Chapter 64: The Last Day of 1988

A Scene at the Sea.

That was the one.

As Takeshi Iwata uttered the title of this film, vivid frames began to flicker across his mind.

A Scene at the Sea stood as one of the most significant masterworks by Takeshi Kitano.

Moreover, it achieved tremendous success and left a profound cultural footprint. Years later, Cyndi Wang would release a song bearing the exact same title—a piece actually inspired by this very movie, for which she even filmed a Taiwanese-version music video alongside Ethan Juan.

Anyone who has watched this film would find it hard to believe it was directed by a man like Takeshi Kitano.

His background was rooted in manzai comedy, meaning his mouth was never meant to rest, and he later pivoted to visceral films of violence and yakuza underworlds. In short, no one could have anticipated that he possessed the capacity to craft a film of such profound tranquility.

Indeed, the movie is remarkably quiet, bordering almost on the realm of a silent film.

A Scene at the Sea tells a remarkably unconventional love story.

Shigeru and Takako are a young deaf-mute couple. One day, while working his shift collecting garbage on a truck, Shigeru catches sight of a broken surfboard, and within him, a burning passion for the vast ocean is ignited.

He retrieves the battered board, repairs it using scrap foam, disposable chopsticks, and adhesive tape, and manages to bring it back to life.

Thus equipped, he takes Takako with him to the seashore.

Takako never speaks a single word, yet she smiles constantly, happiest simply trailing behind Shigeru, gently gripping the end of the surfboard as they walk together.

Shigeru learns quickly. Later, guided by a cynical shop owner, he even enters a surfing competition.

The bond between him and Takako endures various trials and tribulations.

Until one day, Shigeru heads out to surf entirely alone...

Because both the protagonist and the heroine are deaf-mute, the film features exceptionally few lines of dialogue, and supporting characters are sparse.

Takeshi Iwata was entirely certain that this was a deliberate choice by Takeshi Kitano, who had even gone so far as to rely primarily on direct on-location sound recording.

One must bear in mind that this was a film centered entirely around the ocean and surfing, shot right by the crashing waves where the roar of the sea could effortlessly drown out human voices.

Therefore, it was unquestionably an intentional artistic decision.

As for the filming itself, it likely did not take place during the height of summer, or at least not mid-summer. One could tell that the leading man looked rather chilly while surfing, clad in a relatively thick wetsuit.

This reality afforded Takeshi Iwata a generous amount of time.

With the year drawing to a close, little could be accomplished immediately, and the upcoming months of February and March would mark the bustling award season.

He could utilize this intervening period to make thorough preparations.

While the film appeared deceptively simple on the surface, in reality, it was anything but.

First and foremost, the musical score was of paramount importance.

Prior to this project, Takeshi Kitano's approach to film music had been rather indifferent; he generally disliked utilizing heavy scores.

However, upon reaching A Scene at the Sea, Kitano sought out a specific collaborator to handle the composition.

Joe Hisaishi.

This marked their very first collaboration, and it proved resoundingly successful.

Aware of this history and the undeniable triumph of the film, Takeshi Iwata simply needed to boldly draw inspiration from it.

The ocean was already there, immoveable and enduring, so preparation for the setting was unnecessary.

Yet Joe Hisaishi was a target Takeshi Iwata had to conquer.

Beyond that lay the casting of the lead roles.

The male lead was Hiroto Kunugi, a quintessential Japanese-American mixed-race actor who delivered a stellar performance in this film and later portrayed Kitano's younger brother in Brothers, Kitano's Hollywood collaboration.

Frankly, considering the stark differences in their physical appearances and builds, their fraternal relationship in that film...

How on earth did that manage to mirror the trope of the neighbor next door?

Setting aside questions of mixed heritage, however, Takeshi Iwata did not particularly wish to cast Hiroto Kunugi.

The reason was simple: Kunugi clearly possessed extensive athletic training, evidenced by his broad shoulders and highly developed musculature.

Did one seriously call that a novice?

That was blatantly a high-level veteran returning to bully beginners in the low-tier zones!

In truth, this actor later genuinely represented Japan in international surfing competitions.

