Shigatsu wa Kimi no Uso – 04

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I think I’m still in shock. Happy shock. My heart is still racing. What the hell just happened? What did I watch? What did I just experience? I’ll tell you what that was: It was far more than a violin competition entry with piano accompaniment, play-by-play, and color commentary. That was a frikkin’ journey with no clear destination. That was nothing less than one of the finest and most riveting episodes of anime I’ve ever seen.

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Perhaps so strong a reaction is a product of having sat through most of half hour with almost no dialogue whatsoever, aside from the occasional comment from a stunned onlooker. We’re in that audience along with them, in this vast dark, dusty chamber that’s only a room until someone picks up an instrument and starts to wield a kind of wordless magic.

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That pure sound emanating from piano and violin taps into our most fundamental emotions of joy and pain. The silence is a canvas; Kaori and Kousei are charged with filling it. And fill it they do. But first, the buildup. Oh, God, the build-up before the Big Game. Once off that bike and miming the sheet music, things start to get real for Kousei, and he starts to get lost in that black and white.

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Kaori headbutts him, even a little harder than she intended; she’s nervous too! But neither of them are going out there alone. They’re going to play together, and she belives the two of them can do it together. She leaves no room for protest as she grabs his hand and leads him to the stage. We, and Kousei, don’t know it, but this is the moment of departure on the journey Kaori takes him on. He says she’s “freedom itself,” out loud. “I’m not,” she rebuts. “Music is Freedom.”

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With that, they take the stage, and Kousei endlessly adjusts his bench as some in the crowd starts to recognize him. They’re voices he can hear; they sound similar to the voices he heard when he was a prodigy, when his mother had essentially placed him in a hermetic prison with musical bars he could not hope to bend. But back then, just as now, he does not blame his mother. He felt honored to be the recipient of her wisdom and guidance; whatever pain he felt, it was the price of being able to bear that greatness.

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Trying to remember Kaori’s words — music isn’t a prison, it’s freedom — the two begin, and Kaori goes easy on him at first. Her initially docile play gives him time to find his bearings. Almost like riding a bike, his body remembers what to do, and the fact he can hear his own notes encourages him. Then Kaori gives him a look, and he knows she’s about to turn off the main road of their journey and enter some dense brush. He can keep up like she knows he can, or he can get lost.

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I knew as soon as the started playing that things could go south at any time without warning, like they did at the cafe, so I watched with a lump in my throat and a slight weight in my chest. The brilliance of the episode is its depiction of Kousei getting lost back in his deep sea, the water and darkness washing around him and us. The gradual and increasing distortion of the music is as emotionally effective as it is technically impressive.

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Eventually, things get so bad for Kousei, he can barely hear anything at all, and he stops, worried he’ll ruin Kaori’s playing. Then Kaori stops too. When they both stop, everything from a competition standpoint is over. But this isn’t about a competition, it’s about Kaori and Kousei’s journey. He’s tripped and fallen and can’t – or won’t get up, but Kaori isn’t going to leave him behind. She doesn’t want to continue on alone.

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But wait…we’re only a little over halfway through the episode. Things are bleak, but a comeback is still possible! Lest we forget, a tearful Kaori begged Kousei to help her prove she could do this, that they could do this. She’s not annoyed Kousei stopped; she’s scared. He has to get up and they have to keep going. “Again,” she says. They start playing again, but Kousei is still in the trippy sea, the currents choking the notes.

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Then Kousei remembers his mother singing “Twinkle, Twinkle, Little Star” during a happier time. He remembers her telling him “The Piano Is You.” Caress it like an infant and it coos; bang its keys and it roars. Kousei digs deep and changes his strategy: he’ll stop worrying about hearing the notes and merely imagine them, playing with his whole body.

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He starts playing like a man possessed; like a man one with the piano, and he even starts getting into it with Kaori, as he stops being her accompanist and morphs into her opponent. He’s back on his feet and racing ahead; and she’s more than game to chase him!

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He’s no longer behind the musical bars. Kaori, and the music, has sprung him, and sprung him righteously. He’s no longer looking down, he’s looking up, looking at Kaori, smiling, full of joy, and Kaori’s looking right back at him, no less overjoyed that they’ve recovered so splendidly. This is what she saw in him.

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POOR TSUBAKI!!! T_T

And as they get lost in each other’s eyes and music, they put the whole of the audience under a spell. Tsubaki, who jumped up and cheered when he started playing again, adopts a pained, defeated expression when she realizes what’s going on between the two. Next to her, Ryouta becomes ever more lovestruck with Kaori.

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The episode realizes that just because they’re both musicians doesn’t mean this performance makes them a couple now. She even still calls him “Friend A” up there, though at this point it could just be an ironic pet name. It’s not as if Ryouta is done; in fact, he still probably has the inside line. A harrowing love rhombus has been built this day.

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But that doesn’t matter to Kaori or Kousei right now; Spring has Sprung and they’re on Cloud Nine; the change of Kousei’s scenery effectively illustrates that point. Things are getting brighter and more saturated until they finally bring the piece to a stirring close, bringing the house down…

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But the performance, which was perhaps as long and energy-draining a performance as she ever gave, brings Kaori down as well. She left nothing left in her tank. Kousei got bloodied while dismounting from Tsubaki’s bike, which provided a measure of symmetry to this closing shot, But while that was a joke, this isn’t. It suddenly, ruthlessly imparts the episode’s title – “Departure” – with unspeakable dread and foreboding. The episode plummets from the dizziest heights to the lowest depths. Not again, Kousei may be thinking; God, don’t do this to me again.

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P.S. That up there is a 1,158-word review. When I really like something, I tend to ramble.

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Author: sesameacrylic

Zane Kalish is a staff writer for RABUJOI.

6 thoughts on “Shigatsu wa Kimi no Uso – 04”

  1. This show really knows how to play with your emotions. By the time the performance ended and both of them were sweating and breathless, I noticed i was also sweating and breathless.

  2. Best. Episode. Ever! Got me fully anxious when Kousei stopped playing the piano. A good finish for that music piece as it ended with me breathless too.

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