Mishima, or the Architecture of a Self

Art, action, and the Western staging of a Japanese death

[1] Origins

Released in 1985, the film Mishima: A Life in Four Chapters was directed by Paul Schrader, best known for writing Taxi Driver and Raging Bull. The film explores the life of Japanese author Yukio Mishima, who famously committed ritual suicide, seppuku, after a failed coup attempt in 1970. Its structure is divided into four chapters, each representing different aspects of Mishima’s life and work. The musical score was composed by Philip Glass and is widely regarded as one of his most significant film compositions.

The film employs three distinct visual styles: black and white sequences depicting Mishima’s past, realistic color footage following the events of his final day, and highly stylized theatrical sets used to dramatize elements of his novels. Despite focusing on one of Japan’s most famous writers, the film was not well received in Japan and has never been officially released there. The Mishima family refused to grant rights to use his writings, which forced the filmmakers to create fictional approximations of his novels rather than direct adaptations.

Francis Ford Coppola and George Lucas served as executive producers on the project, and the film was partially funded by Lucasfilm, marking a rare art house venture for the company. Ken Ogata, who portrayed Mishima, prepared for the role by interviewing people who had known the author personally. The film won the Best Artistic Contribution award at the 1985 Cannes Film Festival. For the theatrical adaptation segments, production designer Eiko Ishioka created highly stylized sets defined by bold colors and geometric patterns.

The film is narrated in English, while most of the dialogue is spoken in Japanese with subtitles. Shooting locations included the actual Tokyo headquarters of Japan’s Self Defense Forces, where Mishima’s coup attempt and suicide took place. Despite strong critical acclaim, the film was a commercial failure at the time of its release, though it has since gained recognition as an artistic masterpiece and a cult classic.

[2] End

The realistic color sequences begin with Mishima waking up on November 25, 1970, the final day of his life. From the outset, the film presents this day as deliberate and controlled. Mishima is shown meticulously dressing in his custom designed uniform for his private army, the Shield Society, also known as the Tatenokai. He carefully arranges and reviews the manuscript for his final work, The Decay of the Angel, treating the pages with precision and calm. These early moments establish an atmosphere of composure and resolve rather than panic or doubt.

Mishima then meets with four selected members of his Shield Society who will accompany him on his mission. Together they drive through Tokyo toward the headquarters of Japan’s Self Defense Forces in central Tokyo. During the drive, Mishima appears calm, focused, and almost serene, while his young followers are visibly tense and anxious. Upon arriving at the military headquarters, they are granted entry because of Mishima’s celebrity status and his personal friendship with the commanding officer stationed there.

Once inside, Mishima and his men take the commander hostage in his office. They barricade the office door and bind the commander, transforming the administrative space into a sealed stage for what is to follow. Mishima then steps out onto the balcony to address the assembled soldiers below. He attempts to inspire them to restore Japan’s traditional values, speaking with conviction and intensity. The soldiers respond not with reverence but with heckling and mockery, drowning out his speech and disrupting his carefully prepared message.

After the failed address, Mishima returns inside the office, fully aware that his coup attempt has not succeeded. He kneels and begins the ritual act of seppuku by slicing his abdomen with a short sword. One of his followers, Masakatsu Morita, attempts to perform the customary decapitation to end Mishima’s suffering but fails multiple times. Another follower, Hiroyasu Koga, ultimately completes the beheading. This is followed by Morita’s own ritual suicide and decapitation, bringing the events of the final day to their fatal conclusion.

[3] Past

The black and white segments depict Mishima’s past, beginning with his childhood as a sickly, frail boy raised primarily by his domineering grandmother. She separates him from his parents and assumes control over his upbringing, creating an atmosphere of confinement and emotional distance. His grandmother frequently pulls him from school to care for him during his recurring illnesses, further isolating him from other children and reinforcing his sense of difference and fragility.

As a young boy, Mishima discovers his attraction to other males. He is particularly drawn to a strong young laborer, and later to images of Saint Sebastian. His first sexual awakening occurs while looking at an image of Saint Sebastian pierced with arrows, an experience that links pain and beauty in his imagination and leaves a lasting impression on his developing sense of desire. This fusion of suffering and aesthetic intensity becomes a recurring motif in his inner life.

During World War II, Mishima undergoes an examination for military service but is rejected after being diagnosed with tuberculosis. Instead of serving, he works in a factory during the war, carrying a sense of shame for not participating while witnessing Japan’s defeat and subsequent occupation. This period deepens his feelings of inadequacy and alienation. After the war, Mishima begins his writing career, working diligently at night after his office job and slowly publishing his first notable works.

