A fictionalized account in four segments of the life of Japan's celebrated twentieth-century author Yukio Mishima. Three of the segments parallel events in Mishima's life with his novels (... See full summary »
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On November 25th 1970, a man committed ritual suicide inside the Tokyo headquarters of the Japanese Ministry of Defence, leaving behind a legacy of masterpieces and a controversy that ... See full summary »
A fictionalized account in four segments of the life of Japan's celebrated twentieth-century author Yukio Mishima. Three of the segments parallel events in Mishima's life with his novels (The Temple of the Golden Pavilion (Kinkaku-ji), Kyoko's House, and Runaway Horses), while the fourth depicts 25 November 1970, "The Last Day"... Written by
Nick Lopez <firstname.lastname@example.org>
A substantial amount of the finance was Japanese although, bizarrely, the Toho studio and their partners have persistently denied that they sunk $2 million dollars into the film. Director Paul Schrader : " I moved to Japan and we had a Japanese producer who was able to raise half of the budget through his own money and from Fuji Television and Toho-Towa. Then, of course, the Japanese financiers tried to pull out at the last minute because of pressure from the widow. There was another drama involving that and the end result was that they gave us the money but claimed that they didn't. To this day, they claim that they did not finance the film." See more »
There were two cadets outside the building, not just Morita. See more »
[referring to his "frog feet" and Mizoguchi's stuttering]
Guys like us are just like beautiful girls. We get sick of always being stared at.
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Yukio Mishima is acknowledged to have been a real person, but his acts have been fictionalized by writers. Other persons and events in this film are fictitious. Any similarity to actual persons and events is unintentional. See more »
Movies are something you see on Saturday night and forget by Sunday morning. Motion pictures are works of art that stick with you forever. Mishima falls into the latter category. This is the type of thing that should win Academy Awards, a brilliant, visual peice of film that is both depressing and uplifting. Instead of doing a straightforward look at the life of Yukio Mishima, director Paul Schrader interweaves three adaptations of the author's stories into a look at his past and final day on Earth, the day he tried to lead the Japanese military into rebellion in the name of the Emperor. Failing to do that, he commits ritual suicide in an ending that hits you like a ton of bricks. The three short story adaptations allow a look into what led him to this and are presented in an experimental way that makes them appear to be filmed stage plays. Ken Ogata is magnificent as Mishima. Despite his eccentricities, he comes off as very sympathetic, a man who is quite willing to die for his beliefs and does. This makes the ending that much more devastating and the sense of loss more meaningful. Of the three story adaptations, Temple of the Golden Pavilion, Kyoko's House and Runaway Horses, it is the last that is the strongest and most emotional. It also is the story that most closely matches Mishima's mood in his final years and illustrates what truly led him to the events of November 1970. This review cannot be complete without a mention of Philip Glass' striking musical score. Not since 2001 has a film score been such a perfect compliment to it's visuals. Paul Schrader crafted one of the most beautiful movies of the 1980s or any other decade for that matter. Have the hankies at the ready because the ending will leave you in tears. Mishima: A Life in Four Chapters reminds you that sometimes film can still be an art form and as art it is brilliant.
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