There has never been much hope for the old Americans to shoot Orientals. First, there is a problem with attitude. Westerners are too complacent about their advanced civilization and lack the humble attitude to appreciate the ancient Eastern culture. They are generally condescending, curious or ugly, focusing on the incomprehensibility of Orientals, such as "Lost in Tokyo". The second is the problem of ability. Westerners can only get a sense of form in shooting the East, but not the spiritual core, because the nerves are too rough, such as "The Last Samurai." . . But the Japanese didn't shoot Mishima, the old beauty did, so I still have to see it.
The first thing I want to say is that Lao America has a correct attitude this time, using a more objective perspective. On the contrary, if the Japanese wanted to shoot, they might demonize him as a clown.
Secondly, the original soundtrack of the movie is very nice. I have already played the original sound before the film, and I like it very much. The tense violin sound highlights the duality of Mishima's character.
In the end, I really can't accept the role of Ogataken Grandpa as Mishima! ! ! ! ! ! ! ! Although he was not the old grandfather back then, although I actually liked the old Ogataquan, he is really far from Mishima! ! ! ! In my mind, Grandpa Xuxingquan should always be a kind and thin grandpa. It's okay to play the villain occasionally, but you should never play Mishima! Even if he tried very hard to approach Mishima in temperament, approach Mishima physically, even his chest hair and umbilical hair had to copy Mishima (great thunder), but he didn't look like it just didn't look like it. The young actors from other periods found in the film are somewhat similar. At that time, Japan was the only one who was able to take the lead and was willing to accept the show and fit the age. He was the only one left, but he was definitely not the best candidate.
This film was the last day of Mishima's life, and it was also the most sensational day. It started on the morning of November 25, 1970 and ended with the end of his life. Color film is used on this day. The period flashed back to different periods of his life in sequence, using black and white film, interspersed with his representative works from different periods, and displayed in the form of colorful stage plays. Color film was used on the last day, implying that although he was in reality on this day, he was directing and acting in a play. The whole film has a clear context, important events are listed one by one, and Mishima's famous quotes and sentences are also highlighted. Passing is definitely passing, but I think it lacks aura.
The movie is divided into four chapters. (Not the four chapters of "The Sea of Plenty"...)
Chapter One, "Beauty"-"Golden Pavilion".
Childhood and adolescence. Frail and sickly, grandmother's bondage, sexual alienation, etc. It appears in the movie that he was once obsessed with Kabuki actors and "First Love" San Sebastian.
These two places are rather obscure about Mishima's sexual orientation, and there is no shocking scene.
Then enter the important work "Golden Pavilion" he created in his youth. In fact, the first sensational work "The Confession of Mask" is more representative of his growth history. However, from the perspective of drama and appreciation, it is better to shoot with "The Temple of the Golden Pavilion".
The young Sato Hiroshi played the lame man in "Kinkakuji". I feel that this person will always only have a dead pig who is not afraid of boiling water. It doesn't matter what he plays. . .
In reality, Mishima, who had been eager to die in battle, exaggerated his condition during the medical examination at the conscription office and exempted him from military service. This reflects the duality of his heart.
The burning of Kinkakuji in the novel shows his attitude towards beauty and the catharsis of adolescent sexual distress. ("Golden Pavilion" is actually youth literature...- -|||When I read this book on the Internet, I was young and I couldn't comprehend some things. I recently bought a physical book and plan to reread it someday.)
Chapter 2, "Art"-The
most commonly used light in this chapter of " The House of Mirrors" is peach, which expresses ambiguous, erotic and complex.
The story roughly tells the story of the interaction between a woman and four men of different personalities. The painter who emphasizes sensibility, the boxer who emphasizes action, the staff who emphasizes secularity, and the actor who emphasizes self-consciousness are actually the clones of Mishima. Mishima divided himself into four people to write.
Mishima, who has entered adulthood in reality, is also an ambiguous and erotic complex creature, floating between men and women. He pursued the perfect body of the Greeks and worked hard to train his muscles after being taunted by his male partner. Own cosplay San Sebastian. ||||The
famous photographer Yinggong Hosoe took his artistic body portrait "Rose Punishment".
