Finally finished watching the show, and had just one word for it……………. Gyabo!
I find films that take the point of view of a “weirdo” rare. I can only think of one: Amelie. So I wonder how the drama would be if it’s from Nodame’s POV, how she sees the world. In the manga, she is like a… hmm, black box. Most of the time, readers get insight on her from the other characters. Whatever she feels and thinks are rarely given “voice”, unless she articulates them. And that’s what’s “bugging” me. I want to know her thoughts on the music, and specially her take on life, on Chiaki Shin’ichi —other than he suits the “dark and gloomy” piece. I want to know what she thinks of Chiaki Masayuki’s —Shin’ichi’s father— BBB concert in volume 17 of the manga. But, that’s part of what makes the manga interesting: getting to know Nodame’s forte. Recently, Auclair-sensei —He’s another “blackbox” too, by the way— compared her to Chopin’s Polonaise-Fantaisie op. 61… hmmm interesting!
In some ways, I feel Nodame from the drama lacks the “jazz” vibes the manga one has. In the drama, she has child-like mannerism and enthusiasm, while in manga, she is a devil-may-care maverick. Regardless, I like Ueno Juri’s Nodame — just got to love her here. She surprised me during the whole Liszt’s Mazeppa fiasco. She managed to show Nodame’s insecurities as genuine, and as real as anyone’s in real life. Though I wish they included Osada-san’s assessment —the “give me more worms” painting— on her piano playing, Frank’s, and Tanya’s.
I like it that I got tho see (and hear) Nodame’s composition “La Suite Moja-Moja” that is instrumental in helping her get the gist of sightreading. I like Nodame’s Recital…. Ravel’s Miroirs no. 4 has always been one of my fave. And that the pieces convey her state of mind. I like Nodame’s “knapsack”.
Hmm, just as I like Ueno Juri’s Nodame, I like Tamaki Hiroshi’s Chiaki as well. Though in the drama, he is too warm and caring . He lacks that lofty and commanding air and arrogance that were present at the beginning of the drama series. Sorry, Chiaki-kun…. I have less interest in your pursuing conducting career —you’ll manage! you’re brilliant in conventional way!—, so I find the first half less entertaining than the second. But still, I laughed so hard on his antics: his signature panic whenever “traveling by plane” is mentioned, or when he condescendingly supervised Tanya’s playing Chopin’s “Heroic”. Hahahaha…. But I miss his cooking, and wish to see him play the violin.
Too bad, Chiaki’s Europe debut piece is changed to Brahms’ Symphony no. 1. In the manga, he conducted Ravel’s Ma Mère L’Oye, Toru Takemitsu’s “Far Calls. Coming, Far!” and Sibellius’ Second Symphony. Each seems to tell Nodame something of his feeling. Specifically, Sakuma Manabu translated the Sibellius’ as “amidst a soaring world of snowflakes and constellation melted to dust, [Chiaki] fearlessly strides towards the world before [him]. With courageous steps, walk forth to that place (The Weirdo Forest, I think).”
However, Brahms’ Symphony no. 1 still holds significance. The last time Nodame saw Chiaki conducting Brahms’ Symphony no.1, she decided to let him go. And now, with that piece, he decided to go to the Weirdo Forest. Well… all is well.
I wonder why the concours are named after football players: Maradona (Nodame’s first concours), Platini (Chiaki’s conducting competition), Valdés (which Tanya and Yun-long will enter, manga vol. 18)… Hmmm.
Pictures are courtesy of Garten @ designchronicle.com/memento