Showing posts with label Silent. Show all posts
Showing posts with label Silent. Show all posts

Friday, April 18, 2025

Top 20 FujiTV drama theme songs as chosen by 10,000 people

FujiTV's variety programme "Kono sekai wa 1derful" aired a top 20 ranking of FujiTV drama theme songs as chosen by 10,000 people on 17 April 2025. 
  • The dramas' titles are reflected within the brackets. 
  • The links lead to music videos or live performances of the theme songs.
  • The years when the dramas were aired are reflected at the end of each line.
What is clear from this ranking:
  • FujiTV's golden age for its dramas were indeed the 90s - the top 10 were all from this era.
  • The most "recent" entry in this ranking was already 3 years ago.
  • Seems like the dramas from the past 2 years haven't left as much of an impact on viewers unlike some from decades ago which are still remembered fondly.
Are your favourites in this list? 


1) "Love Story wa totsuzen ni" by Oda Kazumasa (Tokyo Love Story) - 1991

2) "SAY YES" by Chage & Aska (101 kaime no proposal) - 1991

3) "Ima sugu Kiss Me" by LINDBERG (Sekai de ichiban kimi ga suki) - 1990

4) "Kimi ga iru dake de" by Kome Kome Club (Sugao no mama de) - 1992

5) "Makenaide" by ZARD (Shiratori Reiko de gozaimasu!) - 1993

6) "Sekaijuu no dare yori kitto" by Nakayama Miho & WANDS (Dare ka ga kanojo wo aishiteru) - 1992


8) "YAH YAH YAH" by Chage Aska (Furikaereba yatsu ga iru) - 1993

9) "Kanashimi wa yuki no you ni" by Hamada Shogo (Ai to iu na no moto ni) - 1992

10) "Saboten no hana" by Zaitsu Kazuo (Hitotsu yane no shita) - 1993

11) "Sora mo toberu hazu" by Spitz (Hakusen Nagashi) - 1996

12) "HANABI" by Mr.Children (Code Blue) - 2008

13) "Sekai ni hitotsu dake no hana" by SMAP (Boku no ikiru michi) - 2003

14) "TRUE LOVE" by Fujii Fumiya (Asunaro Hakusho) - 1993

15) "Gin no ryu no se ni notte" by Nakajima Miyuki (Dr. Kotoo shinryoujou) - 2003



18) "Tomorrow never knows" by Mr.Children (Wakamono no subete) - 1994

19) "Love Somebody" by Oda Yuji (Odoru Daisousasen) - 1997

Monday, February 27, 2023

The 114th Drama Academy Awards (Autumn 2022) - Best Drama


Overall Ranking Top 3
1) Kamakuradono no 13 nin
2) Elpis - Kibou, arui wa wazawai - 
3) silent

Voters Ranking Top 5
1) Kurosagi
2) silent
3) Kimi no hana ni naru
4) Kamakuradono no 13 nin
5) Inori no karute Kenshui no nazotoki shinsatsu kiroku

TV Reporters Ranking Top 5
1) silent
2) Kamakuradono no 13 nin
3) Elpis - Kibou, arui wa wazawai - 
4) Atomu no ko
5) The Travel Nurse
PICU Shouni shuuchuu chiryoushitsu

Judges Ranking Top 5
1) Kamakuradono no 13 nin
2) Elpis - Kibou, arui wa wazawai - 
3) silent
4) Reibai tantei Jozuka Hisui / invert Jozuka Hisui Tojoushu
5) Yamikin Ushijima-kun gaiden Yamikin Saihara-san

Source: The Television

Saturday, February 25, 2023

The 114th Drama Academy Awards (Autumn 2022) - Best Leading Actress


Overall Ranking Top 3
1) Kawaguchi Haruna - silent
2) Nagasawa Masami - Elpis - Kibou, arui wa wazawai -
3) Nao - First Penguin

Voters Ranking Top 5
1) Kawaguchi Haruna - silent
2) Nagasawa Masami - Elpis - Kibou, arui wa wazawai -
3) Honda Tsubasa - Kimi no hana ni naru
4) Kiyohara Kaya - Reibai tantei Jozuka Hisui / invert Jozuka Hisui tojoshuu
5) Nao - First Penguin

TV Reporters Ranking Top 5
1) Kawaguchi Haruna - silent
2) Nagasawa Masami - Elpis - Kibou, arui wa wazawai -
3) Nao - First Penguin
4) Takahashi Maryjun - Yamikin Ushijima-kun gaiden Yamikin Saihara-san
5) Takimoto Miori - Sister

Judges Ranking Top 5
1) Nagasawa Masami - Elpis - Kibou, arui wa wazawai -
2) Kawaguchi Haruna - silent
3) Takahashi Maryjun - Yamikin Ushijima-kun gaiden Yamikin Saihara-san
4) Nao - First Penguin
5) Kiyohara Kaya - Reibai tantei Jozuka Hisui / invert Jozuka Hisui tojoshuu

