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Tread softly, because you tread on my dreams. - Yeats

UPDATED: Tong Yao Film & TV guide 12th Jun 2024 / Sun Li Film & TV guide 13th May 2024

Friday, May 24, 2024

Review: A Heartfelt Masterpiece: 'Tender Light' Shines Bright

#TongYao #童瑶 #微暗之火 #TenderLight #ZhangXincheng #张新成​​​ #cdrama
(SPOILER FREE)

Tender Light defies conventions as a bold and daring Chinese drama series that takes risks, potentially alienating some viewers—but undoubtedly rewarding those willing to invest time and effort to understand its narrative. This series demands a mature and dedicated audience, losing some fans of the starring actors who sought a more straightforward experience. However, for those who appreciate complex storytelling and innovative techniques, Tender Light shines as a rare gem. Despite some missteps in the final 15 minutes of Episode 28, the overall brilliance of this 28-episode series far outweighs its flaws. The 'tender light' it emanates may be subtle, but its impact is profound and lasting. 


Perhaps the most significant risk that this drama took was its decision to embrace an arthouse approach right from the start. From its unconventional narrative structure to its meticulously crafted visual style, the drama prioritizes artistic vision over familiar genre tropes. Its slower pace allows for contemplation and a deeper exploration of complex themes which are often absent from mainstream Chinese dramas or not explored in detail. The arthouse approach is also one that is rarely used in Chinese dramas, if anything, there is a tendency to go for an indie film look when making crime dramas because the level of detail needed is less demanding.
A considerable amount of thought and effort was invested in the mise-en-scène, music, sound design, editing, composition, lighting, the choice of location and more. This level of attention to detail is rare in Chinese dramas, especially considering the typically long episode count, which can make maintaining such a vision challenging. While Tender Light is not an exceptionally long drama, at 28 episodes, it’s not exactly short either, making it's achievement of maintaining this aesthetics all the more impressive.

I'll admit, I'm using this image partly because it says "Singapore" on the screen. :P

The creators for this drama series decided to take "the road less travelled" and instead of giving us a straightforward narrative structure, they used two supporting characters Lin Fanglu and Old Chen to frame this drama. Through their investigation, the layers of the mystery behind Xu Yi’s death and the stories of our two protagonists, Nan Ya and Zhou Luo, are gradually revealed. Moreover, it is through them that we will discover that the true story of Tender Light isn't about the crime but of trauma, love and redemption. This narrative structure, while not new in crime stories, can be risky depending on its execution. In Tender Light, the risk lies in the significant screen time given to these two supporting characters, especially in the first two-thirds of the series At times it even felt that these two support characters have more screen time than the protagonists. 

(Sorry, this paragraph was edited in on 25th May 2024 because I forgot to include it when I published it. This is to explain why I think they chose this narrative structure.)
Interestingly, this narrative choice also mirrors the viewer’s experience with the police in the series. Just as the police are often kept in the dark about the true nature of the events unfolding, so too are the viewers. This clever parallel not only enhances the mystery and suspense of the series, but also deepens our understanding of the complex dynamics at play in Qingshui Town.
Tender Light's non-traditional narrative structure is complemented by a nonlinear timeline, skilfully woven with flashbacks that enhance the story. While nonlinear storytelling can be challenging, the drama series executes it superbly, avoiding viewer confusion and disinterest. The flashbacks are expertly motivated, edited, and differentiated from the current timeline, ensuring a seamless flow. Visual cues like black and white transitions and superimposed text indicating the year and date help maintain clarity. However, the flashbacks are so well-integrated that viewers may not even notice these cues, a testament to the show's exceptional storytelling.
The cinematography of Tender Light is truly beautiful. Each scene is lit exquisitely, every camera movement is motivated and every shot is composed to perfection. The series appears to aim for an arthouse film aesthetic. While it’s almost certain that it was shot in HD, it seems to have been treated to appear softer and grainier, mimicking a more filmic look as opposed to the stark sharpness typical of HD video. The colour palette is generally muted and natural, not overly saturated and restrained. It evokes a sense of simplicity, authenticity, and naturalness. The tone is often somber, reflective, and contemplative. Given that this is a crime drama, low-key lighting common in film noir was used. However, as the drama unfolds, it becomes clear that Tender Light does not intend to portray a cynical world like the typical film noir. Hence, although the lighting is dim, the shadows are subtle and not overly contrasty. The series aims for a more nuanced, introspective ambiance.
The composition of the shots also plays a crucial role in conveying the drama's intended atmosphere. The 2.39:1 widescreen ratio was use so that shots can be composed with a tight frame, minimizing the presence of the sky. Even when there was a sky or mountains in the background, they were often overblown or overcast, evening out the background till it appears soft. In some of the shots of the fields, there is also an obvious vignette. Even in wide shots of bridges, buildings, and other structures, the frame is often constricted by surrounding elements like trees, leaves, and branches. The deliberate use of frames within frames adds depth and visual interest. Even overhead shots are carefully composed, ensuring that everything remains within a frame.
For instance, in the scene with the burnt car, the wreckage is framed by adjacent vehicles and groups of people (see screenshot above). While the overall tone of the drama doesn't feel overtly claustrophobic, this visual approach effectively conveys the sense of a small, enclosed community, emphasizing the characters' feelings of entrapment within the town's limited politics and social dynamics. Our characters, like the burnt car in the shot, feel trapped within this insular world, where every detail matters and boundaries are tightly drawn.
I wonder how many people realized that producer Zhang Shuwei, played Wen Ting, Lin Fanglu's girlfriend.