Hence, it presented a bit of a loophole.

Takeshi Iwata felt that casting an absolute surfing beginner might yield a more authentic result. Of course, novices came with their own set of challenges—after all, surfing carried inherent risks.

The leading man would simply have to be found gradually.

As for the heroine, the role of Takako was originally played by Hiroko Oshima, who starred in this single film before vanishing entirely from the public eye.

The reasons behind her disappearance remained unmentioned by anyone, shrouding it in perpetual mystery.

And now, this cinematic piece had fallen into Takeshi Iwata's hands, meaning his leading lady would be—

While Iwata was deep within his production office, pondering the intricacies of the film with his fierce demeanor, his mobile phone rang.

"Moshi-moshi."

"Uncle!"

"Shinobu, is something the matter?"

"Well..."

Takeshi Iwata found it slightly peculiar; the girl Shinobu was actually acting coy with him!

What had transpired?

Fortunately, Shinobu soon delivered the answer.

"Um, Uncle, would you like to go see the Kohaku Uta Gassen this year?"

Hm? The Red and White Song Contest?

...

Japan's largest broadcasting station was, naturally, NHK.

This station held a unique legal status; people might complain or protest, but as long as a household owned a television set, their collectors would boldly arrive at the door to demand fees.

It could be considered the national broadcaster.

Its headquarters were situated near Yoyogi Park, and descriptions of Yoyogi Park invariably noted its proximity to the NHK broadcasting center.

As to which of the two held greater fame, it was genuinely difficult to say.

Since 1973, the Kohaku Uta Gassen had been held within NHK's grand television hall.

This program stood unquestionably as NHK's flagship broadcast, where the mere annual speculation over who would receive invitations and who would make consecutive appearances...

Was enough to drive massive sales for the Bunshun magazine.

As Japan's premier purveyor of juicy gossip, Bunshun invariably proclaimed that the rumors they served up were...

Always fully ripe!

Before the arrival of December 31, 1988, copies of Bunshun flew off the shelves at an unprecedented rate.

This year's Kohaku lineup was not only formidable, but it was also saturated with scandal.

Juicy, prime gossip!

"Uncle, arigato!"

"What are you thanking me for? You've been acting so strange."

"Haha... I still have to express my gratitude."

"You really are something else, kid. Next time, just spit it out clearly."

"Hai!"

"Iwata-san, Shinobu actually desperately wanted you to come."

"Kohhy-姐, I did no such thing!"

At this moment, Takeshi Iwata sat within the audience seating, flanked by Shinobu on one side and Kohhy on the other.

Such a combination felt truly bizarre.

It felt almost like a family outing, didn't it?

In truth, the reality behind the situation was quite straightforward.

Miho Nakayama had been selected to perform at the Kohaku this year, delighting her entire family and securing them three tickets in the process.

Later on, however, Miho's parents managed to acquire passes granting them backstage access, which thrilled the older couple to no end.

That left Shinobu's ticket, which she naturally intended to use, but what about the remaining two?

They could not simply let them go to waste, which led her to think of "Uncle" and Kohhy.

Naturally, this stemmed from Shinobu's kind intentions, yet it inevitably placed both Takeshi Iwata and Kohhy in a somewhat awkward position.

Shinobu wore a blue woolen overcoat that day, paired with a matching beret and a small white cross-body bag.

She looked the absolute picture of a winter fairy.

Which, if anything, made them look even more like a domestic family unit.

Fortunately, both Takeshi Iwata and Kohhy possessed amicable dispositions, and everyone ended up sharing cheerful laughs.

Suddenly, a roll of drums echoed through the hall, the emcees stepped onto the stage, and the Kohaku battle commenced.

The Red Team took the stage first.

Whoa!

Kyoko Koizumi held up the placard, paving the way for the opening act—a pair of fellow artists.

Miho Nakayama and Shizuka Kudo!

Indeed, the two of them were celebrated in the entertainment world at that time as a famous pair of close associates.

Only later, however, did that bond dissolve.

