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Patriotism (1966) More at IMDbPro »Yûkoku (original title)


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Release Date:
12 April 1966 (Japan) See more »
Two characters on a Noh stage dramatize the rite of love and death of Lieutenant Shinji Takeyama and his wife Reiko... See more » | Add synopsis »
Plot Keywords:
Short Film, Short Review: The Rites of Love and Math
 (From Twitch. 30 November 2010, 6:01 PM, PST)

User Reviews:
Historically prescient, artistically undernourished See more (13 total) »


  (in credits order)
Yukio Mishima ... Shinji Takeyama
Yoshiko Tsuruoka ... Reiko

Directed by
Masaki Dômoto 
Yukio Mishima 
Writing credits
(in alphabetical order)
Yukio Mishima 

Produced by
Hiroaki Fujii .... executive producer
Yukio Mishima .... producer
Cinematography by
Kimio Watanabe 
Production Design by
Yukio Mishima 
Makeup Department
Sadao Kudo .... makeup artist

Production CompaniesDistributors

Additional Details

Also Known As:
"Yûkoku" - Japan (original title)
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30 min
Sound Mix:

Did You Know?

This is a silent film with a musical track - there is no dialogue spoken. Mishima filmed two versions, one with Japanese title cards, the other with English title cards.See more »
Movie Connections:
Tristan und IsoldeSee more »


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9 out of 20 people found the following review useful.
Historically prescient, artistically undernourished, 5 August 2008
Author: TrevorAclea from London, England

Narcissism and self-indulgence are the main features of 1966 short film Patriotism: The Ritual of Love and Death. Sadly, divorced from its historical interest - a famous suicide playing a man who commits suicide - it's really not very good. Played out on a stylised set designed like a Noh theatre stage and performed without dialogue, writer-director-star Yukio Mishima shows little understanding of silent film storytelling by relying on tediously lengthy and leaden scrolls of explanatory text that defeat the very idea of disposing with dialogue. Unfortunately without them the film wouldn't make a great deal of sense since Mishima is more interested in striking poses and detailing the act of seppuko in lingering detail than conveying what lies behind the act in more than the most simplistic terms: the act is all, leaving us to take everything else on faith. It's not all bad: Yoshiko Tsuruoka's excellent performance compensates for Mishima's weakness as an actor and Kimio Watanabe's black and white cinematography is excellent, but it's more a failed avant-garde experiment that simply reflects its creator's morbid self-obsession than a valid work in its own right

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good god, HELP! GuitarGod75
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