In addition to the tight framing, there is also a liberal use of shallow depth of field. Even in long shots of just vehicles driving through the town, a shallow depth of field is employed. The deliberate use of a shallow depth of field contributes to the feeling of hyper focus, where everything is intensely scrutinized and magnified, much like the gossip and attention Nan Ya or Zhou Luo or anyone who's the flavour of the week receives. This technique makes it seem like the characters' actions are under a microscope. Even the smallest details become amplified in this insular world where boundaries are tightly drawn, and everything feels intensely observed. The shallow depth of field enhances the feeling of being trapped under a lens, where every move is watched and judged.
Furthermore, it creates a sense of isolation, as the blurred background separates the characters from their surroundings, emphasizing their disconnection from the world around them. The shallow depth of field also draws attention to the characters' emotions, making their facial expressions and body language feel more intimate and vulnerable. This, in turn, heightens the emotional impact of the scenes, making the viewer feel like they're experiencing the characters' struggles firsthand.

Lighting also plays a crucial role in establishing Nan Ya’s character in Tender Light. Particularly in the early episodes, she is often bathed in beautiful, soft, warm light. The deliberate choice of lighting enhances her ethereal quality, making her seem like a creature from another realm.
Wardrobe also plays a big part in characterization, especially when it comes to Nan Ya. Her wardrobe is thoughtfully curated. Her clothes are made of soft, gentle materials that elegantly catch the breeze, enhancing her dreamlike presence. This romantic allure not only draws Zhou Luo to her but also captivates us viewers. Nan Ya becomes more than just a character; she embodies an otherworldly grace that lingers in our minds. She is, in essence, poetry. We can empathize with Zhou Luo, a young man who's just discovering youthful passion, as he becomes so captivated by her that he becomes obsessed.
This juxtaposition is particularly striking, especially when compared to the first times viewers see Nan Ya. We first see her in the cold open before the title card in Episode 1, glimpsing only fragments of her: close-ups of her bloodied, trembling hands, the sound of her ragged breathing, and a distant shot of her hunched over, shaking uncontrollably in a room filled with furniture. Later, in the interrogation room, we see her more clearly: she sits calmly with a barely perceptible defiance, her face almost bare of makeup, dressed in dull, heavy prison clothes, yet still elegant even as she exudes weariness. As she recounts the events of that fateful night, we witness Xu Yi brutally assaulting her.
This stark contrast highlights the intentional transformation of her character, revealing resilience and complexity. Guixiang Jie's observation that "This woman, she's beautiful to look at, but doesn't want to be like others, and is bound to attract trouble" reinforces the theme of Nan Ya's defiance and her status as an outsider. Tong Yao's portrayal masterfully captures this defiance, making Nan Ya a more nuanced and captivating character.
The editing, sound design, and music in this drama are excellent. For example, in Episode 2's cold open, when Lin Fanglu enters Nan Ya's shop, the editing and sound design effectively create a vivid atmosphere. Between the shots of interviews and the beautiful Nan Ya in her shop, several quick close-ups of the sewing machine's needles punching the cloth rapidly and Nan Ya's feet moving rapidly on the pedal are intercut. The sound of the needles and the sewing machine's mechanisms suddenly emerge, contrasting sharply with the soft background music. The sound is amplified, drawing a parallel with Nan Ya stabbing Xu Yi, which is a clever hint at her potential as a femme fatale in this crime story. This is particularly effective since it's only the second episode, and viewers still don't know much about Nan Ya's character.

