977 film Star Wars, Luke Skywalker defeats the Galactic Empire by destroying the Death Star; however, the story's happy ending has consequences that follow in The Empire Strikes Back. The concept of a permanent happy ending is specifically brought up in the Stephen King fantasy/fairy tale novel The Eyes of the Dragon which has a standard good ending for the genre, but simply states that “there were good days and bad days” afterwards.
Happy Ending - William Shakespeare - Netflix
The presence of a happy ending is one of the key points that distinguish melodrama from tragedy. In certain periods, the endings of traditional tragedies such as Macbeth or Oedipus Rex, in which most of the major characters end up dead, disfigured, or discountenanced, have been actively disliked. In the Seventeenth Century, the Irish author Nahum Tate sought to improve William Shakespeare's King Lear in his own heavily modified version in which Lear survives and Cordelia marries Edgar. Tate's version dominated performances for a century and a half, Shakespeare's original nearly forgotten. Both David Garrick and John Philip Kemble, while taking up some of Shakespeare's original text, kept Tate's happy ending. Edmund Kean played King Lear with its tragic ending in 1823, but failed and reverted to Tate's crowd-pleaser after only three performances. Only in 1838 did William Macready at Covent Garden successfully restore Shakespeare's original tragic end – Helen Faucit's final appearance as Cordelia, dead in her father's arms, became one of the most iconic of Victorian images and the play's tragic end was finally accepted by the general public. Most subsequent critics have not found Tate's amendments an improvement, and welcomed the restoration of Shakespeare's original. Happy endings have also been fastened – equally, with no lasting success – to Romeo and Juliet and Othello. There is no universally accepted definition of what a happy ending is; such definitions can considerably vary with time and cultural differences. An interpretation of The Merchant of Venice's forced conversion of Shylock to Christianity is that it was intended as a happy ending. As a Christian, Shylock could no longer impose interest, undoing his schemes in the play and ending the rivalry between him and Antonio, but more important, contemporary audiences would see becoming a Christian as a means to save his soul (cf. Romans 11:15). In later times, Jews (and non-Jewish opponents of anti-Semitism) strongly objected to that ending, regarding it as depicting a victory for injustice and oppression and as pandering to the audience's prejudices.