Friday, February 24, 2023

The 114th Drama Academy Awards (Autumn 2022) - Best Supporting Actor


Overall Ranking Top 3
1) Meguro Ren - silent
2) Maeda Goudon - Elpis - Kibou, arui wa wazawai -
3) Miura Tomokazu - Kurosagi

Voters Ranking Top 5
1) Meguro Ren - silent
2) Miura Tomokazu - Kurosagi
3) Takahashi Fumiya - Kimi no hana ni naru
4) Maeda Goudon - Elpis - Kibou, arui wa wazawai -
5) Suzuka Ouji - silent

TV Reporters Ranking Top 5
1) Meguro Ren - silent
2) Ooizumi Yo - Kamakuradono no 13 nin
3) Suzuka Ouji - silent
4) Maeda Goudon - Elpis - Kibou, arui wa wazawai -
5) Suda Masaki - Kamakuradono no 13 nin
Nakagawa Taishi - Kamakuradono no 13 nin

Judges Ranking Top 5
1) Maeda Goudon - Elpis - Kibou, arui wa wazawai -
2) Meguro Ren - silent
3) Nakai Kiichi - The Travel Nurse
4) Ooizumi Yo - Kamakuradono no 13 nin
5) Suzuka Ouji - silent

Thursday, February 23, 2023

The 114th Drama Academy Awards (Autumn 2022) - Best Supporting Actress


Overall Ranking Top 3
1) Kaho - silent
2) Koike Eiko - Kamakuradono no 13 nin
3) Kuroshima Yuina - Kurosagi

Voters Ranking Top 5
1) Kaho - silent
2) Kuroshima Yuina - Kurosagi
3) Koike Eiko - Kamakuradono no 13 nin
4) Sakurada Hiyori - silent
5) Aragaki Yui - Kamakuradono no 13 nin

TV Reporters Ranking Top 5
1) Kaho - silent
2) Koike Eiko - Kamakuradono no 13 nin
3) Miura Touko - Elpis - Kibou, arui wa wazawai -
4) Kadowaki Mugi - Shinainaru boku e satsui wo komete
5) Aragaki Yui - Kamakuradono no 13 nin
Kawaei Rina - Shinainaru boku e satsui wo komete
Sakurada Hiyori - silent

Judges Ranking Top 5
1) Koike Eiko - Kamakuradono no 13 nin
2) Kaho - silent
3) Ootake Shinobu - PICU Shouni shuuchuu chiryoushitsu
4) Uchida Rio - Jidenshayasan no Takahashi-kun
5) Aragaki Yui - Kamakuradono no 13 nin
Kikuchi Rinko - Kamakuradono no 13 nin

Wednesday, February 22, 2023

The 114th Drama Academy Awards (Autumn 2022) - Best Theme Song


Overall Ranking Top 3
1) Subtitle by Official Hige Dandism (silent)
2) Tsukiyomi by King & Prince (Kurosagi)
3) Forever or Never by 8LOOM (Kimi no hana ni naru)

Voters Ranking Top 5
1) Tsukiyomi by King & Prince (Kurosagi)
2) Subtitle by Official Hige Dandism (silent)
3) Forever or Never by 8LOOM (Kimi no hana ni naru)
4) Omoibana by Kis-My-Ft2 (Inori no karute Kenshui no nazotoki shinsatsu kiroku)
5) Futari by SixTONES (Tsukanoma no Ichika)

TV Reporters Ranking Top 5
1) Subtitle by Official Hige Dandism (silent)
2) Tsukiyomi by King & Prince (Kurosagi)
3) Mirage - Collective ver. feat. Nagasawa Masami by Mirage Collection (Elpis - Kibou, arui wa wazawai -)
4) Forever or Never by 8LOOM (Kimi no hana ni naru)
5) Irodori by King & Prince (Boyfriend kourin)

Judges Ranking Top 5
1) Subtitle by Official Hige Dandism (silent)
2) Tsukiyomi by King & Prince (Kurosagi)
3) Mirage - Collective ver. feat. Nagasawa Masami by Mirage Collection (Elpis - Kibou, arui wa wazawai -)
4) Tomo ni by Nakajima Miyuki (PICU Shouni shuuchuu chiryoushitsu)
5) Michi wo yuke by Ryokuoushoku Shakai (First Penguin)
Chousaiaku by Jeniihai (Kanzen ni tsunda Ichiko wa mou charisma ni naru shikanai)
Answers by Da-iCE (Kiss x kiss x kiss ~ Melting night)

