By skyforbes 
A Hundred Memories continues the trend of Korean dramas often focusing on love triangles, a beloved series. Starring young and promising actors, this series is eagerly anticipated every week on Netflix.
A Hundred Memories certainly reminds viewers of Reply 1988, with its detailed and impressive production design. However, it must be admitted that the writing isn’t quite as satisfying, especially in the ending.
A Hundred Memories is aided by the popularity of rising actresses like Kim Da Mi and Shin Ye Eun, which has helped it achieve high viewership. Several aspects of the story could be further enhanced to make the love triangle comparable to You and Everything Else, which also aired in September.
The script was written by Yang Hee Seung, who has previously written popular series like Oh My Ghost (2015) and Crash Course in Romance” (2020). The drama’s premise lends itself to a comfortable viewing experience, allowing viewers to see the development of its main characters.
You will follow the story of Ko Yeong Rye (Kim Da Mi) working as a bus conductor in Seoul City in 1980. Living in poverty makes it easy for the audience to sympathize and feel familiar with Yeong Rye’s character from the first episode onwards.
Until she meets Seo Jong Hee (Shin Ye Eun), who becomes his work partner as a bus conductor. The two quickly become friends, and predictably, their relationship is shaken by their mutual crushes.
Han Jae Pil (Heo Nam Joon) is the main character, standing between Yeong Rye and Jong Hee. Like other romantic dramas, the audience is drawn to the conflict of who Jae Pil will choose in the end.
Fortunately, the audience doesn’t just witness the interactions between Jae Pil, Yeong Rye, and Jong Hee over several episodes. There are side conflicts, such as the one between Jae Pil and his father, and the touching struggles of Yeong Rye’s family to survive, which keep things from getting boring.
It’s hard not to compare this drama to You and Everything Else, as both feature love triangles. In the other Netflix series, Ryu Eun Jung and Cheon Sang Yeon are friends, but their conflict is structured with dynamics ranging from work ideals to emotional betrayal.
Kim Sang Ho, as director, deserves praise for accurately portraying the atmosphere of Seoul in the 1980s. Everything from the clothes and hairstyles to the vehicles and other accessories is meticulously crafted, bringing back nostalgic moments for the audience.
However, this story, written by Yang Hee Seung, builds a premise from the beginning with the sweet friendship between Yeong Rye and Jong Hee. However, creating likable characters doesn’t seem to be enough to deliver a perfect ending.
Throughout the story, Jae Pil, the main character, seems to be given free rein to choose his partner. Who Jae Pil ends up dating isn’t surprising, as it’s always between Yeong Rye and Jong Hee.
The presence of Jung Hyun (Kim Jung Hyun), a supporting character and participant in the battle for Yeong Rye’s heart, ultimately serves only as a comedic relief. Indeed, Jung Hyun’s role also manages to elicit laughter from the audience several times.
Rather than focusing on the love triangle, this drama is more engaging because of the conflict between parents and children. Jae Pil and his father, Han Ki Bok (Yoon Je Moon), are a side story to the love triangle with Yeong Rye and Jong Hee, making it interesting to watch.
Ki Bok, who often physically punishes Jae Pil and has a bad temper, turns out to have a softer side as a father. On the other hand, Jae Pil’s emotional wounds toward his father motivate their disharmonious relationship.
The problematic father-son relationship seems to touch the hearts of viewers, as many of them have experienced similar experiences. Compared to the almost predictable romance, the synopsis shifts the focus.
Furthermore, the conflict between Jong Hee and her adoptive mother presents another problematic parental issue that should have received attention in this series. Aiming to be a good adoptive mother for Jong Hee, she ends up being possessive and selfish.
Once again, the mother-daughter conflict, represented by Jong Hee and Seo Jae Hee (Yang Mi Sook), successfully builds an emotional connection in a short time. Meanwhile, the audience no longer cares whether Jong Hee will ultimately become Jae Pil’s girlfriend.
As for the other supporting character, Jeong Jae Kwang (Seo Jong Nam), he should have been an antagonist to break the deadlock in the story. Unfortunately, Jae Kwang ultimately failed to deliver the final blow an antagonist should.
Jae Kwang’s sudden change in motivation was also unacceptable, making him seem like a mere supporting character, despite the excellent initial premise. Fortunately, No Sang Sik (Park Ji Hwan) filled the antagonist’s role admirably, and his motivations for hating Yeong Rye and Jong Hee made sense.
If it weren’t for these shortcomings, this series could have been more than just nostalgic entertainment.
7/10