Mishima is not only a great novelist, but also a great playwright. But it is said that as an actor, he is only third-rate. Despite this, he still enjoys himself on stage as a tragic hero. This film also focuses on the male actors in "House of Mirrors". I only read the beginning of this novel and didn't read it down because I didn't like it. So I don't know how well this stage play was filmed.
Critics say that "The House of Mirrors" is "a typical classic psychological novel", and is a collection of Mishima's literary and aesthetic thoughts.
Interested children can look for them.
Chapter Three, "Action"-"Horse
Galloping" As the second of the four parts of "The Sea of Plenty", "Horse Galloping" is my favorite one. It feels like a passionate and unrestrained midsummer, absolutely pure youth.
The story tells the story of a young man who was keen on kendo was used by militarism and killed himself after assassinating a large chaebol alone. After watching "Running Horse", I thought I had fully understood the motivation of Mishima's final behavior, which was the pursuit of absolute purity. It is not that he does not know that the Bushido spirit is being used by militarists with ulterior motives. It is precisely because he understands the foulness of the real world that he wants to use his actions to draw a clear line from this. But when I watched "The Temple of Dawn" and "The Five Decays of Heaven and Man", I felt confused, powerless, and empty again, and I began to wonder what Mishima's mentality was before he died. I would rather "Sea of Plenty" ended in "Running Horse", so that only the good things in life remain in my heart, and now he has shown me too much ugliness and ugliness in life, which makes me unbearable. Looking at it now, Mishima at that time had seen through the world. His death was not only to defend the Bushido and the purity of Japan, but the more important purpose was to preserve his unaging body and mind, compared with the ugly and old. Draw the line by yourself. Although this meaning is described in the movie, it is only a brief introduction. Those who don't understand may only see the superficial political opinions. In fact, Mishima studied Buddhism very deeply throughout his life, and there are many contents about Buddhism in his works, which are not covered at all in this film, which is really disappointing.
Mishima, who wrote about the student uprising in the novel, witnessed in reality the movement against Japan-US security regulations initiated by left-wing students at the time. Those who like to watch Japanese movies must be familiar with the "all communist fighting" at that time. The East Daquan fought an uprising and asked Mishima to enter the school to negotiate. The Mishima in the film talked eloquently. In fact, the real Mishima later admitted that when he was surrounded by angry college students, he was quite frightened and feared that his life would be in danger. In fact, the students did not touch his hair. Mishima, who is so afraid of death, will eventually make such a tragic move, which is a manifestation of the contradictory sides of his personality.
The fourth chapter is the fusion of pen and sword.
The last chapter is back to the last day, Mishima led Meihui to the headquarters of the Self-Defense Forces.
Hiroshi Mikami played Morita Mustachi, who was finally wronged by Mishima Suke. At that time, Mikami was very immature, which contrasted greatly with the real Morita's image. . . However, according to Mikami's image, it is possible to explain why he misguided the failure and made Mishima miserable. . .
From showing off Guan Sunliu, to kidnapping the head of the Self-Defense Forces, to convening the Self-Defense Forces to listen to him, and finally committing suicide. Avoid bloody and violent scenes, the film is suitable for all ages. However, if you want to be suitable for all ages, the theme of "Mishima Yukio Biography" itself is not suitable.
The whole film gives me the feeling that it is quite satisfactory and lacks bright spots. It's not easy for people who don't understand Mishima's life, and it's not addictive to Mishima's book fans. Forget it, expecting Lao Mei to shoot a very decent "Mishima Yukio Biography" is also difficult for a strong man!
I have always thought that Mishima Yukio’s posthumous work "The Sea of Plenty" is a masterpiece, and it feels completely reborn after reading it. However, it is difficult to find time to read it again, because Mishima's books are always obscure and difficult, not for recreation. In the era of the proliferation of "light novels", his books are even less popular.
In 2005, Toho filmed the first "Spring Snow" of "The Sea of Plenty". Because the theme is love, it can be launched as a mainstream movie. It would be a delusion if someone could make all four of them in the future. . .
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