Thursday, January 05, 2023

Winners of the Nikkansports Drama Grand Prix - Autumn 2022

Here are the winners of the Nikkansports Drama Grand Prix for the Autumn 2022 season. Numbers in brackets indicate the number of votes received:


Best Drama
1) Kurosagi - TBS (852)
2) Kamakuradono no 13 nin - NHK (248)
3) Shinainaru boku e satsui wo komete - FujiTV (197)
4) silent - FujiTV (108)
5) Boyfriend kourin! - TV Asahi (31)

Best Leading Actor
1) Hirano Sho - Kurosagi (878)
2) Oguri Shun - Kamakuradono no 13 nin (276)
3) Yamada Ryosuke - Shinainaru boku e satsui wo komete (206)
4) Takahashi Kaito - Boyfriend kourin! (34)
5) Yoshizawa Ryo - PICU (33)

Best Leading Actress
1) Nagasawa Masami - Elpis (501)
2) Kawaguchi Haruna - silent (242)
3) Kiyohara Kaya - Reibai tantei Jozuka Hisui / invert Jozuka Hisui Tojoshu (189)
4) Nao - First Penguin! (149)
5) Fukuhara Haruka - Maiagare! (100)

Best Supporting Actor
1) Miura Tomokazu - Kurosagi (651)
2) Sakaguchi Kentaro - Kamakuradono no 13 nin (173)
3) Meguro Ren - Maiagare! / silent (105)
4) Yamamoto Koji - Kamakuradono no 13 nin / Kurosagi (96)
5) Endo Kenichi - Shinainaru boku e satsui wo komete (80)

Best Supporting Actress
1) Kuroshima Yuina - Kurosagi (506)
2) Koike Eiko - Kamakuradono no 13 nin (280)
3) Nakamura Yuri - Kurosagi (202)
4) Kadowaki Mugi - Shinainaru boku e satsui wo komete (130)
5) Kaho - silent (110)

Monday, January 02, 2023

The controversy over Ubukata Miku's (scriptwriter of "silent") remarks on "Bokura no Jidai"


Actually meant to post this before the end of 2022 but there were so many news and updates towards the end of the month that this had to be delayed till now. The good thing is, I could write this post with more time on hand than trying to rush through it.

In case you haven't heard about this, there was an episode of FujiTV's talk show "Bokura no Jidai" on 18 Dec 2022 which featured the key staff members of the TV station's hit drama "silent" i.e. producer Murase Ken, director Kazama Daiki and scriptwriter Ubukata Miku. This was extremely rare because the show typically features a trio of actors/actresses or mixed with one or at most two people from the production side e.g. directors, producers and scriptwriters etc. Instead of getting the cast of "silent" to appear on this show, the three of them were seemingly puzzled and uncomfortable with being thrust into the limelight like this and joked that it was because the cast was too busy.

The thing is, it wasn't the appearance of the three of them which made headlines but rather what Ubukata said during the show that raised eyebrows.

Essentially, there were two main issues:

1) When Murase talked about the effects of how international on-demand streaming platforms like Netflix and Amazon Prime were hogging the limelight and caused less attention to be put on drama series produced by local terrestrial TV stations, Kazama echoed the view that even the financers, creators and viewers are all focused on such productions. 
In response to this, Ubukata said that she likes the dramas on the local terrestrial networks because viewers have to tune in to the dramas at a fixed time every week instead of having the whole series released at one go on such platforms. Using "silent" as an example, she said that the joy and excitement of waiting for each episode weekly cannot be felt if it was launched on such platforms at one go.

2) Ubukata then stated that she doesn't like Korean dramas or Western movies simply because she loves the Japanese language. With regard to "silent", she said that if it was not in Japanese, it wouldn't be able to convey what she had in mind. The Japanese language is unique in the sense that even with the same words, it may come across differently to various people and that's something you cannot convey unless you are using the language. If in the event that her drama gets translated and shown overseas, she would feel sad about it because the translations wouldn't be able to convey entirely what the drama is trying to say. As such, she is only interested in Japanese dramas and conveying the interesting, good and cruel parts of the language in what she writes. Even if one day her work gets shown overseas and she gets congratulated by others about it, she wouldn't feel happy at all since she wants her drama only to be seen by the Japanese and those who know the Japanese language.

While there were people who were supportive of her especially her love for the Japanese language, there was also criticism over how she meant to limit her target audience only to the Japanese and/or those who may not be Japanese but knows the language. Especially considering that sign language featured very prominently in "silent" as a language form and that it required subtitles so that the viewers could understand what the gestures meant, her remarks seemed to come across as having a sense of superiority and elitism by excluding those who didn't know the Japanese language well enough and had to depend on subtitles in their native languages.