The arthouse approach in Tender Light—with its deliberate pacing, willingness to let visuals linger for their beauty, unconventional narrative structure, and experimentation with various editing styles and storytelling methods—demands compelling characters or stories to keep viewers engaged. Fortunately, the story of the protagonists, Nan Ya (played by Tong Yao) and Zhou Luo (played by Zhang Xincheng) is not just compelling, but also deeply meaningful, tackling complex social issues like domestic violence, mental health, misogyny and collective bullying which are rarely discussed or portrayed in detail in Chinese dramas. The series' thoughtful portrayal of these themes, combined with its captivating visuals and romantic sequences, makes for a truly impactful viewing experience.
This was crucial, as some episodes focus more on one character than the other to the point that sometimes one of the characters were mostly absent from some episodes. This was once again a risky approach, but it succeeded because viewers came to love these two characters and became so emotionally invested in them. Even when one or the other isn’t central to the topic of a particular episode, the emotional attachment to these characters ensures that viewers remain engaged in their overall journey.
While the use of poetry in Chinese dramas isn't completely absent, the amount of poetry and the importance attached to the poems and their meaning in Tender Light is exceedingly rare. The creators skilfully used poetry, music, and romantic visuals to weave a connection between the couple. Their growing affection transcended simple romantic love; their connection was soul-deep.
Zhou Luo’s initial misstep—driven by youthful passion—forced him to confront shame and work hard for Nan Ya’s forgiveness. Moreover, this departure from the typical forgiveness trope in Chinese dramas where women forgive men too easily added authenticity. Even after Zhou Luo shielded Nan Ya from Xu Yi’s brutality, she didn’t easily let him into her world. It took an epiphany, inspiration from Dead Poets Society, his persistent sincerity, and his genuine interest in her inner world of poetry and beauty for Nan Ya to finally allow this ‘tender light’ to reach the depths of her heart. As the story unfolds, viewers will discover the profound pain Nan Ya endured, not only from Xu Yi and the townsfolk but also from her own family. Which makes her slow trust-building with Zhou Luo realistic and satisfying.
This drama series also achieves a balance between beautiful, romantic imagery and a sense of dread by interweaving Nan Ya and Zhou Luo's romance with an intricate narrative of grief, trauma, and societal scrutiny. Nan Ya, constantly scrutinized and judged by the townspeople, symbolizes the harsh realities of small-town life. Zhou Luo's journey from infatuation to understanding mirrors the viewer's growing empathy for Nan Ya. This duality enhances the storytelling, making their relationship feel real and fragile. The series' ability to maintain this delicate balance is a testament to its narrative and artistic strengths.
While the entire cast was excellent, the central couple had to be exceptional. Zhang Xincheng's portrayal of Zhou Luo is captivating. He infuses the character with warmth, youthful energy, and vulnerability, bringing a relatable blend of impetuosity and idealism to the role. His depiction of Zhou Luo's quiet sensitivity, empathy, and complex emotions is outstanding, showcasing a deep understanding of the character's motivations. Zhang's nuanced handling of Zhou Luo's sexual awakening and initial obsession with Nan Ya is authentic and poignant. He skilfully portrays Zhou Luo's awkward attempts at connection and subsequent realization and remorse, conveying genuine shame and regret. 
Meanwhile, Tong Yao's portrayal of Nan Ya is a masterclass in subtlety and nuance. She brings immense depth and complexity to the character, conveying a rich inner life through expressive eyes and understated gestures. With pitch-perfect accuracy, Tong Yao embodies Nan Ya's quiet strength and resilience, capturing her multifaceted nature with precision. Whether portraying vulnerability,  protectiveness, or gradual openness to Zhou Luo, Tong Yao's performance is mesmerizing.
Tong Yao's subtlety is so exquisite that it often defies capture in a single frame. A simple screen capture can't fully convey the intricacy of her performance, which reveals its depth only through close observation of her movements. A slight change in gait, a subtle shift in posture, or a fleeting flicker in her eye speaks volumes. Her portrayal is authentic and captivating, bringing profound depth to every aspect of Nan Ya's story, from initial optimism to traumatic experiences and eventual redemption. While Zhang Xincheng's portrayal of Zhou Luo is equally impressive, the intricate emotional landscape of Nan Ya makes Tong Yao's achievement particularly remarkable 

Equally important is the undeniable chemistry between Tong Yao and Zhang Xincheng, which makes their romantic scenes tender and heartfelt. Their performances are intricately woven together, capturing the complexity and depth of Nan Ya and Zhou Luo's relationship.
Their exceptional performances are the very soul of this drama. Without their riveting portrayal of Nan Ya and Zhou Luo's love story, the series' innovative editing, unconventional narrative, and artistic visuals would have been mere style without substance. Their performances breathe life into the characters, making their love transcend time, space, and boundaries. This arthouse series, with its slower pace and experimental approach, relies heavily on the actors' ability to convey depth and nuance. And they deliver, making the story achingly beautiful and resonating deeply with audiences. Their love story is the heart of the series, and their performances are the glue that holds it all together.
Beyond the story of love and redemption disguised as a crime story, the drama's tackling of social issues is particularly impactful. The portrayal of communal bullying, where the entire town gossips and victimizes certain characters, resonates deeply in today's world, especially with the prevalence of cyberbullying. 