Naturally, of this future trajectory, only Takeshi Iwata was aware, knowing full well that the two would eventually cease mentioning each other's names entirely.

Thus, unable to resist, he leaned over to question Shinobu.

"Does your sister truly adore Ms. Kudo that much?"

Shinobu whispered quietly into Takeshi Iwata's ear, "She says that Shizuka is wonderful in every way, except that her downturned 'eight-character' brows look a bit odd."

Pfft—Takeshi Iwata was fortunate to cover his mouth in time.

Beside him, Kohhy was likewise struggling to suppress her laughter.

To speak the truth, this marked the very first time Miho and the "eight-character brows" had graced the Kohaku stage together, and given their close rapport at present, their joint appearance was bound to become a temporary talking point of the town.

Following them came Sayuri Ishikawa, Risa Tachibana, and then—

Seiko Matsuda.

Indeed, the idol singer who had already married and entered a state of semi-retirement had returned to the stage once more.

And shortly thereafter...

Akina Nakamori!

Clad in a wine-red Western-style evening gown, she was hailed directly by the emcees as the Queen of Fashion.

One should not underestimate the weight of the title "Queen."

Akina's close friend Kyoko Koizumi was merely introduced as "Radiant," while Miho and the brow-frowned girl were simply announced as "Contestants."

Seiko Matsuda was merely designated as an idol.

Yet this was NHK's Kohaku Uta Gassen, rendering the title an official endorsement.

Yet Takeshi Iwata furrowed his brow at that precise moment, for he knew who was yet to follow.

Following the Red Team came the White Team—the male vocalists—among whom stood that utter scoundrel.

Masahiko Kondo.

For this installment of Kohaku, given that the old Emperor Hirohito was failing rapidly, suggestions had initially been floated to cancel the broadcast entirely; yet looking at the current lineup, it was evidently intended to be executed with grandiose fervor!

Perhaps certain individuals simply could not wait to ascend the throne.

As if a fifty-year crown prince could truly endure!

Reflecting further on how the musical styles of this era were heavily influenced by disco, it followed that...

While one could not quite call it dancing on a grave, it certainly felt akin to dancing beside a hospital sickbed.

Moreover, the lineup genuinely harbored scandalous gossip, and of the ripest variety.

Not only Takeshi Iwata, but even Shinobu felt deeply apprehensive, while Kohhy clenched her fists in quiet tension.

With that wretched fellow present, would it impair Akina-san's performance?

Until—

Dressed in a European-style voluminous ruffled dress adorned with a magnificent crown, Queen Akina stepped onto the stage and instantly mesmerized every single spectator present!

...

Late at night, outside the gates of Yoyogi Park.

"Uncle."

"Hm?"

"Why do you look so preoccupied?"

"Do I?"

"You do."

"Well, regarding that..."

"Just say it if you have something on your mind."

Shinobu and Takeshi Iwata were waiting for Miho and her parents, as Kohhy had departed earlier to rest—the Kohaku, after all, was an exceedingly lengthy broadcast.

So, what exactly was occupying the thoughts of Takeshi Iwata, who had managed to appear unsettled enough for even Shinobu to notice?

"I'm planning to direct a film. Will you play the female lead?"

"Really?! Ahaha..."

Shinobu was utterly ecstatic, delivering a playful slap to Takeshi Iwata's back. "Uncle, when it comes to things like this, you should just be straightforward! I'm completely fine with it."

This girl...

Takeshi Iwata was left between laughter and tears.

Yet Shinobu immediately homed in on a crucial detail. "Is there a script this time?"

Takeshi Iwata shook his head.

Oh no!

"It's not another mentally disabled character, is it?" Shinobu asked, her anxiety spiking.

Takeshi Iwata shook his head once more.

Phew, thank goodness.

Shinobu finally exhaled a breath of relief.

But immediately afterward—

"She's a deaf-mute girl."

Upon hearing that, the range of expressions crossing Shinobu's face defied description.

This film was truly a classic, and the underworld director would handle it with utmost care. The 1988 Kohaku Uta Gassen genuinely featured this exact lineup—no more needs to be said. Thank you all so much for your support, thank you!