Nightsong of Splendor
Sometimes I wonder what it is with people and red flags. Do they enjoy the thrill of the chase? Do they crave the dangers and heartbreak that follow? Why would someone take the chance of being unbearably hurt if it means they can be with that questionable someone? At the end of the day, perhaps things like this are what make us human: we make dumb decisions and suffer the consequences, all so we can get back up and keep walking forward. Sometimes something or someone can be worth all the suffering, because life just won’t hold merit for us otherwise. Do I condone such relationships? Frankly, no. But we all have to learn the hard way at some point….
“Nightsong of Splendor” also known as “Kasei Yakyoku”, “Starlight Nocturne” or “Gasei Yakyoku”, is a 4-episode OVA series that aired from the 25th of March till the 25th of September, 1989. It was produced by Tokuma Japan and brought to life by Studio Magic Bus, with the main staff including Dezaki Tetsu as Producer, Kikukawa Yukio as Assistant Producer, Dezaki Osamu as Director and on Storyboard, and Yamada Etsuji as Sound Director. The 28-minute episodes feature the genres of Drama and Romance, alongside the Historical theme, earning an R+ rating for mild nudity and being best suited for adult audiences. It is based on the Manga of the same title by author and artist Hirata Makiko and targets the Josei demographic. It features the additional genres of Tragedy and Mafia, which have concluded with 9 Volumes since publication began in 1984.
The setting for this tale is old Tokyo, between August and September 1923, during the Taisho 12 era. During these chaotic and unruly times, the terrain was home to quite a number of extremists living in a very fragile balance, including, but not limited to, the rich, the poor, the good, the evil, and those looking to the past or the future with whatever ideals drive them. One would see just as many horse carriages as motor vehicles in this city, alongside swords and pistols borne by commoners, businessmen, nobles, and so on. Here we meet one of the protagonists, Hashou Akiko, a wealthy young lady hailing from an upper-class family, who falls in love with a handsome young man named Taka. He is quite the complex character, with a younger brother, both of whom are seemingly allied, albeit not entirely willingly, with a part of the city's criminal underground: the Yakuza.
Things become more complicated when Akiko’s beautiful young maidservant, Uchida Sara, meets Taka as well, leading to a conflict that can only ever end in pain, tragedy, passion, and dishonor. But the world around them has its own plans for moving things forward, and the passing days signal the looming threat of a terrible event just around the corner: the unforgettable day of September 1st, 1923. At precisely 11:58 on this fateful day, the Great Kanto Earthquake and tidal wave would mercilessly strike Tokyo and cause the death of nearly 100,000 people in its wake. Just how will one of the greatest disasters in human history take form around the three protagonists and their own anguishing tales?
Despite being a short series, “Nightsong of Splendor” asks you a very important question, one which will stay with you long after the watch: “How much are you prepared to sacrifice for love?” While the series itself offers an answer of its own via four well-written characters during a tumultuous time of Japanese history, I couldn’t help but wonder how much the world has changed for the better or worse. This increasingly dramatic story follows near-flawless direction throughout, and it maintains a melancholic atmosphere, all leading up to the disastrous earthquake, which doesn’t care about any romances. There is no wasted frame here because every scene is full of intensity, depth, and gravity, and all the dialogue hits hard alongside the signature pastel freeze frames. There were moments where I felt like they could’ve used more foreshadowing. Still, even that inconsistency and mystery add to the narrative, as the story always holds itself together despite the tight runtime. We are also treated to an earthquake-doom countdown as static on-screen cards, which really fuels the lingering dread that time is running out for people to get their affairs in order.
The core character theme here is emancipation, around which Taka, Akiko, Sara, and Kiyokuni are bound inescapably. Starting with the lead male, Taka is a prisoner of circumstances, as he is a high-ranking Yakuza with an undeniable talent for handling worldly matters that their organization's boss highly values. It is this situation that created this seemingly reserved and detached character who works as a focal point for the rest. Akiko, like most women of high birth, is always looking for ways to escape the shackles of her noble status within the prestigious house of Marquis Hasho, her father. So when the first wave of feminism hits the land, she starts to believe that the traditional Japanese matchmaking custom “Omiai” is long overdue for replacement. But this facade of an independent and progressive woman crumbles really fast after her first interaction with Taka, whom she falls head over heels for, alongside the undeniable reality check.
Meanwhile, her fiancé, Kiyokuni Saionji, is the heir to a major banking clan and is special because he is the only person who lets go of any hope of self-made independence in this dynamic world. In his eyes, this arranged marriage is both a necessity and a blessing, regardless of his would-be partner’s whims and fancies. In stark contrast to the rest, he is selfless to a fault, but isn’t exactly ideal for a healthy long-term relationship either. Last but not least, Sara is Akiko’s childhood friend and is the ideal traditional Japanese maiden, staying true to all their conservative values. While she doesn’t want to be indebted to anyone, she ends up in so many unsavory predicaments due to her ingenuity, fueled by the cruel world closing in around her. With each of them showing a unique character direction, this is one department that deserves all the praise it gets.
On to the Art and Animation department: this is one of the finest examples of the old-school anime art style aging like fine wine. The art style is Gekiga, reminiscent of the late 1950s, employing a realistic, mature, gritty approach that’s perfect for addressing politics, caste systems, and relationships. So the character designs follow suit, going for maturity over anything else. The art direction is otherwise lavish and grand, particularly during the introduction, to immerse us in the style of this world. This is followed by sequences that do a lot for the world-building, full of Jazz-themed imagery, and I cannot stress enough how delightful and alive it all looks. Then come the stellar character intros, starting with Akiko, as she gracefully makes her way down the stairs wearing her luxurious sequin dress and headscarf, a beautiful nod to the era's ambiance. But in the second episode, the visuals make clear the clash between conservative Japanese traditions and the modernity threatening to take over, while the people remain either unyielding or uncertain. The overall cinematography is absolutely stellar, but the animation can be stilted on occasion, especially during the Action scenes.
The Sounds and Music department is very unique and maintains the aura of the Japanese era in question. The OSTs are dominated by traditional instruments and melodies, which fit the somber mood perfectly and really enhance the dread factor of the looming earthquake. They make sure the sounds don’t try to induce drama on their own, since there’s already so much happening on the screen, thereby preventing the presentation from becoming overbearing. The series' single theme is "Ima wa Serenade" by Kae, which stands out for perfectly capturing the era. The voice acting evokes so much emotion, and there’s gravity to every word; not a single syllable is unnecessary.
Overall, “Nightsong of Splendor” is a story worth telling on so many different levels. Even if you take some time to get used to the aesthetic, as I did, the depth of the characters and story on screen will keep you intrigued. This series has an open ending, with many questions lingering on the horizon. It is a drama rooted in its timeline, and a definite ending is unnecessary in my eyes. No matter how devastatingly destroyed Tokyo got, you just knew the protagonists were going to keep moving forward, no matter how scarred they’ve become. So, as I continue to ponder the questions this short series left behind, remember that life is always full of missed opportunities and dead ends. I recommend this series for anyone looking for a gripping tale and character drama.
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