Moreover, the show's decision to depict violence realistically, without sensationalism, is commendable and courageous. Unlike many dramas that shy away from portraying domestic violence authentically, Tender Light confronts it head-on, including the often-overlooked issue of marital rape.
This honest portrayal is crucial, as it highlights the severity of the issue and the need for empathy and support. Tong Yao's performance is particularly noteworthy, as Nan Ya endures countless beatings and abuse, requiring Tong Yao to remain in character and emotionally invested throughout. The scenes where Xu Yi strangles her are so convincingly portrayed that it's unsettling, leaving one to wonder about the physical and emotional toll on the actress herself. Overall, the show's unflinching approach to these issues is a testament to its commitment to storytelling and its impact on audiences.


Which is why the final 15 minutes of the Youku cut feel like a disappointing departure from the excellence that precedes it. After 28 episodes of captivating visuals and audio, the conclusion resorts to a conventional and abrupt summarization of the characters' fates, relying on white text on black screens. This approach, likely imposed by Chinese censorship guidelines, undermines the narrative's impact and feels at odds with the creative vision that defined the series.

The sudden shift in focus—from Nan Ya and Zhou Luo’s poignant story to Lin Fanglu’s heroism and an implied, seemingly unrelated romantic subplot—feels disconcerting and incongruous. (I’ve discussed this in more detail in my blog post, which I recommend reading after watching both the Youku version and the more satisfying CCTV8 TV ending.) By this point, viewers have already invested so much in the couple’s narrative that introducing another character at the end feels not only unacceptable but, dare I say, indicative of poor screenplay writing.
Furthermore, the decision to emphasize Lin Fanglu’s heroism left me disheartened. Rather than solely focusing on Lin Fanglu’s question about trust in the law, the series missed a crucial opportunity. The more pertinent inquiry should have been why the police didn’t trust Nan Ya, the victim. Nan Ya sought help not only for the physical abuse inflicted by Xu Yi but also for marital rape.

Unfortunately, the police failed to assist her—a problem that extends beyond China. In many countries, law enforcement often treats domestic violence (DV) as a routine dispute between couples. As a result, I found it disheartening that the series didn’t fully explore this social issue.
While the inclusion of several mentions of the police’s neglect in handling DV complaints can be viewed as a small victory, Lin Fanglu’s final question and Old Chen’s lack of remorse for the police’s failings in Qingshui Town remain disappointing aspects. Although, in terms of the way this story was presented, we shouldn’t expect any grandiose statements. Tender Light’s intent was to draw attention to these issues, fostering a broader discussion. I don’t disagree with this decision, as veering in that direction could disrupt the carefully established tone over 28 episodes. However, unfortunately, the placement of Lin Fanglu’s question—coming after we finally learn the full extent of Nan Ya’s sufferings—feels like a slap in the face, akin to rubbing salt in the wound.

The more easily available international Youku version feels like a victim of censorship or executive meddling. It's unfortunate and I feel almost certain that director Yao Xiaofeng was forced to compromise the tone and narrative direction he so skillfully established throughout the series, leaving us with a masterpiece marred by a flawed conclusion. To fully appreciate this series, I recommend skipping the last 15 minutes of the Youku version and watch the CCTV8 TV Cut instead, which I've uploaded at this link. Although it's not perfect, it's still far more acceptable and satisfying than the Youku version.
Hats off to director Yao Xiaofeng and his talented team for crafting a masterpiece with Tender Light! The director's vision and guidance brought out the best in his actors, coaxing nuanced performances that resonated deeply. His crew was equally impressive, demonstrating exceptional skill and attention to detail in every aspect of production. The editing, in particular, deserves special mention for its innovative approach to storytelling, seamlessly weaving together disparate sequences and experimenting with bold techniques to convey the characters' inner worlds. The parallel storytelling, too, was expertly handled, requiring meticulous planning and execution. The music and sound design perfectly complemented the visuals, elevating the emotional impact of each scene.

From the thoughtful lighting design to the precise camera focus, every technical element was meticulously executed. The result is a beautifully woven tapestry of storytelling, with each element working in harmony to create an unforgettable viewing experience.

