A AUDITORIA ACABOU! SIGAMOS EM FRENTE…
Drama bem enxuto, com uma premissa bem construída e uma direção que soube valorizar a parceria entre o cisudo auditor e o jovem e esperançoso auditor júnior. Temos que elogiar Jung Ha, que é um dos poucos atores que atua personagens fofos de maneira natural e sob medida, sem constranger. Nesse episódio final, quando ele entra em cena com cabelo e penteado diferentes, olhar diferente e agindo igual a Sin Cha II, cheguei por alguns segundos a pensar que era outro ator. Ele foi muito bem.
A saída de Cha II foi necessária porque os métodos de Dae Ung iriam colidir de frente com os de Cha II.
Além disso, ele tinha extirpado todos os “ratos” da empresa. Outro elogio é a OST principal ser a música “Knock The Door” de Pitta.
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A Política Coreana & Conexões
Esse foi um drama político muito bom. A cada episódio, era uma guerra de cão e gato entre Dong Ho e Soo Jin; às vezes, ele vencia, e em outras, era ela. Fiquei impactado com a forma como ele decidiu resolver tudo, sacrificando sua vida pela verdade. Como ele mesmo disse, a verdade tem que vencer a mentira, pelo menos uma vez. A relação entre os dois foi autodestrutiva e recheada de rancor e ódio desde o início. Foi interessante ver Dong Ho testando os limites da inescrupulosa ex-militante estudantil que se tornou uma mulher com sede de poder e com a intenção de proteger a própria biografia, seja a dela ou da sua família.Merecem elogios a atuação da veterana atriz Yeon Suk, como a chefe de gabinete, e, logicamente, os dois protagonistas, que mais uma vez se mostraram acima da média e do comum. O drama tem uma premissa simples e tramas bem emaranhadas e construídas. É incrível como, na Coreia, ter conexões é muitas vezes mais importante do que ter dinheiro.
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BEST WAY TO FINISH...
I don't know the history of the BL in which this drama was based, however, although I criticized in previous posts that the drama should have followed the original story to the letter, now I understand and agree with the means and ends to reach this slightly exciting and simple ending. It would be very uncomfortable to have a middle-aged man have a romance with a teenager, even with the mitigating factor that he was in the body of another teenager.That being said, it was a very low-budget drama, but it showed a well-written script and a premise built in detail. I found the last episode to be quite slow and lukewarm, but the closure was good, where the one who had the desire to live, will live and the one who was exhausted from this life, will rest. In conclusion, I commend the performance of Yoon Chan Young, an excellent protagonist.
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Simple films with a clumsy protagonist.
It's a movie with a simple premise and a well-known cast. We have to praise Yoo In Soo's consistently exceptional and well-developed performance as the villain in this film. Everyone knows that this actor usually plays comedic roles, but whenever he portrays villains, he transforms himself. In other words, he's an actor with great stage presence who can seamlessly transition from humor to drama and vice versa.Now, it's necessary to mention that Yoo Sun Ho's performance as the film's protagonist is very lacking and stiff. It seems like he's holding back. He portrayed a very monosyllabic and emotionless protagonist.
The film has its flaws, for example, what's the backstory of Da Young's "stalker friend"? In three minutes, that could have been explained and developed. It felt somewhat random. What's the significance of that epilogue? What important post-film finale factor does that scene have?
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FINAL WORTHY, BUT DULL...
The last episode was out of sync with the others, it was a dull, slow episode with no great depth to the story. I think episodes 9 and 10 could have been combined, the makeup of the old and bedridden Anjin made me laugh, which is a shame because it was the only technical slip-up in this remarkable drama, and it didn't even impact the logical experience of the drama, but I thought it was worth mentioning.The story, development, and pace were well done and detailed, we had competent art direction that accurately studied Japanese culture at the time. As for the story, I was a little frustrated because I thought we would have the war in the last episode, but instead, we had an excessive amount of dialogue and the closure of some character arcs. I still want to reflect on whether we had an open or semi-open ending because we now know that he managed to return to England and took memories with him, but Toranaga said he would never leave Japan, yet as we observed, he did leave.
The highlight of the acting and deserving of award nominations for best actress goes to Anna Sawai, who played the unforgettable and masterful Mariko.
