As someone who comes from an immigrant family myself, I can relate to Mozasu’s struggle to communicate his concerns directly with Solomon. It seems that this generation, especially those from the Asian immigrant community, often find it challenging to express their feelings openly, which leads to misunderstandings and unresolved issues. This dynamic between Mozasu and Solomon is a reflection of the times and the cultural norms of that era.
WARNING: Potential Spoilers Ahead: This conversation discusses key events from “Chapter 16,” the final episode of Season 2 in the show “Pachinko,” currently available on Apple TV+.
The Apple TV+ drama “Pachinko” has once again delivered emotionally fraught season finale.
The family drama set amidst Korean immigration, adapted from Min Jin Lee’s 2017 novel, concludes by zeroing in on Noa (Tae Ju Kang), a college student in 1951. This episode portrays not just his college experiences and first romantic relationship, but also the long-awaited reveal: he discovers that Koh Hansu (Lee Min-ho), a wealthy and corrupt businessman, is his biological father.
Additionally, in the 1989 plotline, the mature Sunja (Youn Yuh-jung) ends her blossoming romance, while her son Mozasu (Soji Arai) encounters someone from his past as he strives to prevent his ambitious son Solomon (Jin Ha) from embarking on a path he recognizes as dangerous.
In my perspective as a captivated movie reviewer, I recently had an enlightening conversation with “Pachinko” showrunner Soo Hugh. We delved into the profound implications of the various storylines reaching their climax on our beloved characters. Furthermore, she shared the intriguing tale behind international sensation Rosé from Blackpink performing a cover of a Coldplay song for one of the episodes – a collaboration that added a unique and resonating layer to the drama. As we eagerly anticipate the fate of this captivating series, let’s keep our fingers crossed for the renewal of Season 3!
First of all, by the time we get to the end of Season 2, where are we with how the book unfolds?
As for the current plotline, it’s entirely fresh territory since we surpassed the content from the book during Season 1. However, for the backstory, although some elements have been covered, the fundamental structure and many details still remain intact as we continue within the book’s timeline for these events.
This is a really big episode for Noa. How much do you think he actually has known about his father even if he didn’t admit it to himself?
Hansu makes a comment to Sunja (Minha Kim) suggesting that he believes the boy is intelligent and will eventually discover something. It seems to him that something doesn’t quite add up, but he can’t grasp in his mind the concept of a mother having a child outside of marriage. These ideas are foreign to him, so while he senses something amiss, he remains unaware of what it could be.
In the scene where Hansu is confronted by Noa, Hansu has a choice not to tell him — but instead he tells him everything. Did you ever think about him not telling him, or did it have to happen?
I strongly yearned for that particular instant. The camera focuses on Hansu’s face for about a minute, and if you pay attention, you can see that he almost sheds a tear in that frame. Some aspect of him is aware that he’s effectively damning his son by speaking the truth in that moment, but he’s been longing to do so. He’s been waiting 20 years to confess, “I am your father.” It’s quite reminiscent of the drama in “Star Wars”!
How much alike do you think Noa is compared to Hansu? We see some flashes of Noa’s anger in this episode that’s similar to Hansu’s.
It’s intriguing how he responds when Akiko [Kilala Inori] tells him “Noa, Hansu is your father,” and his immediate response is a massive, aggressive shove. Later on, you can see fear in his eyes, suggesting that he might be coming to terms with the idea, “Perhaps the tendency towards violence that this man possesses, the same blood that flows through him, it could also reside within me.
When Noa goes back home to see his mother one last time, he doesn’t tell her he knows. Later, she says that that was his mercy. Is that how you see it?
It’s quite common to want to keep your options open when filming scenes, so you can adjust them during editing. However, at some point, decisions must be made. In our case, my editor and I had to determine the exact moment when Noa decides he will depart. “When will he give up his identity? When does it happen?
There’s one cut where he decides earlier with Hansu. If you look closely, when Hansu says, “I’ll make them grovel upon your feet,” there’s this look where Noa is breathing really hard — and all of a sudden, you see him calmly breathe, he catches his breath and he gets really still. In the editing room, we said, “That’s the moment.” So, when he goes to Sanja, he’s already made up his mind, and there doesn’t need to be an argument because his decision won’t be swayed. He’s really come to say goodbye.
I’m just glad he’s still alive in the end, since this show does have its tragedies. I was worried he might kill himself, or truly disappear but then we see him in Nagano.
There was debate about whether the final Nagano scenes were necessary. Some thought, “What’s the point?” However, it was precisely to address that concern. Leaving them out would have seemed manipulative, as if trying to elicit an emotional response (schmuck-baiting).
We see that Sunja is destroyed by Noa leaving, but how is this going to affect Hansu?
In the same vein, his emotional turmoil stems from his long-held desire to become a father, but the paths he must navigate will undeniably diverge. Over time, it’s become apparent that they hold contrasting perspectives on the nature of the world’s rules. As the camera captured Hansu in the final scene of this episode, it seemed as if he was directly addressing us with a message: “Very well, this is who you want me to be. I shall embody your monster.” If there’s a Season 3, we can expect his downward spiral to unfold further.