Tender Light shines brightly in the realm of Chinese dramas, not because of its grandiosity or overt dramatics, but due to its nuanced approach to storytelling and character development. Its commitment to an arthouse aesthetic, combined with a compelling narrative and complex themes, sets it apart. While it takes risks that may not appeal to everyone, those who appreciate its artistry will find it a deeply rewarding experience. The series leaves a lasting impression, demonstrating that sometimes, the most tender lights can illuminate the darkest corners of the human experience.

Appendix:
Tender Light defies convention and easy definition; it’s a captivating tapestry that tugs at the soul and beckons viewers to return time and again. Its allure lies in the hidden nuances – subtle brushstrokes across scenes, dialogues, and visuals – that reveal themselves gradually. With each viewing, fresh meanings emerge, and you feel like you're deciphering the meaning behind a poem.

The drama's complexity is deliberate, inviting viewers to unravel its intricacies. This drama isn’t mere entertainment; it’s a literary gem translated onto the screen. Its depth demands deep analysis – a dissection of motives, themes, and character arcs. Like a literary classic, it can stand up to scrutiny and will reward attentive viewers well.

If only time allowed, I could write multiple essays on its intricacies. Alas, my time is finite, and I have other things that require my attention. But someday, I hope sooner rather than later, I will be able to return and write articles on character analysis, meaning, and perhaps an entire article dedicated to Nan Ya, my favourite character in this series.

If you wish to check out the other articles related to this title please click me.
If you wish to check out my Tong Yao guide, please click me.

SPOILER SPOILER SPOILER - please do not read the comments unless you've already finished the drama. 

13 comments:

MissTangerine said...

I agree with you on everything. While watching this series I thought "Love is more intoxicating than poetry and wine". It was true romance, as it should be, and as it is almost never shown in chinese cinema. And that youku ending felt like bad fanfic, too

just me said...

Thanks for leaving a comment. Yes, I don't know what's up with that Youku ending. It really ruined all the hard work that had been put in for 99% of the series. I'm going to pretend that there is only the CCTV8 ending. I'm currently rewatching the series for a 2nd time and when I get to the last 15 mins, I'm switching over to the CCTV8 ending because the Youku ending makes me angry. 😝

Anonymous said...

A really great review. Yes I was also so mad that I couldn't sleep after watching the last episode. I read the novel first so I was expecting them to include some beautiful scenes in the end. The ending was just so upsetting. Why should Nan Ya go to jail and both lead suffer these? The CCTV ending was a bit better but not very satisfying too. Tong Yao said they filmed 3 different endings so I wish they could release the final version too.
Everything was perfect in this drama, the chemistry between the leads were just amazing, I haven't seen such good chemistry between older female lead and younger male lead relationship. How they filmed it was also amazing, the scenes were really beautiful and meaningful. All the actors including the supporting characters like Nan Ya's stepmom, Xu Jian, Xu Jian's wife, the Doctor and many more did so well. I feel like the story was not draggy, every details were needed to fill up the story. It had some vibe of the German series "Dark" although they have different genres but the way it is filmed and the vibes is very similar in my opinion.
It is really good how all the dark sides of the characters are shown in the drama and are really relatable to real life. Everyone in the drama has a dark side and they are excellently portraited with just the actor's acting and the looks on their eyes.
It is so sad how this well produced drama is not getting enough attention and rating. Maybe because these days people are more interested in romantic comedy and just love stories. I feel like dramas like this have more meaning and can give up more life lessons. I wish they could produce more films like this.

just me said...

