Uso’s primary strength, and what sets it apart from anything else this Winter (that I’m watching, anyway) is its bravura musical performances, accompanied by both play-by-play and color commentary from members of the audience. This week continues that trend of really nailing that strength.
The performances aren’t just wonderful to listen to; they’re a crucial means of delivering catharsis or proving the mental and physical mettle of the performers. They’re also meant as messages: Kousei is on that stage to give Kaori a musical kick in the pants; Nagi is there to scream out “Here I Am!” to her big brother.
For the first time on Uso, there’s two people at the piano, and while Kousei does go a little off script with the bass, wanting to turn off the sound of the notes and merely feel them, where he’s at his best, but it doesn’t derail things. Rather, Nagi realizes she’s being goaded, and it’s up to her to realize her potential and fight back.
It becomes a battle on the blacks and whites, but not an all-out brawl; more like a friendly game of table tennis. And with Ryouta relaying the performance to Kaori via speakerphone, Kaori soon joins in from her hospital room, first standing up, and then playing air violin. It worked!
Due in large part to her adorable but not over-the-top design and Kayano Ai’s similarly restrained little-sister voice, Nagi has more than grown on me; she’s become a vital part of Kousei’s growth. Hiroko wanted him to see the joy of watching someone learn and grow and become something great, just as she saw with him; the unique perspective of the teacher.
Meanwhile, once Takeshi gets over his outrage that Kousei seduced his sister (and wasn’t even aware she was his sister; doesn’t even remember his name, in fact!) he too shows signs that Nagi’s music reached him. He vows to defeat Kousei at the next major competition, essentially ending his brief retirement.
As he runs off Nagi recognizes the spring in his step from when he was a little kid singing the praises of the “robotic” Kousei. With his help, she made him hear and notice her, and now he’s back in the game.
On the hospital roof, Kaori calls Kousei a cruel jackass for subjecting someone who can’t play the violin to music that made her want to play more than anything. And though there’s hardly any color in poor Kaori, the consuming darkness of her hospital room has been replaced by an endless blazing blue sky.
But Kousei won’t commit double suicide with her, and he won’t let her go gentle into that good night. He wants her by his side, playing violin one last time, in a performance neither they nor anyone else will forget. That should be some performance. But this one with Nagi wasn’t bad either, because it made that possible.