Now, here is my personal take on these issues she raised:

1) About releasing weekly or at one go
Thanks and no thanks to the COVID pandemic, I'm sure our viewing habits have changed a lot especially if you are one of those who have been watching dramas released at one go on platforms like Netflix. For current in-season dramas especially the Korean ones, I tend to wait till the entire set of episodes have been released before starting on them, no matter how popular or much talked-about they are. I guess I am becoming less patient about waiting for the new episodes especially when it comes to stories like suspense/thriller where I have to know what happens next quickly instead of waiting for an entire week.
Honestly speaking, if there are creators like Ubukata who feel that the beauty of waiting one week for the next episode is spoiled by this new consumption style of watching at one go, one way to go around this will be to show on the terrestrial network first on a weekly basis and then launching on such portals later. Alternatively, platforms like Disney+ are sticking to the weekly release format so if she prefers, this may be a better platform for her. 
However, to rule out this all-at-one-go broadcasting style totally when it's becoming more of a trend internationally, I think it's too premature for her to limit her options especially since she is just starting out as a scriptwriter. Then again, as the scriptwriter, she can insist on what she feels it's best for her work and not compromise just because everyone else is doing it.
I do not feel that she dislikes those streaming platforms based on what I saw in the show but the issue she had ultimately boils down to how the episodes are released i.e. weekly vs. at-one-go.

2) Not being interested in the overseas market
This is precisely what has been causing a lot of frustration for J-entertainment lovers outside of Japan especially in the years when Korean entertainment has been hogging the limelight, thanks to their government's support of cultural exports. The Japanese government did seem to try doing something similar years ago with the Cool Japan campaign but it just fizzled out without any tangible results.
Region restrictions even for viewing music videos or trailers? How about exorbitant prices for the DVD releases of your favourite dramas? Or how difficult it is to find so-called "worldwide" releases of Japanese dramas/movies on your local Netflix, Disney+ or Amazon Prime? These challenges are definitely not new to those who like and would like to consume Japanese entertainment. 
If many content creators are adopting the same stance as Ubukata, it is no surprise that we will continue facing such challenges of accessing content from legitimate sources. Of course, she isn't solely to be blamed since this is a longstanding issue and seemingly quite widespread since many creators are keen to keep things within the domestic market. 
On the other hand, you have people who are keen to make inroads into the world by having their works seen by as many people as possible, especially those outside of Japan. Just look at "First Love Hatsukoi" and "Imawa no kuni no Arisu" in recent days. When I see these efforts, I'm more than happy to support and promote them in whatever little way I can. However, when the creators themselves are not keen to let people outside of Japan see what they do, I guess there's nothing we can say about that.

3) Japanese dramas only for the Japanese and those who know Japanese i.e. the lost-in-translation issue
Having spent years learning the Japanese language, I know exactly what she means in the uniqueness of this language and the beauty (sometimes frustration) in its ambiguity. And I do get annoyed by translations which obviously take the literal meaning instead of its contextual meaning when it comes to subtitles. I do experience this as well while watching content in other languages I know such as Chinese and Korean (despite a limited proficiency). Well, some people claim that the subs on Netflix are bad but I think my limited exposure to Disney+ for 1 month also gave me the same experience.
There are two ways to look at this: for me who was frustrated with the poor translations I used to see, I saw that as a motivator to learn the Japanese language up to the standard when I no longer needed to depend on subtitles. And believe me, being able to understand it as it is will be really liberating and satisfying.
Then what happens to others who cannot understand the language, are not going to learn the language or are still learning it but not good enough to ditch the subtitles? That's when translations come in to help bridge the gap and allow us to watch more content in languages which we do not know.
I get her concerns about the translations being less than 100% in conveying what she wants to say through her story. However, it is ironical that her story is about using languages (be it spoken or sign language) to communicate and for people to get through to each other via these languages but she seemed to be so against translations that her remarks came across as rather offensive and elitist. Which I think she might not have meant it this way but her inexperience in being thrust into the limelight and being on mass media probably meant that she was being too frank about how she felt.

Friday, December 30, 2022

Top 10 dramas in 2022 with the highest satisfaction scores (Oricon)

This ranking was derived from the following data collected by Oricon for dramas shown between 11 Jan and 15 Dec 2022:
* Survey of 690 Oricon monitors every week where they had to rate the dramas based on a 10-point scale for the aspects of story, leads, supporting cast, lines, visuals, music, artwork etc.
* Data based on viewership (broadcast ratings & number of views on online streaming portals), leads, supporting cast, content and Twitter posts were rated based on a 20-point scale

As such, the total score shown in brackets below are the figures based on a 100-point scale.

