Is Netflix’s ‘The Sound of Magic’ worth watching?

Do you trust in enchantment? Assuming your life is pretty much as dreary as Yoon Ah-yi’s in the Korean show Sound of Magic, you might have to put stock in sorcery to get by. Reality has not treated her generosity. Ok yi, played convincingly by Choi Sung-un, is in a horrendous circumstance. Deserted by her dad, the secondary school understudy is frantically attempting to get by and accommodate her more youthful sister.

Working part-time after school doesn’t make sufficiently her to pay the lease on the home she and her sister live in. A supplication for help just grounds what is happening. She’s so frantic for help that she meets an unusual man, who claims he is an entertainer, at an abandoned carnival. It’s an insane move, however, Ah-yi has hit a brick wall. Fortunately, the odd man could really be a genuine entertainer, albeit conceivably a crazy one, and a grown-up who appears not entirely set in stone to safeguard her. Will there, at last, be a cost to pay? It’s difficult to tell and Ah-yi has appropriately learned not to trust anybody.

Ok yi needs a boss. She is annoyed at school and badgered by the obligation authorities her dad took off from. The main individual who pays special attention to her will be her similarly shrewd schoolmate Na Il-deung, played by Hwang In-hyeop. The two of them begin being negative about enchantment. Ok yi comes to put stock in enchantment first and that may be on the grounds that she wants it more.

Sound of Magic is an abnormally great show where wizardry appears to be both confident and threatening. Characters appear to be caring and afterwards are savage. Ji Chang-Wook makes a shadowy performer, a messed shabby Peter Pan, who could simply be whimsical. He could end up being a legend or a miscreant. Or then again unfit to help her, truth be told. Ok, yi must choose the option to find out.

That is the position watchers could end up in as well. Where is this eccentric melodic dramatization going to take me and do I have confidence in sorcery enough to go there? Watchers will probably take a risk on this unique show if by some stroke of good luck to see what sort of stunts Ji’s convoluted entertainer character figures out how to make appear out of nowhere. The music is a pleasant mishmash, with a foamy secondary school dance number, sweet two-part harmonies and moving critique on the instructive futile daily existence. Both the expansion of melodic numbers and the dull storyline make this dramatization convincing.

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