paul schrader and his brother leonard wrote mishima and and in so doing and clearly drew parallels between the life of yukio mishima and his work. the film is divided into four sections represent beauty and art and action and and the fateful day when mishima held an army general hostage and spoke to the garrison and only to have it ridicule him and his bushido ideals of the samurai code. mishima committed ritual seppuku on november 25 and 1970 and and he planned it as a meshing of beauty and art and and action. schrader edits scenes recreating that day with three different scenarios from mishima novels represent temple of the golden pavilion and kyoko house and and runaway horses. the moment of seppuku is perfectly realized in relation to its shocking climax via pulling back the camera while simultaneously zooming in. black and white sequences are intermingled with the colorful moments depicted in mishima novels. the black and white scenes represent memories from mishima childhood and youth. schrader correlates some of these autobiographical moments with scenes from the novels that often parallel mishima real life and such as his stammer and development of his bodybuilding obsession and and his fostering of the samurai code. each of the three themes of beauty and art and and action is exemplified in the chosen depictions from the respective novels. the color sequences are reminiscent of early and stagy technicolor films and giving the film and perhaps and an intended surreal quality considering the subject matter. ken ogata plays the real mishima with unfailing determination and headed to the general office on that fateful day and resembles the real mishima. schrader took tremendous risks with this film in focusing on the novels he did and with tying them thematically to both mishima personal life and his literary ambitions. the editing of the film between the three main sections of november 25 and 1970 and the black and white growing up segments and and the colorful novel scenes clearly point to the deliberate intersection of these elements of beauty and art and and action in mishima life. at times and it is difficult to follow and and there may be little to recommend for the uninitiated viewer. of 4 stars. 
paul schrader and his brother leonard wrote mishima and and in so doing and clearly drew parallels between the life of yukio mishima and his work. the film is divided into four sections represent beauty and art and action and and the fateful day when mishima held an army general hostage and spoke to the garrison and only to have it ridicule him and his bushido ideals of the samurai code. mishima committed ritual seppuku on november 25 and 1970 and and he planned it as a meshing of beauty and art and and action. schrader edits scenes recreating that day with three different scenarios from mishima novels represent temple of the golden pavilion and kyoko house and and runaway horses. the moment of seppuku is perfectly realized in relation to its shocking climax via pulling back the camera while simultaneously zooming in. black and white sequences are intermingled with the colorful moments depicted in mishima novels. the black and white scenes represent memories from mishima childhood and youth. schrader correlates some of these autobiographical moments with scenes from the novels that often parallel mishima real life and such as his stammer and development of his bodybuilding obsession and and his fostering of the samurai code. each of the three themes of beauty and art and and action is exemplified in the chosen depictions from the respective novels. the color sequences are reminiscent of early and stagy technicolor films and giving the film and perhaps and an intended surreal quality considering the subject matter. ken ogata plays the real mishima with unfailing determination and headed to the general office on that fateful day and resembles the real mishima. schrader took tremendous risks with this film in focusing on the novels he did and with tying them thematically to both mishima personal life and his literary ambitions. the editing of the film between the three main sections of november 25 and 1970 and the black and white growing up segments and and the colorful novel scenes clearly point to the deliberate intersection of these elements of beauty and art and and action in mishima life. at times and it is difficult to follow and and there may be little to recommend for the uninitiated viewer. of 4 stars. ---------------------------------Answer Question Below----------------------------------

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