FujiTV is seeing a reversal of its fortune this year with its dramas dominating half of the ranking and the top 3 spots. TBS which saw 5 works in the ranking last year, only had 3 this year while NTV which had 2 spots last year, was left out of the ranking this time. This was especially significant considering that "Hakozume" was the No.1 in 2021's ranking. In addition, last year's ranking saw 6 dramas with a satisfaction score of above 90 but there were only the top 3 which achieved that this year. And there were 2 dramas which got full marks last year i.e. "Hakozume" and "Tengoku to Jigoku" from TBS but none this year.

Out of the top 10, the only ones which I did not watch were "Mystery to iu nakare", "Kodoku no gurume Season 10" (not because I wasn't interested but I didn't have the chance to watch anything after Season 1), Kurosagi, Nanba MG5 and Shoujiki Fudousan. I would probably want to watch "Mystery to iu nakare" if given the opportunity though. 

So how many of the top 10 have you watched and what do you think of the ranking results?


1) silent - FujiTV (97.7)

2) Elpis - Kibou, arui wa saiwai - FujiTV (93.6)

3) Mystery to iu nakare - FujiTV (91.2)

4) Kodoku no gurume Season 10 - TV Tokyo (89.8)

5) Kurosagi - TBS (89.4)

6) Ishiko to Haneo - Sonna koto de utaemasu? - TBS (89.1)

7) My Family - TBS (85.9)

8) PICU Shoni shuuchuu chiryoushitsu - FujiTV (84.8)

9) Nanba MG5 - FujiTV (84.5)

10) Shoujiki Fudousan - NHK (83.7)

Source: Oricon

Friday, December 23, 2022

Review of "silent" (Autumn 2022)


And so this is the end of the "#silent" journey after 12 weeks (there was a week's break in between because of the World Cup broadcast).

Instead of discussing in great detail about the finale, I have chosen to summarise my thoughts about the entire drama in this post. For those who may be interested, you can check out my "long and detailed thoughts" about the previous 10 episodes through the following links:

Ep 1: TwitterFacebook
Ep 10: Twitter / Facebook

Personally, my top 3 favourite episodes were no.5 (Tsumugi & Minato's break-up), no.6 (the story of Nana and Sou) and no.8 (the story of Nana and Haruo). They were simply so engaging, emotional and heart-wrenching and left a strong impression on me. That's not to say that I didn't care about the main couple's story...it's just that comparatively, these 3 episodes resonated with me a lot. And as I mentioned before, I found myself caring more for what happened to Nana and Haruo rather than Tsumugi and Sou because of Ep 8.

To begin with, I must admit that I had no expectations of this drama at first and adopted a wait-and-see attitude - meaning I was prepared to drop this anytime if it wasn't to my liking. Part of the reason was that stories like this about someone who is considered "normal" and part of the majority being in a relationship with someone who is faced with a considerable physical, financial, circumstantial challenge or disadvantage in life aren't that new. As such, there was no doubt that this would be compared to some of the more well-known same genre predecessors like 1995's "Aishiteru to itte kure" starring Tokiwa Takako and Toyokawa Etsushi or "Hoshi no kinka" in the same year starring Sakai Noriko, Oosawa Takao & Takenouchi Yutaka. 

Of course, to be fair to "silent", the setting was somewhat different because the lead characters actually fell in love back in high school when they did not face this challenge of hearing loss and reunited years later to have a second go at being together whereas the titles I mentioned featured the main couples starting off with a romantic relationship while already coping with their challenges/differences.

Secondly, much as I think Kawaguchi Haruna is a decent actress, I can't really say that I am impressed or like her acting based on what I've seen from her so far. As for Meguro Ren, I had heard of Snow Man before but I didn't even know that he was part of the group. In addition, I hadn't seen any of Meguro's acting projects in the past so he was literally an unknown to me. Since then, I am much more familiar with him now, have watched "Kieta Hatsukoi" and even know the names of all the Snow Man members by now. It also helped to see that Kaho and Kazama Shunsuke were in the line-up as well so this gave me a little more faith in this drama. 

Unexpectedly, this drama literally started with a bang and was such an overnight sensation right from the first episode. I was pleasantly surprised to see the level of detail, attention and effort put in and the script definitely played a big part in the drama's success. Considering that this was the debut work of a newbie scriptwriter, it was even more impressive because honestly speaking, brand name power is still a factor in this industry which determines how much faith people have in your works. Then again, even big name scriptwriters sometimes struggle to churn out hit after hit so being well-known sometimes doesn't guarantee success. As such, I thought that the producer and director really took a huge leap of faith with the scriptwriter in this case which thankfully worked out really well. Nonetheless, I think that even with a good script, there still needs to be good directing, cinematography, visuals, music, sound and acting as well so whatever the drama had achieved to date is definitely a team effort based on the synergies of its cast and crew.