@Anonymous
Thanks for leaving a comment. :) Yes, I was pretty upset after that last episode too which is why I wrote the Alt TV version post hours after I had watched it. The Youku version felt like such an injustice. I wish they would release the 3rd version too. But it doesn't look like they will. :(
The whole cast was very good. But for sure Tong Yao and Zhang Xincheng were amazing and amazing together too and they had to be, if not this drama would not work. I have almost nothing bad to say about it except for the last 15 mins. It was near perfect for me. You're right, although this was slowly paced, it was not draggy at all. It's perfectly paced for this style of storytelling.
And I agree. I think that a lot of these characters feel real and that we can see them reflected in real life. Even the "good" characters are flawed.
I'm kinda sad too that this drama didn't blow up ratings wise although critically it has very good comments. Some of the down votes are from people who just want to see more of their favourite actor. In general, I think they seem to be Zhang Xincheng fans on Weibo who seemed to be pretty upset that there wasn't enough of him in some episodes and I think down voted in protest. They are probably young fans. :( Then there are some that down voted because they didn't like the ending. I will agree that I would take away some points for that 15 min Youku ending but it would only be like a 0.2 and I would give this 9.8 out of 10 because only the last 15 mins were problematic. To down vote this by a lot would be such an injustice to the work this whole team has put in. It's very good work from all involved.
Also, I'm sure there are many who won't like this style of storytelling because it's not something they are used to or it's something they don't understand because I don't think a series like this has ever been made or if they have, it's very few and far between.
I think a rare few even did not like Tong Yao's interpretation, expecting her to full out cry or have a lot more 水汪汪 kind of eyes but that IMO would be such a wrong interpretation for this character. I actually think Tong Yao really understood Nan Ya which is why she played some of the really emotional scenes the way she did and was very, very restrained in a lot of scenes. This role is very, very hard to play. That is partly why I would like to one day write an article to explain this character and why I think Tong Yao's performance is spot on.
Like you, I almost always prefer dramas that have more meaning and in general, I don't like formulaic stuff which is partly why I love Tender Light so much. I really could write several long post about it. I wish I had more time. :P
I too hope that even though Tender Light didn't blow up in the ratings, I hope that this is just the beginning of more thoughtful, interesting, daring and innovative series. :)

Anonymous said...

Yes I agree with you. Nan Ya's character is indeed very hard to play and people are criticizing a lot about Tong Yao's crying scene. I mean Nan Ya has gone through a lot in her life. Losing her mother in a young age, having a brutal step mother and an alcoholic father who doesn't even care about her, being abused by her step brother, being criticized about things she has never done and by being hated by the friend she trust most. She even had thoughts about killing herself. So she had no reason to be weak emotionally. She had gone through so much just to cry over small things.
I feel like she has given up her life after her step brother died and getting married to Xu Yi. The only thing that want to keep her living is her daughter Wan Wan. It made a lot of sense that she kept pushing Zhou Luo away even though she had a bit of feelings for him. I would say she needed a friend, at least someone who understands her and she though Zhou Luo understood her in the beginning. Later on after he told her all those harsh words, she thought he was the same as everyone in the village so she kept her distance with him too. However, Zhou Luo tried really hard to understand her and show her his true feelings for her. So I think that is the point where Nan Ya fell in love with him. She is in thirst for care and love given by someone. No one had given her that much care and love expect her mother so it is not surprising that she fell in love with him. But she knew she cannot let him come into her life so she kept on pushing him away. She is harsh verbally but Zhou Luo is smart enough to find out her true feelings. This is such a complicated feeling to act out so I think Tong Yao did a really great job in portraying the character out.
Also Zhang Xing Chen also did a great job in playing Zhou Luo, especially the eyes. The "eyes" scene between both leads were so so good. Especially the scene in episode 21 where Zhou Luo was captured and saw Nan Ya for the first time after the case.
You can see it in Nan Ya's eyes that "Zhou Luo Why are you here? What are they going to do to him? " Nan Ya had a few people who cared about her in her life and she cares about them a lot. I think Lin Fang Lu got that point. He knew her so he used her feelings to find out the true case by seeing the fright in Nan Ya's eyes and then sending Chen Ling but sadly he just made it worst. In her eyes, you can see how frightened she is but she cannot show it. Zhou Luo's eyes also show that "It is okay Nan Ya. Everything will be okay. I will be fine". And Ling Fang Lu's eyes were like "Something fishy" hahahaha lol. But I still don't understand why he did that until now. Lin Fang Lu did a great job here too. That eye scene with no dialogue show it all. Yeah Zhang Xing Chen's eyes scene throughout the whole show was really good. They way he look at Nan Ya was so innocent, pure and lovely. Very relatable to the feeling of teenager having a weird feeling for an opposite sex.
The actor Ye Zhu Xing who played the character of Ling Fang Lu was also really good. Except one scene where Nan Ya's stepmom told that Nan Ya was abused by her stepbrother during her teenage years. I didn't see much of the pain in his heart when he heard that. He should have expressed a bit more about the shock and pain since he liked her that much and she faced that because he invited her to see the shooting stars. :(. Xu Yi was also great. Loved how the actor played it too. I saw this video on Youtube and the actor who played Xu Yi in real life is so charming in real life. Very opposite to his character. https://youtu.be/uI7uaG-09eI?si=lK838iUtlPQmAnsz.
Overall all the cast were so good that it made me forgot that they were actually acting.

just me said...