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Um drama bem desenvolvido e bem dirigido
Foi uma excelente experiência assistir a esse drama. Gostei de como o enredo foi construído e desenvolvido, e a atuação dos atores foi sempre segura e bem conduzida. Quero destacar os atores que interpretaram Sato e Shinzo Tozawa; eles deram uma aura mais realista aos seus personagens, o que foi muito valorizado.Sobre o drama, eu não li a obra do jornalista onde a série foi baseada, mas não percebi nenhuma brecha para uma continuação. O arco Tozawa foi concluído com sucesso e a história, ao meu ver, se fechou. Há empolgação e possível enredo para mais temporadas? Acredito que sim, mas como telespectador, estou satisfeito por agora.
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IN SEARCH OF THE WONDERFUL WORLD...
I think the best way to praise this drama is to say that it was a competent and well-built drama. None of the episodes were irrelevant or unimportant; all episodes were complementary to each other. In other words, we had an excellent execution here.The conclusion was very conclusive and without loopholes. My last doubt was regarding the gate video and what an irony of fate, it was the controversial Soo Ho protecting his wife from the certainty that he had closed the gate. I found this explanation excellent and very consistent.
I will praise Cha EunWoo for accepting to play a character completely outside of his comfort zone and I confess that I saw positive acting points in the last episodes. I hope he continues on this path and challenges himself as an actor.
In a final analysis, the drama taught that the WONDERFUL WORLD is built daily and with small achievements. After all, life is not built only of victories and happiness.
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Uchikawa Reo was the biggest highlight.
It's necessary to say that Uchikawa Reo's acting level (Satoru - child) is much, but much higher and better than the performance of his adult version, which isn't exactly hammy, but falls quite short. Uchikawa managed to show us a protective Satoru, someone who seeks to fill others' voids without worrying about his own life and setbacks, someone who from the initial episode dominated the drama from start to finish. It was a pleasure to get to know this actor; it's a shame he hasn't acted for years, but he is fantastic. Also deserving of praise is the actress who played Kayo in the childhood phase, she managed to convey sensitivity in all her scenes and scenic care in her lines, it was another pleasant surprise. From the adult cast, although he had very little screen time, we have to praise the Kenya played by Shirasu Jin who did very well and in his few scenes gave an emotional and sincere tone to his character.A well-rounded and flawless drama, I liked it a lot. I watched it because of a friend's recommendation and it was a beautiful suggestion.
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A FORGETTABLE DRAMA.
Before anything else, it is necessary to say and repeat a thousand times that Park Ji Hoon is a beast of acting. At just 24 years old, he dominates the scene and has a striking voice when he acts, unlike colleagues of the same age or similar, whose ham acting is totally evident. I only watched this drama because of him. After this brief preface, let's talk about the drama itself. It's very easy to talk about this drama because it has an excellent synopsis, but the execution was terrible, with quite lazy narrative resources, to say the least. The use of the memory loss trope by the protagonist was quite anything, and the screenwriters did not use creativity to create more innovative situations in Korean drama. Another fact that bothered me a lot and was quite exaggerated were the excessive screams and shouts of the protagonist. In episode 14, for example, it was 60 minutes of just him screaming and writhing. The villains were all well below criticism. Personally, I can't see Hwang Hee playing villains. His comic and charismatic character in "Tale of the Nine-Tailed" mentally marked me, but that's just me. What annoyed me the most was that in the initial episodes, the screenwriters treated us to a cunning, intelligent, witty, comic, and fighting Ak Hee. However, to maximise Sajo Hyun's protagonism, they turned Ak Hee into a greedy and childish idiot. Anyway, it's a drama I'll forget after typing this review.Was this review helpful to you?
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I WILL NO LONGER FEEL PAIN! NOTHING WILL TURN RED ANYMORE.
I thank MBN for showing that a drama with a modest budget, but with a good script, well-developed and implemented clichés, well-executed plot and direction, can indeed be successful and win over the audience. This drama has demonstrated that it is possible to achieve this feat. The ending of the drama, in my opinion, presents all loose ends properly tied up, with a clear and conclusive conclusion. The explanation for the characters' second chance in life was simple: "God wanted it, and it's all right."Of course, this drama has become one of my favorites on MDL, being an incredible experience to follow these twelve episodes. I hope MBN produces more dramas with the same atmosphere.
Now that the drama is over, I can say that, in the webtoon, there are three characters who go back to the past (the protagonists and Kim Jae Won). I believe that not including this plot for Kim did not harm the development of the story. If MBN wanted to, they could have extended the plot to 16 to 20 episodes, but it's all right. It's good to end things at their peak, which helps preserve good memories.