I was still a bit apprehensive about this drama would go after Ep 1 because there have been many dramas which started off with a bang and simply fizzled out in no time. Last season's "Junai Dissonance" was just like this - I was so impressed with the first episode but everything just went haywire after that. Fortunately, "silent" had been very consistent with its quality and provided so much food for thought that it helped to keep viewers engaged and tuning in week after week. Seeing how my weekly reflections get longer and longer would be a tell-tale sign of how involved I was while watching this drama. 

The characters were also very endearing - as in there wasn't any baddie that could turn viewers off - and everyone got a chance to shine and show the different sides of themselves. I believe that if the characters were not so lovable or the viewers couldn't care less about what happened to them, that would have reduced the level of engagement felt while watching this drama.

With regard to the finale, I think opinions may differ depending on your expectations. If you hope to see an happily-ever-after ending, it may not be entirely satisfactory though. Yet, it is not a bleak and hopeless situation.

I may be a bit pessimistic or too practical but I sort of expected that it won't be a 100% happy ending before I watched the finale. The issues that Sou and Tsumugi face are not things that can be solved in one episode and there is the gap of 8 years they need to bridge as well. It's true that they still love each other but it takes time to get used to being in a relationship as adults and trying to find a mutually acceptable way of being with each other that doesn't place undue stress or burden on one party. As such, the ending was kind of open-ended in the sense that we can see that they are still a work-in-progress i.e. they have made the commitment to try and find a way out but they are still far from the happy-ever-after stage. I thought that this was a logical and realistic way of portraying their relationship rather than being told that every issue is no issue just as long as they love each other. Likewise, much as I would like to see Nana and Haruo being together again, they too need time to bridge the distance between them. Of course, I am hopeful that there will come a day when they can be a couple but their open-ended status allows the viewers to imagine what may come so that's still not bad after all.

However, for those who come into the finale with the expectation of a happy ending, you may feel that the finale hasn't achieved much especially since the pace can be a tad draggy at times. I also feel that the earlier 10 episodes had raised the bar so high that the finale may seem a bit anti-climatic to some and may not come across as satisfying.

As for the cast, I think that everyone did a good job but my personal favourites are Kaho and Kazama. Even though there was only one episode which focused on Nana and Haruo, the two of them made the best of their airtime to produce some really memorable fine acting. E.g. when Haruo called out Nana's name even though her back was facing him and she couldn't have heard him, the amount of emotion in that moment was mind-blowing. Or the fallout they had when they just couldn't understand or chose not to understand each other's feelings and intentions. 

As for Kawaguchi and Meguro, I thought that their best moment was in the first episode when Sou and Tsumugi finally met again outside the train station and they just couldn't communicate with each other because one was speaking and the other was using sign language. That frustration, sadness and helplessness which they displayed were very much unforgettable. In the finale, there were some cute moments then and now which I thought would be quite satisfying for fans of the main couple.

To sum things up, I would recommend this drama to those who are prepared to spend time savouring each moment and emotion in this story. This is definitely not the type of drama that you can just play in the background without looking at the screen because there were so many scenes where there was no dialogue and you have to rely on the subtitles to know what the sign language meant. As such, you really need to slow down and take in the story bit by bit. And because the drama is more than just about romance, it should also satisfy those who want to see more than just a love story since there are side plots about friendships and family as well.

Wednesday, November 23, 2022

Behind-the-scenes of FujiTV Autumn 2022 drama "silent" - Interview with its scriptwriter Ubukata Miku and producer Murase Ken


Mantan Web did an interview with the scriptwriter Ubukata Miku and producer Murase Ken of FujiTV Autumn 2022 drama "silent" where they shared behind-the-scenes information about the production process. Instead of translating the entire article word-for-word, I have chosen the key points for the purpose of this post:

* Murase who had produced dramas such as "14-sai no haha" and "Itsuka kono koi wo omoidashite kitto naiteshimau" in his career, explained why they decided to make this drama. In the current world where diversity is the new buzzword, they wondered if it is really true that people have indeed embraced this concept and thought that it would be a good idea to do something on this theme. From then, he approached the scriptwriter Ubukata about making a love story between the hearing-impaired and those who can hear.

* When Ubukata got the proposal, she didn't want to write a story where the couple meets and falls in love when one of them is already deaf. As such, the setting became that of two people who were already in love from the beginning, later came to face a situation of hearing loss and then reunited after some time.

* The story was written specifically with Kawaguchi Haruna and Meguro Ren in mind. Kawaguchi was chosen because Ubukata felt that she enjoys the support of female viewers and comes across as unpretentious so would be able to convey Tsumugi's thoughts as it is. As for Meguro, the fact that he is from the popular group Snow Man and has shown a lot of potential as an actor was why Ubukata wanted to choose him. 

