I have four-star syndrome.
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1998
This review may contain spoilers. I can handle the truth.
I liked the first third, by Sato, the assistant cameraman, since being new at your job and mes is very sympathetic. The following two-thirds was focused on a single sequence, from the hotel room, which was also my least favorite part of the feature film. The narration by the factory worker was also quite grating, even if he had more personality.
It's interesting to see how this film was made. Today, the equipment used is available for only a…
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1998
This review may contain spoilers. I can handle the truth.
I liked the first third, by Sato, the assistant cameraman, since being new at your job and mes is very sympathetic. The following two-thirds was focused on a single sequence, from the hotel room, which was also my least favorite part of the feature film. The narration by the factory worker was also quite grating, even if he had more personality.
It's interesting to see how this film was made. Today, the equipment used is available for only a…
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1985
Liked 1
This review may contain spoilers. I can handle the truth.
Ken Ogata does not look similar to Mishima, but he carries himself with the disposition of a superstar literati, voyeur, and exhibitionist. I enjoy Paul Schrader's arrangements in splicing together these three fictional narratives and his hagiographic depictions of one real sequence (there is no time but youth where holding people to the height of idols and its corollary boorishness is tolerable).
Like Schrader's interpretation, Eiko Ishioka's sets are pleasingly skeletal, rendered down to the bare essentials, which are like…
Translated from by
1985
Liked 1
This review may contain spoilers. I can handle the truth.
Ken Ogata does not look similar to Mishima, but he carries himself with the disposition of a superstar literati, voyeur, and exhibitionist. I enjoy Paul Schrader's arrangements in splicing together these three fictional narratives and his hagiographic depictions of one real sequence (there is no time but youth where holding people to the height of idols and its corollary boorishness is tolerable).
Like Schrader's interpretation, Eiko Ishioka's sets are pleasingly skeletal, rendered down to the bare essentials, which are like…
Translated from by
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