The story opens with the introduction of a handsome magician living in the Joseon Era named Hwan-hui (Yoo Seung-ho). Charming and talented, Hwan-hui packs his theater Mullangnu (whose name means “place with no light”) every night. Yet he is deeply unhappy and wastes his days away with drinks, drugs and women, trying to find meaning in his life. 

Cue the appearance of the equally charming and beautiful Cheong-myeong (Go A-ra), a girl born into a title-less family that suddenly finds herself named a princess when China requests a woman to marry their prince. Essentially sold off, she spends her days crying, trapped in a small carriage as she makes her way to China. 

The two tragic lovers’ stories intertwine when Cheong-myeong’s entourage makes a pit stop in the town where Hwan-hui performs. It’s love at first sight, and they must hurtle through various obstacles to find their everlasting bliss. Following the teen-geared romance framework, there are a few surprises and plenty of near-kisses and tense silences that will keep young female viewers holding their breath.

The romance of the film works; Yoo and Go are both easy on the eyes and their on-screen chemistry works well. However, it is difficult to shake the feeling that Yoo and Go’s interactions seem isolated from the rest of the film. They keep up light and casual banter when they are alone -- a little too casual when compared with the overall tone of the rest of the cast, which includes Chungmuro heavyweights like Lee Gyoung-young, Cho Youn-hee and Kwak Do-won. 

Their conversations also rarely connect to their individual storylines -- much of the dialogue could have been between any two young lovebirds, without having to be between a lowly magician and a princess hiding her royal status, and certainly without having to take place in the Joseon Era. 

The disconnect is what will make Yoo Seung-ho’s first feature film since his discharge from the military unappealing for older viewers. The historical setting, the well-placed cast (Park Cheol-min is particularly excellent as comic relief) and the beautiful sets and artwork are a good foundation for a wide-audience appeal, but the central focus on the Aladdin-style romance makes it a better Christmas movie for groups of high school and college friends than anyone else.

By Won Ho-jung  (hjwon@heraldcorp.com)