Yûkoku

"Not seen Mishima much this summer but letter arrived yesterday...Strange letter. Mishima said Rintaro Hinuma, a critic and friend of his, had died; [he] had often remarked that suicide would be the only solution to Mishima's literary career. Since Hinuma's death, he added, this remark about suicide had come to seem a serious comment. Am confused by this letter; do not know what he wants. Am not prepared to get into suicide scenario with Mishima, whom I scarcely know...a bit disgusted."

Simple yet captivating

Like all things Mishima, simultaneously erotic, horrifying, graphic and majestic. Although wordy at the beginning and with an end you obviously anticipate, the ending is glorious. To be enjoyed like a fine wine.

There's almost nothing to this short film, but it's unforgettable. I've never seen such a brutally graphic depiction of seppuku, nor one portrayed so lovingly. Like the story it adapts, the film is basically a dry run for Mishima's own end. The Noh staging and chapter-based structure help give the film a surreal aura (I'll take it as mere coincidence that it uses the same Wagner music as Un Chien Andalou). Disturbing and intense.

whatever

The most engaging thing about this is mainly its composition and the amusing idea that someone actually made a film that supports seppuku. Though despite how insane the premise is, there is a semblance of grace taken in dealing with the subject matter and as a unique Japanese concept, it is interesting from a cultural-historical perspective.

Considering Mishima ended his own life the same way, I was expecting more of a "why" element here, rather than just a slavish, glamorized depiction of hara-kiri - though I guess that also serves as a "why" in its own way. Visually striking and brutal as all hell, though - like the opening scroll - it's at first neat and then tedious. Would have been interesting to see how Mishima's use of cinematic language evolved, had his self-destructive tendencies not won in the end.

Is this the pinnacle of fascist cinema?

Rehearsal.

mishima knew that he was a reeeal hunty, but man that dude never chills

Viewed April 30, 2018.

Fascistic wet dream. I was surprised and impressed with how visceral the seppuku scene felt, however.

Yukio Mishima's short about a Japanese officer, torn between loyalty and duty, who commits hara-kiri along with his young bride. That's about it, but the real interest comes from Mishima's eye for composition (especially good for a first-time director) and his unflinching portrayal of the act itself; while the couple's final act of lovemaking shows little nudity, the suicide is extremely bloody and graphic. Of course, it anticipates Mishima's own suicide four years later. Fine use of Wagner.

After a shaky beginning with narration, this first and only directorial work of author Yukio Mishima is an applaudable work. Its flawed, and if you read it that way the politics of it are questionable, but its a fascinating and compelling portrayal of ritualistic suicide that is both beautiful, and through the brutal depiction of seppuku, unsettling, an attempt to combine death and the erotic in a way that exceeds. Its production is also a great example of minimalist film making done properly.

More unforgettable moments in a 30 minute run time than you would expect.

A short, perfect work of art. In all seriousness, it makes me want to experience seppukku, without dying. If I had to change one thing, Mishima might have shaved his chest. The ending shot with the 'clean' bodies of Reiko and the captain would have been better served if we didn't associate hair with dirt.