A monster of his own making, right? He’s orchestrated a lot of this.
It’s quite intriguing. Whether Hansu himself claims credit for it isn’t clear to me, but it’s an intriguing thought either way.
Once we see Noa in that Nagano scene, he doesn’t just change his name, but also says he’s not Korean. How significant is that to the story you’re telling, given the show is so much about the identity of Koreans in this Japanese world?
In Japan, it’s challenging to distinguish Koreans from the general population due to the country’s homogeneity within the Asian spectrum. It’s often not until someone speaks or shares their family background that you realize they are not Japanese. However, Noa was born in Japan and grew up speaking Japanese like any other Japanese child. In his mind, he is simply embracing his identity, which could potentially lead to unfortunate circumstances for him.
The narration over the final scenes with the dialogue about shadows is really beautiful, and fitting for all of these characters. Is that from the book?
Initially, that line wasn’t part of the book; instead, it appeared in Season 1, but we decided to eliminate it. When Sunja enters the water after Hoonie’s [Lee Dae-ho] demise, you might recall a voiceover from Hoonie saying, “Dear Sunja…” This was intended dialogue that didn’t quite fit at the time due to its abstract nature. Later on, we rewrote it so that Hoonie addressed Sunja more directly, but I had always cherished this dialogue and the metaphorical horses it conveyed. I thought, “Let’s give it another try here and see if it works.” Surprisingly, it turned out to work much better in this context.
In the 1980s timeline, the older Sunja has been getting close to Kato (Jun Kunimura) but is ending their relationship since Mozasu thinks he just wants the family’s money. But you give Kato a chance to tell his own tragic story. Why was that important?
In the process of creating his character, we didn’t initially realize that every Japanese man of his age during that time would have experienced World War II. This realization led us to understand that each man of that generation has a unique story. It’s fascinating how the ordinary can transform into something extraordinary, which is a key theme in our show. His performance is powerful because he delivers this harrowing tale in a straightforward manner. He’s lived with it for fifty years and has come to terms with it, making his portrayal feel incredibly honest.
Let’s talk about Solomon and his father, Mozasu, who doesn’t directly tell his son not to go down this dark path in his business but instead goes to Mamoru Yoshii (Louis Ozawa), Solomon’s boss, who he has history with, to stop this. What does that say about this father-son relationship?
In various families I’ve encountered from the Asian immigrant community, as well as other immigrant groups, there seems to be a common theme – issues often become more complex when they aren’t addressed directly. For instance, the typical Thanksgiving dinner doesn’t have to escalate into such a dramatic event; if someone would only express their concerns openly, rather than letting them fester, conflicts could potentially be resolved much more easily. Communication is truly powerful!
In simpler terms, the series seems to delve deeper into this era and particularly this generation. The character Mozasu appears to harbor feelings of failure when he openly expresses his thoughts about fatherhood. One point we made about the show is that as it progresses, the past and present will intertwine, providing us with more insights into Mozasu’s troubled past and why he carries such a heavy burden.
The last we see of Solomon is when he gets the news of the death and possible suicide of Katsu Abe (Yoshio Maki), which he’s responsible for indirectly by calling in his loan. What does that mean for Solomon moving forward?
As a film critic, I often ponder over this intriguing conundrum: when we strive for something and finally obtain it, why does the satisfaction not quite hit the mark? Life, after all, has a peculiar way of defying our expectations. And isn’t it human nature to keep climbing, always reaching for the next rung on the ladder, hoping that elusive sweet taste will be ours? Solomon, at 28, is grappling with this very reality. At 28, I was far from enlightened myself, so by the end of the series, we shouldn’t expect him to have all the answers either. However, he’s slowly coming to terms with the fact that perhaps his path wasn’t what he thought it should be.
It’s also a big deal that Rosé from Blackpink sings the Coldplay song “Viva La Vida” at the end of the episode. How did that come about?
It was clear to me that a song would be played at that point. Initially, I believed it could have been a Coldplay tune, but I fought against that idea. The lyrics of that particular song resonate deeply with our series, and more importantly, they reflect Noa’s character. However, I had concerns that using such a well-known song might distract viewers from the narrative.
After listening to approximately 200 songs, I found myself drawn back to the Coldplay tune. Upon reflection, I realized Chris Martin’s distinctive voice might be difficult to replicate. We considered various cover versions and then someone suggested Rose, mentioning she might have an affinity for this particular song. Initially, it seemed like a remote possibility, but it turned out she did indeed have a special bond with the track. The song itself is enchanting. We’ve produced and mastered the entire piece as a single, so we’re eager to share it soon, if given the opportunity.
With this show that talks a lot about the past and the present, what’s the future for “Pachinko?” Should we be hopeful for a third season?
You reach out to them with a request for more tales to share. One challenge we face is the sheer number of shows available today, isn’t it? Our supporters are exceptional, and they’ve shown incredible kindness towards us. However, it seems incredibly difficult to stand out amidst the noise in this era.
This interview has been edited and condensed.
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2024-10-12 01:51