Director Takeshi Kitano’s works are often associated with yakuza films, perhaps due to the influence of movies like “Violent Cop” and “OUTRAGE.” However, looking at his lineup, it’s evident that he has produced a variety of styles, including “A Scene at the Sea,” “Kikujiro no Natsu,” and “Zatoichi,” amidst his violent works. Director Takeshi Kitano, along with comedian Beat Takeshi, is capable of portraying both tranquility and dynamism, representing two extremes. Among his diverse range of works, “Kids Return” (1996), which focuses on boxing, stands out as a unique piece. Depending on the viewer, generation, and background, the interpretation of the main themes, such as sports films, youth dramas, comedies, tragedies, and yakuza films, can vary significantly.

Happy New Year! To kick off 2024 with the first ‘CYCLE MUSIC,’ let’s introduce a song by a Japanese artist that represents a cornerstone of my life as a music lover, which is fitting for the start of a new year. It’s ‘Angelina’ by Motoharu Sano, a song that marked the beginning of the 1980s and my youth.

Despite being an Italian film from about 30 years ago, a collaboration with France, ‘Cinema Paradiso’ (1988, directed by Giuseppe Tornatore) remains a highly popular and influential movie, telling the story of a projectionist and a young boy.

During my youth, I was captivated by a music style known as Neo-Acoustic, which emerged in the 1980s in Britain as a fruit of post-punk to new wave, influenced by jazz, soul, bossa nova, and Latin, characterized by delicate acoustic pop. It’s been my impression that many record jackets in this style feature motifs of bicycles. Surprisingly, Brazilian music seems to have numerous tracks revolving around bicycles. This month, among them, I’d like to introduce Alulu Paranhos’ ‘Bicicletinha,’ a tune that might appeal to Neo-Acoustic enthusiasts.

When I was traveling through Hokkaido by train, there was a peculiar announcement. It warned us to be careful because the name of the next station had changed for a drama shoot. The atmosphere in the train buzzed with excitement. It was a popular drama set in Furano, Hokkaido. The train arrived at the station, but we passed what seemed to be the film crew. Then, in the corner of the platform, I saw a tall man. Even though he had a hat pulled down low, I immediately recognized him as Ken Takakura. Perhaps he had come to visit the filming location of an old friend (Kunie Tanaka). Acknowledging our gaze, Ken-san shyly raised his hand in greeting. It was an overwhelming coolness. Since then, although not from the same generation, I started watching films starring Ken Takakura.

Ever since this column started, when I listen to music, I somehow become conscious of cycling jackets, music videos related to bicycles, titles, and lyrics related to cycling. But when I thought of this song, I was delighted. It’s Georgie Fame’s beloved groovy tune “Happiness.” This song is from the 1971 masterpiece album “Going Home” is known to those in the know, and on the back cover, you can see Georgie Fame wrapped in a boa leather blouson, riding a bicycle.

Alongside “My Ever Changing Moods” by The Style Council, which I introduced in the first installment of this column two months ago, one of the most memorable music videos featuring cycling that comes to mind is “Put Your Records On” by Corinne Bailey Rae, the singer-songwriter born in Leeds, UK, in 1979. I can’t forget the fresh excitement I felt the first time I watched this music video. It was reminiscent of the bittersweet feeling I experienced when I watched early short films by François Truffaut (his films often feature memorable bicycle scenes) during my younger days.

“The Kid With a Bike (Le gamin au vélo)” (2012, directed by the Dardenne brothers) is, as the title suggests, a story centered around a boy and his bicycle. The protagonist is Cyril, a boy living in a Belgian foster care facility. One day, his cell phone with his father suddenly goes offline. When he contacts the apartment manager, they claim that his father has moved away. He can’t believe it. His father wouldn’t just move without telling him. Moreover, his precious means of transportation, his bicycle, is still in his father’s apartment. Cyril runs away from the facility and visits the apartment, but as the manager said, his father has already moved, and there’s no sign of the bicycle. Cyril has been abandoned by his father.