Chapter 20 Kagawa: Our cast and crew are "simply amazing"!

Chapter 20: Kagawa: Our Film Crew Is “Amazing”!

A tall man wearing a wide-brimmed hat, military uniform, and cloak bore an extremely fierce visage.

With casual ease, a single strike from him was fatal to his opponent.

Some were twisted into knots; others simply lost their heads!

Such a ferocious being seemed not of this world, yet surprisingly, he wore gloves.

They were white gloves, marked with a pentagram on the back of the hand.

That was the emblem of the Onmyoji Abe no Seimei!

In other words, this terrifying figure was wielding Onmyodo magic?

At that moment...

“Cut! Very good.”

This was the world of “Teito Monogatari,” and the fierce man in military attire was the demon Kato Yasuyuki.

Having finished that scene, the actor behind the demon stepped behind the camera, shedding his menacing aura.

Akio Jissoji, the director, had cast this demon role to his newcomer, Kyusaku Shimada.

At 23, Shimada’s appearance was never particularly likable—too long a face, a sturdy chin, drooping eyes, and thick eyebrows, giving off a rather simple-minded impression.

He looked more like a man in his forties.

Thankfully, makeup rendered him suitably fierce, matching the role’s demands.

Truly, Jissoji felt somewhat regretful; deep down, he believed Takeshi Iwata was better suited for the part.

The reason was simple: although Iwata’s face was also fierce, it combined ferocity with a certain handsomeness.

Shimada, by contrast, was fierce yet unattractive.

One was fierce and handsome, the other fierce and ugly.

The difference was clear.

Besides, Iwata was in his early thirties, appearing younger than Shimada—though Jissoji didn’t realize then that Iwata was actually only 24.

But there was no choice; Shimada was the best available for Kato Yasuyuki’s role, which held considerable screen time.

As a pure newcomer, Shimada was understandably not Jissoji’s first pick.

It was likely that after this film, Shimada would return to an ordinary life.

In this, Jissoji was mistaken; although Shimada rarely had leading roles, he flourished as a supporting actor in the entertainment world, even starring in “Who Killed Togayama Daigorō?” over twenty years later—a rare lead role, albeit one that ended swiftly. He still looked about forty then.

But that was later; the present was what mattered.

After wrapping up with Shimada, Bando Tamasaburo approached alongside a middle-aged man in a suit.

“Mr. Jissoji, is filming going smoothly?”

“So far, so good. What brings the Third Generation here?”

“What else but to thank you, Mr. Jissoji.”

“Ah? Could it be...”

“Yes! Regarding that child, we are truly grateful!”

“Well...”

“Regardless, we are very thankful!”

Though the Third Generation’s expression was serious, there was an unmistakable joy beneath it—quite a contradiction.

Bando Tamasaburo couldn’t help but smile behind his fan.

Who was this Third Generation?

None other than the renowned Ichikawa Ennosuke III.

The “child” in question was his son, Teruyuki Kagawa.

Previously, Kagawa had joined Takeshi Iwata’s film “The Savage Man,” arranged by Jissoji.

The situation was simple: Bando Tamasaburo acted as intermediary, mentioning a friend’s restless son, unhappy with his current work.

Jissoji, a seasoned veteran, immediately understood this was a request from a national treasure-level master.

He engaged in conversation and soon learned the identity.

Jissoji also knew Ichikawa Ennosuke III, and had heard of his son.

This story was complicated.

Ichikawa Ennosuke III was handsome, and his wife, the beautiful actress Kiko Hamaki, was well-known—she starred as the female lead in “One-Armed Swordsman vs. Zatoichi,” and was once the top musumeyaku at the Takarazuka Revue.

In fact, her maiden name was Kagawa, meaning Teruyuki took his mother’s surname.

Moreover, the Third Generation and his wife divorced.

He publicly disowned Kagawa.

Why the divorce? Why disown his own son?

Though a handsome couple, Kagawa Teruyuki... was quite another matter.

There was also the fact that the Third Generation had long harbored feelings for his teacher, Fujima Shizuka, known as the “Empress.”

The whole affair was tangled, frequently splashed across the tabloids with sensational stories.

But now, something significant had happened.

Kagawa Teruyuki had indeed been accepted to Tokyo University but wished to enter show business.

Not long ago, he visited his biological father and was severely scolded by the Third Generation.

Though reprimanded, the Third Generation had come to terms with things over the years; Kagawa was growing up.

Still short, unattractive, and looking older than his age, many features clearly reflected his parents.

When Bando Tamasaburo heard this, he understood—Kabuki masters like them were a close-knit circle, and he and the Third Generation were frequent collaborators.

