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 »
The true story of a rich girl who was abducted by American revolutionaries in the 1970's. Her time spent with her captors made her question herself and her way of life and she joined forces... See full summary »
Three workers, Zeke, Jerry and Smokey, are working at a car plant and drinking their beers together. One night when they steal away from their wives to have some fun they get the idea to ... See full summary »
When Juvenal, a presumed miracle worker, appears on the scene Bill Hill attempts to exploit him but his plans go astray with the untimely intervention of August Murray and the developing ... See full summary »
The siblings Patty and Joe Rasnick live in an industrial suburb in Cleveland, Ohio. While Patty is focused on their rock band, The Barbusters, Joe also cares for the family and the ... See full summary »
A drug dealer with upscale clientele is having moral problems going about his daily deliveries. A reformed addict, he has never gotten over the wife that left him, and the couple that use ... See full summary »
An English couple holiday in Venice to sort out their relationship. There is some friction and distance between them, and we also sense they are being watched. One evening, they lose their ... See full summary »
Two characters on a Noh stage dramatize the rite of love and death of Lieutenant Shinji Takeyama and his wife Reiko. Takeyama was one of a cadre of young officers who staged a coup d'état ... See full summary »
Julian makes a lucrative living as an escort to older women in the Los Angeles area. He begins a relationship with Michelle, a local politician's wife, without expecting any pay. One of his... 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 <email@example.com>
There are two versions of the film, one with English narration by Roy Scheider, the other with Japanese narration by Ken Ogata. The Ogata version also has scenes added by Paul Schrader that were cut out from the original 1985 release. These scenes were added by Schrader to the Criterion DVD release. Paul Schrader : "We did quite a bit of work on it--John Bailey and I worked a week redoing the D.I. and balancing the color. We did great work to the soundtrack. We added a short little scene that I had cut out featuring Chishu Ryu, the Ozu actor, that I always regretted cutting out--we found the original negative and I put that back in. I did some sky replacement at the end of "Runaway Horses" because I wasn't really happy with the shots at the end. We were able to go back and replace the natural sky with an artificial sky. Then we went back to the original digital on Philip Glass' soundtrack and so the sound is much better on the Criterion version. We also put Ken Ogata's narration in, so now it finally has Japanese narration." See more »
The word "country" written in Japanese kanji on the hachimaki is the simplified character. On the actual hachimakis, the kanji for "country" was the long traditional form. See more »
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 »
This is my favourite film and I think it is perfect. Unlike virtually any other film I can name, I never watch this film and think it would have been better if they'd changed this or that or whatever. Is this the definition of a work of art? I think so. Every brushstroke in Mishima is perfect and it all flows from the Schrader's script. I've always sort of liked Paul Schrader's work (you can't argue with Taxi Driver and Light Sleeper is an amazing film), but while his writing often seems to border on the bombastic, his directing style is usually non-existent. This is deliberate, I think, because his films usually deal with a search for redemption and are set in the real world; ugly and harsh. His style suits his themes as he presents his characters in a simple and realistic way, and lets them show the audience the truth of the situation. Imagine if Schrader had directed Taxi Driver or Bringing Out The Dead, instead of Scorsese. But like the protagonists of those two films, while Mishima the man was ideal Schrader material, right-wing, vain and at odds with society, his works were subtle and beautiful. In fact he had a secondary writing career as a woman's writer, churning out what can reasonably be described as romantic potboilers. So you wouldn't necessarily imagine that Schrader was the ideal man to capture that subtlety and beauty on film. I think the film shows that he was. The script he helped fashion splits Mishima the man into three parts; his life, his death and his mind. His life is represented in black and white, still camera, formal compositions. His death, for which he will always be best remembered, is handheld documentary style. And his mind is represented by the dramatised extracts from his novels, each one revealing the thought processes of this complex man, who hardly ever wrote a character that wasn't a reflection of himself. These dramatisations are beautiful to look at, thanks to Eiko Ishioka's remarkable production design and Schrader's imaginative staging. In all parts, the acting is superb, especially from Ken Ogata as Mishima, who captures the essential charm, arrogance and narcissism of the man. The photography is excellent throughout and contains images that the viewer will retain forever. Finally, the music is simply superb, perfectly matching the images, although written and recorded before shooting, adjusted during the editorial process and then re-recorded. How much the music influenced the shoot I do not know, but it bonds perfectly to the image. I have seen many ideas of what various people think the theme of the film is, what Schrader is trying to say. You know, the big stuff about life, death etc. But I do not think the film is saying anything. Mishima has already said it, the film simply repeats.
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