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GOOD ETHICAL AND MORAL LESSONS.
We had a very histrionic villain who was very well constructed by the established Nomura Mansai II, who knew how to lead his character well without making him caricatured, showed that he is an actor with good resources. The protagonists had secure and forceful performances in my opinion.The drama wanted to show that one crime can never justify another under any circumstances, no one can be penalized for something they did not, they should only be blamed for mistakes made and proven. Furthermore, even under pressure, one should never sacrifice the life of another. And the hardest part: acting in a beneficial way will never erase the crime you committed and nor will it mitigate it.
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Nem Ruim, Nem Marcante: Só Passou
Um drama modesto e funcional, que não tenta ser mais do que é — e talvez aí resida parte do seu charme. Ele entretém com certa leveza, ainda que tropece em passagens maçantes e escorregue no ritmo. As mortes de personagens secundários tentam evocar emoção, mas o impacto é limitado, talvez por falta de construção mais cuidadosa. No fim das contas, diverte o suficiente para não ser tempo perdido, embora fique longe de ser memorável.Sinceramente, está aí um drama, que não precisa de segunda temporada, está bom o que foi mostrado.
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Drama que nos lembra: excelência não é luxo, é escolha.
Nem sei por onde começar porque, honestamente, é raro ver um drama que entregue tanto em tantas frentes ao mesmo tempo. A qualidade cênica e técnica é soberba, mas o que realmente impressiona é um roteiro que não subestima seu público: inteligente, consistente e fiel à lógica e à ciência que escolhe como alicerce. Cada crime, cada solução é desenvolvido com clareza e precisão, sem atalhos fáceis nem truques baratos, provando que ainda é possível fazer dramas que respeitam a inteligência de quem assiste.E não há gorduras aqui — tudo serve a um propósito. Os vilões e subvilões não são apenas obstáculos de ocasião: são personagens racionais, bem construídos, com motivações que sustentam e enriquecem a narrativa. É daqueles raros casos em que se agradece a simples existência da obra, porque ela reafirma a crença de que excelência ainda é possível no audiovisual.
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A Democracia Te Observa — E Te Derruba Também
Mesmo sem alarde, orçamento robusto ou pretensão de ser o próximo fenômeno do mundo dorameiro, esse drama entrega exatamente aquilo que tantas superproduções tentam — e falham — alcançar: substância. Com uma narrativa precisa, quase didática, o roteiro costura lições de ciência política, antropologia e psicologia cognitiva com tamanha naturalidade que o espectador é fisgado sem perceber. E o mais surpreendente: até princípios elementares da democracia são expostos com clareza e propósito, sem cair no panfletarismo.Yoon Hyun-soo, que poderia facilmente ser engolido pela densidade temática, entrega uma performance segura e ajustada, brilhando nos momentos em que a trama exige nuance e contenção. O final, coerente e firme, fecha a narrativa com a mensagem que se impôs desde o início: a democracia, por mais imperfeita que seja, não tolera ser usada como cortina para interesses canalhas. E quando é, cobra. E cobra caro.
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Crime Bem Feito, Protagonista Mal Tratada
Olha, é inegável que o drama entrega uma trama policial muito bem amarrada, com motivações coerentes e crimes que se entrelaçam sem deixar pontas soltas — algo raríssimo em produções do gênero. O roteiro é preciso como um bisturi e, honestamente, não tem nem espaço para a gente cutucar com furo de lógica ou incoerência narrativa. O gancho para uma segunda temporada, aliás, é tão gritante que parece um convite direto para a audiência grudar na tela de novo. E aceito, viu? Sem pestanejar.Agora… sobre os protagonistas: a química existe, o timing funciona, mas vamos combinar que a evolução dos personagens seguiu caminhos bem diferentes — e nem sempre por boas razões. O protagonista masculino segue reto feito trilho de trem, enquanto a personagem feminina… ah, essa caiu no clássico trope da mulher forte que vira boba por conveniência de roteiro. De “badass” a tola num piscar de olhos, e tudo isso para só resgatar sua dignidade dramática nos minutos finais. Isso não é um problema da atriz, e sim da pena frouxa do roteirista e da direção que cochilou no volante. Mas, ainda assim, valeu o passeio.
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