Standouts include Tamura Masakazu as Kanichi, whose breathless rants are definitely a highlight. Tamura pivots between loud and overbearing to warm, tender, and wise with an ease that is stunning. Though his character’s subplot with Ishida Yuriko’s Machiko is the drama’s biggest stumbling point, it was a lot of fun to watch him interact with pretty much anyone. An honorable mention to extremely young Okada Junichi, whose Kanzaki Tadashi is cut from the same cloth as his father—it’s pretty obvious he was always destined to grow into the strong actor that he is today. He draws the eye despite the extreme focus on his sisters (particularly Hirosue Ryoko’s Suzu, whose storyline is a bit of a mess). Everyone else more or less does their part, though some of the characters are bit superfluous; honestly, I could have done without the gyaru-culture caricature that is Sumika.
As for the music, nothing was memorable aside from the theme song, "Sayonara, Daisuki na Hito (Goodbye to the one I love most)" from Hana*Hana. It’s a bittersweet ballad with delicate vocals that sets the stage for the growth undertaken by the cast.
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Picked up as my first Tamura Masazaku drama after a scene of it, in which his character stands up for his daughter's ex-fiancé in his workplace after having faced work abuse happened to go viral recently. I was curious when i read the plot and it made clear that the drama would be centered on the father as the "intuitive" controlling father that knows what's best for his children instead of the usual intuitive mother trope. Every episode has each character facing dilemmas related to their wishes and the responsability that comes with making their choices. Their personal stories feel realistic and convincing, while the OST gives a sense of warmth every time a cheesy scene comes up. Japanese directors and actors are able to capture the conventional aspects of life in family dramas very well. Esta resenha foi útil para você?
