MISHIMA: A LIFE IN FOUR CHAPTERS (1985)
A Film Review
Copyright Dragan Antulov 2004
More than century after the invention of motion pictures it is very
clear that the marriage between the new medium and the old
medium of literature was less successful than most people would like
to think. Great books, regardless of how important, how inspiring,
how successful or how popular they might be, are difficult to be
adapted into films able to match their importance and success. The
medium of film is different than the medium of literature and the
even most successful filmmakers can't match the subtleties and
richness of written word without compromising literary work's
integrity. Successful screen adaptation of great book was, is and will
always be a formidable task, seldom achieved. It is, therefore, hard to
imagine a filmmaker who would bring to screen not only a single
book, but entire series together with the man who wrote them. Paul
Schrader did this in his 1985 biographical film MISHIMA: A LIFE IN
FOUR CHAPTERS.
This film was in many ways odd. One of the producers was George
Lucas, filmmaker usually not associated with difficult, serious and
thought-provoking films. The film's director and co-writer Paul
Schrader built reputation on the film screenplays that had depicted
uglier realities of American life, so different from the setting of this
film. Finally, the name of the protagonist isn't easily recognisable
even to the better-educated segments of the audience.
The protagonist of this film is Yukio Mishima (1925-1970), Japanese
poet, playwright, novelist and political activist. He attained fame in
1950s through the series of successful novels and quickly became one
of Japan's most important and celebrated writers. In 1960s his literary
fame was followed by the entry into political arena. Mishima
gradually became enamoured of the Japan's past and samurai
tradition and began to criticise his countrymen's obsession with
modernity and capitalism. He formed small paramilitary
organisation dedicated to the restoration of old Japanese values and
Emperor's power. In 1970 Mishima's status of world celebrity was
immortalised by the most spectacular and most shocking action of his
life.
Schrader (with the help of his co-writers Leonard and Chieko
Schrader) uses unusual narrative structure quite fitting for such
unusual personality. The plot of the film begins on November 25th
1970 when Mishima (played by Ken Ogata) wakes up and prepares
for his encounter with destiny. Another narrative layer is provided
by "chapters" - adaptations of Mishima's most important novels
(TEMPLE OF THE GOLD PAVILLION, KYOKO'S HOUSE and
RUNAWAY HORSES). Third layer is "standard" reconstruction of the
most important events in Mishima's life, all of which are, in one way
or another, connected with Mishima's literary work. All that is
accompanied by narration, based on Mishima's own text (narrated by
Roy Scheider in American and Ogata in Japanese version of the film).
The fourth "chapter" of the film brings all three layers together.
Schrader's use of this narrative structure was perfect. Segments from
protagonist's past, present and fiction relate to each other
harmoniously and even those viewers unfamiliar with "art" films
won't have any problems with following the plot. This could be
attributed to cinematography by John Bailey and production design
by Eiko Ishioka. Each of the three segments is different in style -
events of 1970 are shot in "normal" down-to-earth, almost
documentary fashion; Mishima's fiction is reconstructed through
obviously theatrical sets and with plenty of bright colours; Mishima's
early life is depicted through stark black-and-white photography.
Music of Philip Glass accompanies them without being repetitive or
intrusive, except on few occasions.
Needless to say, the acting in the film is very good. Mishima had
expressed himself through his work so Ken Ogata plays that role
with great deal of subtlety. The audience slowly discovers Mishima
and less subtle but equally effective acting is provided by Yasosuke
Bando, Kenji Sawada and Toshiyuki Nagashima - younger actors
playing Mishima's literary alter egos.
Through excellent script and flawless direction, the audience would
learn great deal of famous Japanese writer, his aesthetic
preoccupation, philosophy, politics and, last but not least, his literary
work. MISHIMA is not what it could have been, though.
Disagreements with Mishima's family and subsequent legal and
political entanglements affected the film's content (the family
objected to the depiction of author's homosexuality and Mishima's
marriage is only briefly mentioned throughout the film). Yet, despite
that, MISHIMA is truly great film - one of the rare biographical films
close to the high standards of the historic persons they depicted.
RATING: 8/10 (+++)
Review written on March 30th 2004
Dragan Antulov a.k.a. Drax
http://film.purger.com - Filmske recenzije na hrvatskom/Movie Reviews in
Croatian
http://www.ofcs.org - Online Films Critics Society
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