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shallownessGiri/Haji – ep 6
Less happened (give or take rescuing baby Sora and Eiko and a montage of yakuza killings) but there was time for grieving and relationship business.
I am still loving the fake family dynamic of daddy Kenzo, mummy Sarah, big brother Rodney and little sister Taki, complicated by the actual family bond between Kenzo and Taki, with Yuto, the man who inadvertently brought them all together, bearing witness to the fake family dynamic. I mean, Rodney after the narcotics anonymous session was playing up the teenager embarrassed by his parents, but secretly glad they were there role to the hilt.
That’d be Rodney spiralling in grief and guilt. The final scene of haunting by Tiff was well theatrical, but the emotional register balanced out the Moris’ grief nicely.
On the linguistic front, I snerked through the ‘translation’ section, although I do not think the cop is as thick as Taki thinks he is, and would probably be familiar with actual interpreters for non-English speakers in London. I wonder if Taki used a different verb for ‘I like her’ to clue her dad in, or if it was jues emphasis.
Kenzo and Sarah circled closer together, while ha! Kenzo had told her Ian had called, and it didn’t get the response Ian wanted, but he now threatened her with revenge for harbouring Japanese criminals. (Kenzo having killed again for Yuto overshadowed all the other shadows – like Taki facing up to the fact that her beloved uncle was yakuza, that he had killed). Also, a frustrated, rejected Abbot is not leaving London any time soon.
Great tension over Yuto’s decision in the car – I liked his vision of Eiko there. An echo of their past, an echo of Tiff, but not overdone. Still, he’s got his own plans. He’s not wrong to urge Kenzo to talk to Rei, but that’s the Rei he asked to whisk his son and babymother OUT OF A YAJZY SAFEHOUSE. Because family.
I loved the ‘they’ll never suspect a middle aged and elderly lady business’ although it was predictable that actually getting away would be tough. But I think we learned the Moris came by ‘it’ (their attitudes when pressed and violent tendencies) from the matrilineal side.
Orange car, though? Not very stealth. But obviously a rebuke to Sarah’s car.
Oh, and as things deteriorated in Tokyo, I continued to judge the head cop for his contribution to the bloody mess.
There was a real beauty to how the rites and ceremonies were shot. But some of my sympathy for Taki was tempered by her having chosen to run away. Halfway across the planet.
Less happened (give or take rescuing baby Sora and Eiko and a montage of yakuza killings) but there was time for grieving and relationship business.
I am still loving the fake family dynamic of daddy Kenzo, mummy Sarah, big brother Rodney and little sister Taki, complicated by the actual family bond between Kenzo and Taki, with Yuto, the man who inadvertently brought them all together, bearing witness to the fake family dynamic. I mean, Rodney after the narcotics anonymous session was playing up the teenager embarrassed by his parents, but secretly glad they were there role to the hilt.
That’d be Rodney spiralling in grief and guilt. The final scene of haunting by Tiff was well theatrical, but the emotional register balanced out the Moris’ grief nicely.
On the linguistic front, I snerked through the ‘translation’ section, although I do not think the cop is as thick as Taki thinks he is, and would probably be familiar with actual interpreters for non-English speakers in London. I wonder if Taki used a different verb for ‘I like her’ to clue her dad in, or if it was jues emphasis.
Kenzo and Sarah circled closer together, while ha! Kenzo had told her Ian had called, and it didn’t get the response Ian wanted, but he now threatened her with revenge for harbouring Japanese criminals. (Kenzo having killed again for Yuto overshadowed all the other shadows – like Taki facing up to the fact that her beloved uncle was yakuza, that he had killed). Also, a frustrated, rejected Abbot is not leaving London any time soon.
Great tension over Yuto’s decision in the car – I liked his vision of Eiko there. An echo of their past, an echo of Tiff, but not overdone. Still, he’s got his own plans. He’s not wrong to urge Kenzo to talk to Rei, but that’s the Rei he asked to whisk his son and babymother OUT OF A YAJZY SAFEHOUSE. Because family.
I loved the ‘they’ll never suspect a middle aged and elderly lady business’ although it was predictable that actually getting away would be tough. But I think we learned the Moris came by ‘it’ (their attitudes when pressed and violent tendencies) from the matrilineal side.
Orange car, though? Not very stealth. But obviously a rebuke to Sarah’s car.
Oh, and as things deteriorated in Tokyo, I continued to judge the head cop for his contribution to the bloody mess.
There was a real beauty to how the rites and ceremonies were shot. But some of my sympathy for Taki was tempered by her having chosen to run away. Halfway across the planet.