* As for Murase's impressions of the leads, Kawaguchi struck him as someone who stood out with grace and beauty even when she was surrounded by many stars during last year's NHK Kouhaku for which she was the host. Having made her debut in a FujiTV drama and coming full-circle to taking on the Kichou role in NHK's Taiga drama "Kirin ga kuru" and later becoming the Kouhaku host, he could see the progress she had made over the years and the aura that came with this built-up confidence in her achievements. As for Meguro, despite being from a popular group Snow Man, he found Meguro to have an unique charisma and is an actor who is not quite like the typical image of Johnny's artists especially after he saw Meguro in "Kyoujou II".

* When the announcement for the drama came out, it soon became much talked-about and the number of followers on its social media accounts passed the 200,000 mark even before the OA. Currently, the number of followers have exceeded 500,000. Murase commented that this amount of attention was rare for a drama which hadn't started its run and saw that as a reflection of the anticipation for the cast and the desire to see Kawaguchi and Meguro as the lead couple. This made the cast and staff members even more determined to make a drama that could meet these expectations.

* Ever since the first episode, the story has firmly captured the attention and interest of the viewers with its moving lines, the songs that appear in the drama and the relationships between the characters. Murase commented that the lines spoken in this drama are all very realistic and likely to be heard in real life so they don't come off as fake or staged. As such, he believed that this was why they resonated with the viewers. The cast had also praised the script for its excellent lines.

* One key theme that is depicted throughout the drama is how some things never change even when changes are taking place everywhere. As such, instead of focusing on the story developments, the script emphasizes the emotions and feelings of the characters and how they would react when things happen. This then makes the viewers interested and concerned about what would happen next which is very important to a drama series.

* Despite this drama being Ubukata's first work, Murase was full of praise for her and said that her script had both the quality of a veteran and the freshness of a newbie.

* Besides the amount of attention paid to the story, the beautiful visuals were also a key focus area for this drama. Instead of getting the drama's director Kazama Hiroki to take charge of the teasers, they got CM director Ota Ryo to handle these so as to get a fresh perspective on catching the viewers' attention in a very short time (CMs are usually less than a min long so you need to get the viewers' attention very quickly). The monologues spoken by the leads in these videos were written by Ubukata. In addition, many of the staff who work on this drama are those who typically work in the CM field rather than dramas. Fortunately, the end product turned out so well that everyone including the staff were full of praise for it.

Source: Mantan Web

Sunday, November 20, 2022

Romaji lyrics of "Subtitle" by Official Hige Dandism (Theme song of FujiTV Autumn 2022 drama "silent")


Title: Subtitle
Artist: Official Hige Dandism
Written by: Fujiwara Satoshi
Arranged by: Official Hige Dandism
Theme song of FujiTV Autumn 2022 drama "silent"

[kouritsuita kokoro niwa taiyou wo] 
soshite [boku ga kimi ni totte sono pojishon wo]
sonna daibu gouman na omoikomi wo kojirasetetan dayo
gomen ne waratte yatte
yakedo shisou na hodo no pojithibu no
tsumetasa to zankokusa ni kizuitan dayo
kitto kimi ni watashitai mono wa motto hinyari atsuimono

kireigoto janai kedo
kirei de yuruginai mono
uwabe yori mo mune no oku no oku wo atatameru mono
risou dake wa aru kedo
kokoro no doko sagashitemo
marude mitsukaranain dayo

tsutaetai tsutawaranai
sono fujouri ga ima
kitsuku shibaritsuken dayo
okubyou na boku no 
kono ikkyoshu ittousoku wo

kotoba wa marude yuki no kesshou 
kimi ni purezento shitakutemo
muchuu ni nareba naruhodo ni
katachi wa kuzureochite toketeitte
kiete shimau kedo
demo boku ga erabu kotoba ga
soko ni takusareta omoi ga
kimi no mune wo furuwasu no wo
akiramerarenai aishiteru yori mo ai ga todoku made
mou sukoshi dake mattete

usugi de tada soba ni tattetemo
fuhitsuyou ni ase wo kaiteshimau boku nanka mou
doushitatte namarukute kimi wo itametsukete shimau no darou

[te no hira ga atsui hodo kokoro wa tsumetain deshou?]
joudan demo sonna zankoku na koto iwanaideyo
betsuni ieba ii kedo zen jinsei wo kaketemo
chanto kutsugaesashite yo

sukuitai = sukuwaretai
kono ikouru ga ima yasashiku hagashiteikun dayo
katai ronri busou puraido no kajou housou wo

tadashisa yori mo yasashisa ga hoshii
soshite sore wo uketoreru no wa
ilumineeshon mitai na
futokutei tasuu janakute tada hitori
kimi de atte hoshii

kaketa kotoba de wareta hibi wo naosou toshite
tashisugita netsuryou de hikarete shimatta kaaten
sonna shippaisaku wo kasanete kasanete kasanete
mitsuketainda itsuka saikou no ichigon ikku wo

kotoba wa marude yuki no kesshou 
kimi ni purezento shita toshite
jikan ga tatteshimaeba taitei
kioku kara afuruochite toketeitte
kiete shimau demo
taezu bokura no sutoorii ni 
soerareta jimaku no you ni
omoigaeshita toki fui ni me wo yaru toki ni
kimi no mune wo furuwasu mono
sagashi tsuzuketai
aishiteru yori mo ai ga todoku made
mou sukoshi dake mattete

kotoba nado nanimo hoshikunai hodo
kanashimi ni itetsuku yoru demo
katte ni kimi no soba de
arekore to kangaeteru
yuki ga toketemo nokotteru

