Most of the boys and men in this drama are either guilty of some misdeed, or appear to be guilty of one. The script shows those who are actually guilty, but for the rest doubt about their virtue is sown by close shots of faces that look worried, guilt-ridden, or mischievously gleeful. The exception is the second husband of the woman whose son was killed. He's a model man: caring, considerate, and gently persistent. The technique of casting doubt on multiple characters is clever but transparent; we sense that it is being done for our sake alone, and it doesn't add to the story.
There's an obvious class conflict in this drama, between the wealthy family who lie to protect themselves, and the poor family who fail to protect their son. That divide is bridged in the end, through the unity of two of the children (one from each family). It's also a story about the sins of the fathers being visited upon the sons (and daughters). And how when long-kept secrets escape, they can do so with destructive force.
There's an obvious class conflict in this drama, between the wealthy family who lie to protect themselves, and the poor family who fail to protect their son. That divide is bridged in the end, through the unity of two of the children (one from each family). It's also a story about the sins of the fathers being visited upon the sons (and daughters). And how when long-kept secrets escape, they can do so with destructive force.