Since they were filming “Teito Monogatari,” Bando suggested to Jissoji, “How about arranging something?”

For a newcomer, it was just a word from the director.

Jissoji understood, but the role was already cast—only Kato Yasuyuki remained unfilled.

Kagawa was rather ugly and fierce-looking but too short to embody the imposing presence of the military demon.

Hence, Iwata was ideal.

Ah, why not introduce Kagawa to Iwata?

Iwata had mentioned needing some young actors.

Perfect.

So arrangements were made—a huge favor for Bando, and the grateful recipient was Ichikawa Ennosuke III, who came to express thanks.

Two or three days had passed; presumably, Kagawa had begun pursuing his film career.

Then, at the set, an assistant brought over a bulky mobile phone.

At that time, mobile phones were truly imposing and unwieldy.

Jissoji took the call, hearing:

“It’s about... that child.”

He covered the receiver, needing to consult the Third Generation due to past events.

The Third Generation nodded, generally pleased.

He hoped to mend their father-son relationship—after all, Kagawa was a son born late in life.

Bando Tamasaburo understood, as did Jissoji, so the conversation continued.

“Scary! This film crew is just terrifying...”

Before the sentence finished, a cold sweat broke out on Jissoji—fortunately, it was summer.

“Ah, I see.”

He quickly covered the phone again, looking to the Third Generation.

“What’s he saying?” the elder man asked anxiously, now fully in the role of a father.

Jissoji, a skilled director, replied promptly:

“He says the crew is amazing!”

“Oh, haha... Is that so?” the Third Generation smiled.

But the call was not over.

“As for the film...”

“The lead actor... yes, Director Iwata, he’s just too fierce!”

Jissoji swiftly covered the receiver again, smiling at the Third Generation, though sweating more than before.

“What did he mean...?” the Third Generation pressed.

Jissoji grinned:

“He said Director Iwata is actually very kind, a genuinely good person.”

“I see,” the Third Generation softened, fully embracing his fatherly role.

Yet, he understood that under the present circumstances, he couldn’t speak directly with his son.

Unbeknownst to him, all the pressure rested on Jissoji.

Fortunately, a great director always finds a way.

The call resumed.

“Filming is tough...”

“Uncle Jissoji! Help me! Please! Let me leave this crew! I’ll do anything to get out!”

Before he could finish, Jissoji said into the phone:

“You must hang in there! Keep going!”

Then he hung up and turned to the Third Generation.

“This is...”

The elder man wanted to know everything about his son.

Jissoji earnestly replied:

“He told me, no matter how hard or exhausting it gets, he will finish this film. This will be his debut! He promised to work hard!”

The Third Generation was greatly relieved.

“This child is quite the talent.”

Very satisfied, Jissoji was pleased too, while only Bando Tamasaburo thought the bald director’s acting talents had reached new heights.

...

What exactly did Teruyuki Kagawa face on the set of “The Savage Man”?

At first, he thought himself a Tokyo University graduate from a prestigious family.

Looking at the crew, it was obvious their education was lacking.

Naturally, he was arrogant.

But once filming began, playing the new partner of Ryosuke Wagatsuma—a rookie in the police force—he realized this crew was more hellish than he imagined.

Ryosuke was a rogue cop, employing Yakuza tactics.

Kiyohiro, the killer, had already been caught but refused to talk due to insufficient evidence.

What to do?

Violence!

Fists connecting with flesh!

Blood splattering across the walls!

Though fake, Iwata Takeshi and the others, with their expressions and movements, were pure Yakuza.

Kagawa was a newcomer; he had never seen anything like it.

More importantly, he had to fight and be fought.

Too violent!

And now...

“Tekeme, what are you staring at? Go move those boxes over there!”

“I—I’m an actor.”

“Idiot, there are only a few of us here. Don’t want to stay?”

“Oh, I’m going.”

A proud Tokyo University graduate, reduced to a ‘cat’—a mere pawn of the Yakuza.

When a scholar meets a soldier, it often ends this way.

So he called Uncle Jissoji for help—but...

Tears unshed, pleas unanswered!

Teruyuki Kagawa was truly a “miserable man,” but had no choice but to...

“Move those boxes!”

“Yes, sir!”

He temporarily surrendered to violence, but only temporarily.

Unexpectedly, as he went to move the boxes, he saw someone arrive at the set.

A woman, stunningly beautiful, dressed in a cherry-colored kimono.

Thank you to Flying Dante, Skyknight aki, lianinliyan, and everyone for your generous support, recommendations, and monthly votes!

No more words—back to writing. Please continue your support. Thank you!

(The End of this Chapter)