Friday, November 04, 2022

About "Minato" by Spitz ~ as featured in Ep 5 of FujiTV Autumn 2022 drama "silent"


If you have watched ep 5 of "silent", you may remember coming across this scene when Tsumugi (Kawaguchi Haruna) was listening to songs on her mobile phone while having breakfast. Suddenly, she pressed the stop button when this song "Minato" by Spitz came up in her playlist which suggested that listening to the song at that moment was too much for her to bear. Nonetheless, she plucked up the courage to call Minato after this in a bid to find a chance to salvage things between them.

The more obvious interpretations as to why this song was featured in the story could be:
1) The title is the same as Minato's. And the word "harbour" mentioned repeatedly in this song is pronounced as minato in Japanese.
2) The lyrics of this song seem to echo Minato's situation since the subject in the song stands alone at a rusted harbour to reminisce about the happy days which had passed after his love left. Minato's intention to breakup was due to his wish to see Tsumugi get back with Sou. However, this song is also applicable to Tsumugi because she was the one left behind after Minato initiated the breakup.
3) In the lyrics, there is this line which says "weaving words together to form a song". This seems to suggest that the scriptwriter is referring to Tsumugi by choosing this song. In Japanese, Tsumugi refers to the soft silk cloth that is created by weaving silk threads together and the word for weaving in Japanese sounds similar to her name i.e. tsumugu 紡ぐ.

Of course, the scriptwriter could have other meanings attached to the song choice which may not be so apparent. I also wonder if the character names were chosen as such because of this song.

So far in the story, we've seen a number of references to Spitz's songs which are also featured prominently in "Hachimitsu to Clover", a popular manga which had been made into anime, drama and movie versions. There was an article before which suggested that the scriptwriter of "silent" is a big fan of both Spitz and "Hachikuro" so that was why these elements have been included in this drama. In fact, there was even a famous line from "Hachikuro" which made it into an earlier episode when Minato commented that he "witnessed the moment of when Tsumugi fell in love with Sou".

This song from Spitz was the band's 41st single and first released as a pre-single on 27 April 2016 before it was included in their 15th album "Samenai" released in the same year on 27 July. The CD jacket's photo was taken from the 1933 movie "Ongaku Kigeki Horoyohi Jinsei" which was one of Japan's earliest musical comedies before WWII. The music video was entirely in monochrome and included scenes of the band playing the song and animation.

In order for you to understand the song better and see how it corresponds to the situation in the drama, I have translated the lyrics to English. If you would like to listen to the song, here is the music video.

It's not as if I am getting onto a boat
However, I am at the harbour
I stop in my tracks in a gap while surrounded by strangers all around
Collecting words which I want to send to you who had travelled to somewhere far away
Carrying one song which was made by weaving these words together

An universe which will someday be kind even to dirty stray cats
I recall the mysterious light we saw together on that day at dusk
This is a song I made in order to meet you again
I sing again today at the rusted harbour

Sometimes, I don't have the courage
And then I'm at the harbour
Thinking about the meaning of the cotton clouds which seem like they are disappearing
The evidence of you having gone far away has also started to become hazy
I close my eyes and restart from zero to hundred

The smiles passing each other
I believed that I could be like that too
The sunrise's morning glow painted us who were young 
We started running while yawning
An important song for meeting you again
I sing again alone at the harbour

An universe which will someday be kind even to the dirty stray cats
I recall the mysterious light we saw together on that day at dusk
This is a song I made in order to meet you again
I sing again today at the rusted harbour
At the harbour
At the harbour

Wednesday, October 05, 2022

Preview of "silent" - Autumn 2022


Title: silent サイレント
Official website: here
Official Instagram: here
Official Twitter: here
O.A. Start Date: 6 Oct 2022
Timeslot: Thursdays at 10pm
Broadcast by: FujiTV
Theme Song: "Subtitle" by Official Higedandism
Cast: Kawaguchi Haruna, Meguro Ren, Suzuka Ouji, Sakurada Hiyori, Itagaki Rihito, Kaho, Kazama Shunsuke & Shinohara Ryoko