Honestly, I think a lot of people are very used to the C-drama / K-drama etc kind of crying where you need to have tears and watery eyes to convey sadness or you need to have a fierce harder look in the eyes to convey emotion. So they don't get it that for some characters and in certain kinds of dramas / films, that would be overplaying it.
Nan Ya has been abused almost all her life. Her mother died when she was very young, her father is pretty useless and her stepmother often neglected her and may have hit her too because everyone in town says that her stepmother treated her very badly.
She was not only sexually assaulted once, but almost sexually assaulted a second time, was confined for days in a room, was involved in murders, was severely beaten, isolated, publicly humiliated etc etc. It's like she suffered the whole spectrum of possible abuse. BUT yet she was able to survive and part of how she survived was hanging on to the memory of her mother, later because she had Wanwan and then Zhou Lou, and the other part was to build walls and very high walls. There is no way this person is going to be very open with her emotions. This is VERY hard to act out.
She and Lin Fanglu are the most restrained characters in this series because they are survivors of abuse and have probably learnt early on to compartmentalize their emotions. Hence, they can appear very calm but there is a world of inner pain. It's very hard to portray this and Nan Ya of all the characters in this drama has the most pain and the most secrets to hide, making it essential that Tong Yao does not overplay her at any point in time.
Which is why Tong Yao often uses her voice and small micro-expressions to make meaning. For example, when she tells Zhou Luo, not forgiving you is my right. Watch how she sets her jaw firmly, it's slight but its there. Then her eyes harden, it's slight but it's there. And her voice, very firm, very calm but also carries anger.
Then when she is sarcastic at Lin Fanglu in the prison when she tells him most people would choose to be selfish, isn't that so? It's the way she says it, how she breaks that sentence and emphasis to make meaning. Her face is very calm but her gaze is very steady and eyes are very slightly accusatory before she blinks at the end and it's very calm.
And in terms of crying, she uses vocal crying a lot. For example, in the scene in the dorm room right after they return from Xu Yi getting rid of Hu Lifan's body, she exhibits signs of shock, of disassociation and then when she tells Xu Yi that they should turn themselves in, her voice is very shaky and high pitch with emotion and then her cries, almost tearless but gasping and short. She's hyperventilating there. These are all signs of a proper reaction to trauma.
In the next sequence, when Chen Ling comes and finds Xu Yi and her together in the same room, Tong Yao is hugging herself tightly, fetal position and before she gives a louder cry of anguish, her vocal cries are in a whimpering.
You don't need tears, in fact a lot of times, tears don't tell you as much sometimes, it's the voice that tell you what kind of pain the person is in.
It's very obvious that Tong Yao understands Nan Ya very well because you can't just play it this way by thinking it. You have to become Nan Ya.
Moreover, for Tong Yao, she had to also be Nan Ya when she was in her 20s and openly happy, then she had to play Nan Ya wanting to accept Zhou Lou but the words she are saying are suppose to push him away. Then she has to play Nan Ya who's vulnerable when she's getting beaten, Nan Ya when she's a peace with her child, Nan Ya who's happy privately with Zhou Lou etc etc. That's a WHOLE gamut of different emotions and stages that her character goes through. And she still has to keep everything true to Nan Ya's core which is that Nan Ya has to still have that sense of restrained in most of this drama. (part 1)

just me said...

(part 2)
Zhang Xincheng is very good here too. Like Tong Yao, he too has a whole gamut of different emotions to have to exhibit. He also has moments when he has to appear almost like he is emotionless when he is being questioned by the police. BUT one advantage he has is that unlike Tong Yao, he is allowed to go bigger. And actually, he needs to go bigger than her too. Because he is much younger and there is a streak of youthful impetuousness in him. Also, although he has been hurt by the gossip around him and he is by nature introverted, like Nan Ya. Still, he doesn't have Nan Ya's world of inner pain so he can and must go bigger to differentiate this character from Nan Ya.
Their scenes together are very good and they have to be because of the way they told this story. You need to care for them both as individuals and as a couple because if not it'll look like just a bunch of pretty pictures flashing slowly slowly by and two boring cops talking a lot. Which is why I really thinking Tong Yao and Zhang Xincheng were both amazing in this drama except I speak up more for Tong Yao because she had fewer vocal fans. :P
I also loved that scene where Chen Ling and Nan Ya talk near the end of the series. That scene was so sad. You can feel the lost of something that should have been precious.
What I don't get is this. In a successful film or drama, what makes it a masterpiece is that EVERYTHING must come together. You cannot tell me that you think this drama was a masterpiece and then say that one half of the emotional core that keeps this drama together wasn't good enough. They are BOTH very very good.
The WHOLE cast was very very good. (let's not talk about extras, they don't count). They ALL played their parts well which is why this drama worked SOOOOO well.
So yes, I don't the criticism of Tong Yao at all. IMO, she's a very underrated actress who does very good work when given very reticent and restrained characters that are very easy to overplay. I just think people just want her to act in a style they are used to without regard to what kind of drama they are watching and what kind of character she's playing.
This is partly why I would like to write more about this series and talk about Tong Yao's performance more because Nan Ya is a very complex character, arguably the most complex in this drama because her background has A LOT of baggage and her present is equally messed up. I would also like to write about Zhou Luo, Xu Yi and other characters too and themes and narrative structure etc.
This series is very deep and completely worth watching more than once. I'm already on my 2nd viewing.
Unfortunately, I do have things I need to do. :( I don't know if I will ever be able to get to it. But hopefully, someday.
Thanks so much for leaving such a detailed comment and discussing the series together with me. :)

