Home > TV and anime > Tree With Deep Roots or Deep Rooted Tree or Bboori Gipeun Namoo (2011) — episodes twenty-one to end

Tree With Deep Roots or Deep Rooted Tree or Bboori Gipeun Namoo (2011) — episodes twenty-one to end

We now come into the endgame in Tree With Deep Roots or Deep Rooted Tree or Bboori Gipeun Namoo (2011). With So-Yi (Shin Se Kyung) and the other court ladies sent out of the palace to spread the word about reading, King Sejong (Han Suk Kyu) and Jo Mal-Saeng (Lee Jae-Yong) set out to split Milbon. This has become possible as many of its members in senior political positions are disturbed by the murder of the Crown Prince. However Mr Big Root (Yoon Je Moon) has worked out the point of hiding the release of the women into the countryside and sends out all his men to find them. Meanwhile Lee Shin-Juck (Ahn Seok-Hwan) as Right Minister finds his Milbon allegiance wavering. He’s looking to establish a new faction to protect the original aims of their secret society but marginalise Mr Big Root for killing the Prince. He makes a deal with the Chinese secret service to help him while, on the ground, Milbon begins to split into two. These leaves the King’s men running round the mountains looking for So-Yi.

So-Yi (Shin Se Kyung) and Kang Chae Yoon (Jang Hyuk) distributing the letters

Within Milbon, a power struggle emerges for the soul of the organisation. The opposition to Mr Big Root is led by Sim Jong-Soo (Han Sang-Jin) who believes the leader has sacrificed the primary aim of the organisation through his obsession with preventing the release of the letters. It’s put to the leader he should step down. Meanwhile the King takes Lee Shin-Juck to one side and offers him amnesty if he will give up Mr Big Root, take over Milbon and enter into a debate about the structure of government. This will potentially give Milbon what it wants but, of course, Lee Shin-Juck is reluctant to trust the King. On the mountain, Mr Big Root now has So-Yi and two other ladies in his hands while Kang Chae Yoon (Jang Hyuk) runs around looking for clues. He thinks Gae Pa-Yi (Kim Sung-Hyun) may lead him to Milbon’s secret base but his attempts to contact him fail. Things grow tense.

In the last two episodes, all the immediate plot lines are resolved. There’s some fighting. Not as much as you might expect and the fights we have are not showy but functional to get the job done. And this leads me to an interesting issue to discuss in these final paragraphs. Korean drama in general and sageuks in particular have unresolved issues. Straight history is boring. Indeed, when Korean television first got into historical dramas and did literal versions of the records preserved from past eras, the initial popular interest and excitement quickly evaporated. No matter how fascinating such images may be to scholars, television cannot sustain a purely academic ethos. It’s primarily there for entertainment (although this does not deny the possibility of educational themes in the subtext). It’s the modern bread and circuses to distract the masses.

King Sejong (Han Suk Kyu) steeling himself for the endgame

So here we have a drama about the King’s desire to lift the people from ignorance by giving them a phonetic rather than ideographic system of writing. So for those of us interested in semiotics and postmodernist debates about the function and power of the discourse, this is a classic period of history to examine. Here we have a feudal hierarchy with the King at the top, a corps of noble families, scholars to run the administration, a very small middle class of merchants, a massive class of peasants, and an underpinning of slaves. At this point, I need to mention a “new” suggestion from Gerald Crabtree, a geneticist at Stanford University in California, in two articles published in Trends in Genetics. He offers the opinion that early humans had to be intelligent to survive. Or if they were stupid and made mistakes, they would likely end up dead and not spread their genes. So if we apply this to early Korea, we have a potentially very intelligent group of survivors and the only thing holding them back is the inability to write down their thoughts. By giving them an easy-to-learn notation system, people can suddenly record their thoughts, pass on their experience, and preserve their innovations for future generations. Oral histories can only go so far, depending on the willingness of people to talk to each other. But once ideas are written down, they become more durable. Technology and knowledge can develop and consolidate their hold in society. Of course the written form of discourse is just as open to manipulation as the oral communication route. Those with power have always had control over the official publication process and have been able to use words to deceive the people. But, over time, the people learn to distinguish the real from the unreal. More importantly, they can develop their countercultural information printing facilities to parallel the official discourse. In the West, pamphleteering and broadsides distributed or posted on walls became a thorn in the side of many governments. Anyone can write on a wall in Korea.

The moment Mr Big Root (Yoon Je Moon) realises he’s lost

So for the King to be developing this system is playing with social dynamite. As Milbon puts it, the letters could open the door to Hell, bringing anarchy and destruction. Or it can just begin the slow process of reversing the direction of flow in their society. When the King plans this, the lives of the peasants and slaves are essentially worthless. Centuries after the release, the lives of the Korean people have more equal value and there’s less exploitation. If the development of the language was revolutionary, it has taken a long time for the social wheel to turn. Which leads me to this final thought. Many characters in this drama sacrifice themselves for a cause for and against the language, but the King sails serenely on. Essentially people are disposable tools for getting things done. He can be fond of individuals (including his son), but everything has to be subordinated to achieving what he perceives as the greatest good for the greatest number of people. He’s a walking embodiment of utilitarianism.

Finally, I think the way the series concludes is slightly too obviously didactic. This takes noting away from the central performances by Han Suk Kyu, Jang Hyuk and Shin Se Kyung. They are magnificent throughout albeit Shin Se Kyung doesn’t quite get the role I think she deserves given her importance to the language development program. But the script becomes a little preachy. Yes, the ideas are powerful but, for all the weepiness surrounding the heroic sacrifices made, things could have been neatly tied up without all the moralising. This does not change my view that this sageuk is outstanding and should be seen by as many as possible. But the slow shift in tone as we reached the ending did slightly take me down a notch at the end. Tree With Deep Roots or Deep Rooted Tree or Bboori Gipeun Namoo (2011) is somewhat sad.

For other reviews of this series, see:
Tree With Deep Roots or Deep Rooted Tree or Bboori Gipeun Namoo (2011) — the first four episodes
Tree With Deep Roots or Deep Rooted Tree or Bboori Gipeun Namoo (2011) — episodes five to eight
Tree With Deep Roots or Deep Rooted Tree or Bboori Gipeun Namoo (2011) — episodes nine to twelve
Tree With Deep Roots or Deep Rooted Tree or Bboori Gipeun Namoo (2011) — episodes thirteen to sixteen
Tree With Deep Roots or Deep Rooted Tree or Bboori Gipeun Namoo (2011) — episodes seventeen to twenty

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