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A historical epic, filmed in Korean and Japanese and following several generations of a family along two timelines? It sounds like a time investment you might never get around to making, but season two of Pachinko confirms that this show is worth the effort — and that effort is in fact minimal, since drama as deft and heartfelt as this can never be a chore.
We rejoin her in in Osaka, where she works hard to bring up her sons, Noa and Mozasu, in the absence of her husband, who has been imprisoned for sedition. Meanwhile, in Tokyo in , Solomon Jin Ha — the son of Mozasu and grandson of Sunja — is trying to make his fortune amid economic uncertainty.
Although specifically about Koreans who left home to work in imperial Japan before the second world war and never went back — partly because the Korea they knew ceased to exist — Pachinko is a methodically observed drama about the agonies of being human. Characters eternally try to overcome insuperable circumstances. These include suffering discrimination and being buffeted by political events beyond your control. Growing up in poverty and being unable to leave that behind — so you are aware of the size and splendour of the world, but also know that most of that wonder will remain inaccessible — is a fundamental theme.
But even as it shows its characters battling their own insignificance, Pachinko never treats their emotions lightly. The biggest of their struggles stem from flaws of temperament that lead to bad, life-changing decisions, and family secrets that cannot stay hidden. Fine performances abound. Minha Kim carries the weight of the drama as the humble, grafting young Sunja, her soft demeanour belying a fierce survival instinct.
