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Mishima: A Life in Four Chapters
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Directed by Paul Schrader.
In Paul Schrader's unusual biopic, Ken Ogata stars as Yukio Mishima, perhaps the most celebrated Japanese novelist of the last five decades. The film begins with Mishima's youth, then moves forward in episodic fashion to his 1970 suicide, symbolically committed at a military site. Originally titled Mishima: A Life in Four Chapters, the film is neatly divided into a quartet of acts, and the screenplay does not flinch in its depiction of Mishima's hyperactive sex life. Among the many neat directorial touches is the decision to offer the narrative in black-and-white, while depicting scenes from Mishima's novels in vibrant color. Written off as self-indulgent by those impatient with Schrader's fragmentary technique, Mishima was produced in Japan by Francis Ford Coppola and George Lucas, an offshoot of Coppola's involvement with Japanese director Akira Kurosawa's Kagemusha. ~ Hal Erickson, All Movie Guide
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RisseladaRisselada Re: Movies based (some very loo ...
by Risselada in CinLit
liked it.
"The only one I've seen of those is Shakespeare in Love. Do any of these apply? Where the Buffalo Roam (Hunter S. Thompson)Naked Lunch (William S. Burroughs)Finding Neverland (J. M. Barrie)Crumb (R. Crumb)Mishima: A Life in Four Chapters (Yukio Mishima) Isn't there a movie about Lewis Carroll?? I seem to remember reading about this. " [More]
Review by All Movie Guide
All Movie Guide
liked it.
Divided into four sections titled "Beauty," "Art," "Action" and "Harmony of Pen and Sword," Mishima is based -- in a fascinating creative choice -- not only on Mishima's life and scandalous death, but also on his work. Schrader uses three of Mishima's semi-autobiographical novels as the basis for exploring the author's obsessions and ideas. Cutting back and forth between these tales and Mishima's real-life move toward a final, desperate act meant to inspire national unity, the film comes to a startling conclusion as all four tales end in bloody self-destruction. The liberal blend of fact and fact-based fiction allows Schrader to compose hauntingly symbolic, dream-like images, set against a moody score from avant-garde composer Philip Glass, although the dividing line between literary adaptation and biographical material is made clear by the use of black and white for the film's flashbacks. The end result stands as one of Schrader's best films. ~ Karl Williams, All Movie Guide
 



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