Sartre's biography of Flaubert Family Idiot makes much of his mute spells. But I would not have the quiet I feel before the sohochromatic design of the embedded Mishima stories interpreted as tanbi, the Japanese feeling of awe before beauty. It is in another spirit, the stutterer sets fire to the Golden Temple. The Glass score resonates but does not harmonize with Mishima's
bushido aesthetic. (See him act in Gosha's Hitokiri)
A controvertial scene shows Mishima's ecstasy before a picture of Saint Sebastian martyred. Flashbacks are in black and white while Mishima's last day scenes advance like a runaway horse in pseudo-documentary style. The brightly colored literary scenes must be meant to occlude a strange refusal to adopt an attitude towards Mishima's coup and sippuku. How can we care if we are kept outside the story, no matter the beauty of the strains sifting through the paper walls?
An interesting contract to Schrader's approach to Mishima is Kurahara's Thirst for Love. The private drama is a family without proginy. The overhead view of their meal follows a helicopter tour of their lands for sale. The public problem implied is the future of Japanese society.
bushido aesthetic. (See him act in Gosha's Hitokiri)
A controvertial scene shows Mishima's ecstasy before a picture of Saint Sebastian martyred. Flashbacks are in black and white while Mishima's last day scenes advance like a runaway horse in pseudo-documentary style. The brightly colored literary scenes must be meant to occlude a strange refusal to adopt an attitude towards Mishima's coup and sippuku. How can we care if we are kept outside the story, no matter the beauty of the strains sifting through the paper walls?
An interesting contract to Schrader's approach to Mishima is Kurahara's Thirst for Love. The private drama is a family without proginy. The overhead view of their meal follows a helicopter tour of their lands for sale. The public problem implied is the future of Japanese society.
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