The Melancholy of Haruhi Suzumiya S2: The Sigh (Part 2 of 2)October 2, 2009
So, picking off where we left last time, we’re going to cover the latter half of The Sigh this time, which, incidentally, just happens to mark the end of the new episodes of the “2009 rebroadcast” of the series. (Click the OKABE to see the first part of this episode summary.)
Sunday morning, Kyon, being denied his one day of peace and relaxation, finds himself at the local train station, facing a fearsome duo of an angry Taniguchi, and a very irritated Haruhi. The two unhappy customers are upset for one common reason: the absence of a certain Mikuru Asahina. Whereas Taniguchi chooses to vent his rage on an indifferent Kyon, Haruhi picks the more constructive course of action, and flags down a taxi, bound for the Asahina residence. Meanwhile, our returning guest star Tsuruya-san bombards Kyon with a series of questions, for which she does not wait an answer.
Our point of attention shifts to the conversation between Kyon and Itsuki, regarding (again) the nature of Haruhi’s powers, as well as the status of the now-dormant Mikuru Beam (courtesy of Yuki). The term “TFEI” is brought up, which Itsuki explains to be a general expression to address the humanoid interfaces placed on earth by any data entities in the vast regions of space (e.g. Yuki Nagato, Ryouko Asakura, etc). The heroine and director arrive on the scene soon after, and the filming starts once more.
The gang arrive at a lake/pond/moderate-sized body of water, where they begin filming. Somewhere along the way, Haruhi has somehow acquired yet another coloured contact, from which Mikuru fires a hyper-oscillatory particle cutter. Sensing danger, Yuki leaps towards the unsuspecting combat waitress, pushing her down into a sexually suggestive position. It doesn’t really help that our unethical cameraman has his lenses fixed on the two of them, documenting (or rather, restraining himself from?) the entire process.
The deadly optical weapon is described to be a particle “knife” in principal, its edge being only a few atoms wide, it physically slices the atomic bonds on its targets upon impact. After neutralizing the threat, (once again thanks to Yuki) Haruhi’s psychology is further debated by Itsuki, and how reality is once again being shifted towards her ideals, except through the medium of a fictional movie – their movie. A solution to this situation fails to be conceived, and the filming goes on.
The tyrannous Brigade Chief’s abuse of the unresisting time-traveler continues, as exemplified by her order to throw the poor girl into the lake/pond/moderate-sized body of water. Her straying from a set script continues as she spontaneously decides to film some romantic scenes between Mikuru and Itsuki.
The Tsuruya residence, characterized by its overwhelming size and archaic style, reminds Kyon of the typical kind of house owned by your everyday yakuza boss. While Mikuru showers to rid herself of the stench of the lake/pond/moderate-sized body of water, the rest of the SOS Brigade (minus the two extras,) are led to Tsuruya-san’s room, where they are served drinks by the conspicuously suspicious host. During the course of the filming, Kyon interrupts a kissing scene between the two lead actors, citing the dazed actress’s actions to be unnatural. As it turns out, Tsuruya-san had slipped some alcoholic beverage into Mikuru’s drink on Haruhi’s suggestion, claiming that it would improve her acting skills.
Haruhi retains impenitence for her actions, further displeasing Kyon. He begins to question Haruhi’s intents, and whether or not she was actually serious about the filming. Their heated argument escalates, and the Brigade Chief declares Mikuru to be her plaything. This sends Kyon in to a fit of rage; momentarily losing his mind, he attempts to punch Haruhi. Fortunately, however, he is stopped by Itsuki, right at the nick of time.
The situation eventually settles down. Kyon and Itsuki take a detour to the shrine at where they filmed the doves scene. As it turns out, Haruhi’s powers are getting slightly out of hand. The two debate (again) about the true form of the universe, the nature of Haruhi’s existence, and whether or not they are actually doing the right thing by mediating the consequences of such.
During lunchtime of the next day, after sitting through a full-course complaining session of Taniguchi’s, Kyon realizes that he genuinely cares about the outcome of their movie.
Barging into the clubroom, Kyon catches the tsunderechief off-guard, evoking a rather awkward situation. Ignoring the atmosphere, Kyon blatantly tells Haruhi that they must make the movie a success. This peculiar turn of events takes her by surprise, and she consequentially returns to her usual energetic self.
The filming begins once more.
The scene changes to a rather bizarre display of cherry blossoms, which is supposedly highly unreasonable for this time of the year. Haruhi take advantage of this, and begins preparations to film a scene in the park.
On the director’s orders, Yuki takes the team to a small lawn behind her apartment building, from where Haruhi abducts a cat for screening purposes. They film some scenes for a while, and Haruhi ends up being the first to leave. The rest of the brigade then engage in a philosophical discussion with the cheeky calico, in where the five (or rather, four, as one is adorably silent) disprove the fundamental workings behind language, conversation, and virtually the very concept of communication while justifying Shamisen’s ability to talk, with due repect to the laws of physics (his brain isn’t big enough to support human speech?).
Retreating to their usual cafe hideout, the remaining SOS members hold a meeting about the current status of their situation. The cynical narrator ends up being the caretaker of the assertive feline, much to his wallet’s dismay (and to the joy of his sister).
The following day, Mikuru and Kyon engage in a follow-up of yesterday’s conversation at the cafe, regarding the nature of Haruhi Suzumiya’s existence. The inconvenienced time traveler explains that her viewpoint of the situation differs from that of Koizumi’s (note the Tsuruya-san in the background). The discussion of this topic continues when the confused normal-high-school-student brings it up to Nagato Yuki. Further insight is provided into the standpoints of the three organizations observing Haruhi Suzumiya.
After listening to all three sides to the story, not only has Kyon not obtained any new information, he is left more confused and uncertain than ever.
Further abnormalities occur throughout the filming process, which involve destructive water jets, several evolved versions of the Mikuru beam, and the resurrection of a long-lost species of birds.
Shortly after, the filming finally comes to an end. All that was left was the editing, special effects, music, and revising of the scenes! But, wait! The cultural festival is on the very next day! Left with no other choice, the poor soon-to-be-deprived-of-sleep teenager decides to pull an all-nighter, accompanied by a very unhelpful Brigade Chief.
In the end, both of the two fall asleep halfway through the night; with Haruhi slouched over the table, and Kyon drooling on the keyboard. Unbelievably, it seems that the movie edited itself overnight. The bashful director doesn’t question this occurrence in the slightest bit, and innocently believes it to be the work of her most trusted subordinate.
At this point of the episode, it would seem that the studio mixed up the chronological order of events up a bit (in the episode). Supposedly, Episode00 occurs from the point where the crew enters the audio-visual room, followed shortly by Live Alive.
At the very end, another “time warp” occurs. This time, they jump all the way back to the aftermath of Melancholy, in which Kyon reveals the true identities of Yuki Nagato, Mikuru Asahina, and Itsuki Koizumi to be an alien, time traveler, and ESPer, respectively. This proposition is strongly rejected by Haruhi, ironically.
I really like Noiji Ito’s art.