just me said...

Also, I agree with you on your analysis of Nan Ya too. She has been through a lot and I too think Zhou Luo is like the light she needs in her life. She has no friends and no one to support her that way. Guixiang Jie helps her but that's out of pity. The only one who tried to truly understand Nan Ya is Zhou Luo.
Ye Zuxin, perhaps he could have show a bit more shock and anger when he discovers about the rape. That's a valid criticism.
I really liked the Dean Liu (Xu Yi) too. :)

Anonymous said...

Your welcome and Thank you for writing this detail review too. It is really sad that this drama is very underrated. All the cast did great and it is almost perfect. I have never been so into a drama before and it is so hard to move on from this drama. Best drama of I have ever seen.
Yes I agree that Tong Yao is very underrated, I really love her acting skills. It is so natural. I have known her as a Zhang Zi Yi look alike before and heard her story. She is truly amazing that she is able to walk out of the dark past and once again gain her name as Tong Yao with her amazing acting skills. I really fell in love with her in Nothing but Thirty. From then on I have been following her work. Really loved her chemistry with Zhang Xing Chen in Tender Light and hope she can be in another drama with him again. She has great chemistry with all the actors she worked with too. I wish she could produce more work in the future too. Really happy to find another Tong Yao lover. :)

just me said...

@Anonymous
I'm glad you enjoyed my review. I tend to write a little too much I think. Hahahaha!! Although, I think most people don't read most of it or don't read it at all, I do enjoy writing them just for fun. BUT that said, if someone comments and discusses it with me, I'm very happy too. So, thanks very much for engaging in a fun discussion.
I'm very happy to find someone who admires Tong Yao too. I actually don't know many people who do because most of the people I know like the 流量 stars and dramas. I tend not to watch too many of those. :)
I actually first noticed her in Ruyi Zhuan where I thought she acted really well and was only one of two of the actresses that I really liked from that drama which I never finished. I decided to watch Nothing But Thirty on the strength of her performance in Ruyi Zhuan and the rest, as they say, is history. :)
I REALLY LOVE her with Zhang Xincheng in this drama too. I have runned out of adjectives to describe who amazing they are together in Tender Light. :) And I agree, I liked her a lot with a lot of her co-stars. I liked her lots with Li Zefeng (Nothing But Thirty), Zhu Yilong (The Rebel), Zhang Songwen & Feng Shaofeng (Life is a Long Quiet River) too. I liked them so much that I actually wrote long reviews for The Rebel and LLQR. I never got around to doing Nothing But Thirty only because I watched it way before I started the page on her and there is just too much to do / write that I just never got around to it. :P
I hope she gets a lot more meaty roles like Nan Ya in the future. Fingers crossed.
Happy to find another Tong Yao lover too. :)
cheers

just me said...

Oh and yes, I forgot to add that like you, I had a hard time moving on too. This is truly one of the best Chinese dramas I have ever watched. I can't remember ever getting so emotionally involved in one before. I needed time to move on too because for days, all I could think of were possible articles that I could write about on the series. I LOVED it that much and was so emotionally invested in it too. :P

Anonymous said...

Yup I agree with you. All my friends around me are into 偶像劇 and romantic comedy stuffs. I do watch them sometimes but don't find them that engaging like "Tender Light" or "13 years of Dust". These kind of thriller, mystery dramas.
I hope Tong Yao can produce more dramas in the future and looking forward for your discussions for her future works too. I think your review has a good length and it contain more detailed discussions. I even found some of the information that I didn't noticed when watching the drama so thanks for sharing so much details and showing your love for the drama.

just me said...

Haha yes! I hope she will do more of this genre too because it's one of my favourite genres but she seems to have a preference for urban contemporary dramas which don't travel too well outside of China. I don't mind them but I like suspense, thrillers and mysteries a lot more.
I enjoyed "13 Years of Dust" too.
Thanks again and I hope to see you around the blog some times. :)