His breakthrough comes with the success of Confessions of a Mask, which brings him fame and recognition in post war Japan. Despite this artistic success, Mishima feels disconnected from his own physical body and becomes increasingly troubled by his earlier frailty. In response, he begins an intense bodybuilding regimen, transforming himself through rigorous exercise and deliberate discipline. He eventually poses for photographer Kishin Shinoyama in a famous photo session that recreates the death of Saint Sebastian, visually merging his body with his long held aesthetic obsessions.

As his physical transformation progresses, Mishima grows more engaged with traditional Japanese values and becomes increasingly concerned about Japan’s westernization. He marries and maintains a conventional family life despite his complex sexuality. At the same time, he establishes his private militia, the Shield Society, and trains young men in martial disciplines. The black and white sequences culminate in his growing disillusionment with modern Japan and his yearning for traditional values, laying the groundwork for his final act of ritual suicide.

[4] Beauty

The first chapter opens with highly stylized images drawn from The Temple of the Golden Pavilion, bathed in golden light and defined by elaborate theatrical set design. The visual world immediately establishes beauty as something overwhelming and absolute. The narrative introduces Mizoguchi, a stuttering and socially awkward young man whose internal life is marked by alienation and fixation. As a child, Mizoguchi visits the Golden Pavilion, Kinkaku-ji, with his father, who tells him that it is the most beautiful building in the world. This declaration imprints itself on Mizoguchi’s imagination and becomes the foundation of his worldview.

Mizoguchi develops an obsessive relationship with the temple’s beauty, treating it not as an object of inspiration but as a presence that dominates his thoughts and sense of self. After his father’s death, he becomes an acolyte at the temple, living under the supervision of a senior priest. His difficulties with social interaction intensify, and he is bullied by other acolytes because of his stutter and his perceived weakness. His isolation deepens rather than recedes within the sacred space that was meant to elevate him.

Mizoguchi forms a toxic friendship with Kashiwagi, a cynical student with a clubfoot who introduces him to women and to a more corrosive worldview. During a sexual encounter with a woman, Mizoguchi discovers that he is impotent, an experience that further damages his already fragile self image. As these humiliations accumulate, the temple’s beauty begins to transform in his mind. What once inspired awe now represents a perfection he can never possess or become.

During the American occupation, Mizoguchi witnesses a United States soldier and his girlfriend near the temple grounds, an image he interprets as a desecration of the sacred space. The Golden Pavilion increasingly becomes a symbol that torments him rather than sustains him. He arrives at a moment of clarity in which he concludes that destroying the temple is the only way to free himself from its oppressive hold. The stylized sets shift to show Mizoguchi planning the act with cold determination. In a visually striking sequence, he sets fire to the Golden Pavilion. The chapter concludes with the temple engulfed in flames, embodying the idea that perfect beauty must be destroyed in order to be preserved eternally in memory.

[5] Art

The second chapter adapts elements from Mishima’s novel Runaway Horses and centers on the character Isao Iinuma. The stylized theatrical sets abandon the golden hues of the previous chapter and are instead dominated by stark reds and blacks, immediately signaling a shift in tone and moral intensity. Isao is introduced as a young and idealistic kendo student who is deeply devoted to traditional Japanese values and disciplined physical practice. His worldview is shaped by a belief in purity, honor, and sacrifice.

Isao discovers a book titled The League of the Divine Wind, which recounts the story of a group of samurai who planned a nationalist uprising in the 1870s. This text becomes a catalyst for his political awakening. Inspired by its account of radical loyalty and failed rebellion, Isao forms a secret society with other young men who share his traditionalist and nationalist convictions. Together, they begin to imagine themselves as heirs to an unfinished historical mission.

The group develops a plan to assassinate corrupt businessmen whom they believe are destroying the soul of Japan through westernization and capitalism. These plans are presented as acts of moral purification rather than personal vengeance. Isao is repeatedly shown practicing kendo with extreme discipline, his training symbolizing an unwavering commitment to the samurai code and the idea that action must be precise, selfless, and absolute. He designs a detailed strategy in which the group will carry out simultaneous assassinations and then follow them with ritual suicide.

Isao visits his estranged father, who has abandoned idealism in favor of pragmatic support for modernization. The encounter highlights the generational divide between uncompromising devotion to tradition and accommodation to contemporary reality. In a key scene, Isao stands on a cliff overlooking the sea, contemplating the purity of decisive action against the corruption of modern life. The vast landscape mirrors the severity of his resolve.

As the plan is put into motion, the group begins executing their assassinations, targeting specific industrialists and political figures. Isao successfully assassinates a business leader in a dramatic confrontation that affirms his commitment to action. Afterward, he escapes to a beach, where he intends to complete his mission. In a visually striking sequence at dawn, Isao performs seppuku while facing the rising sun, a symbol of Japan itself. The chapter concludes by presenting his death as a transcendent moment in which action and ideal are unified, reinforcing the theme that art must be transformed into action in order to reach its highest form.

[6] Action

The third chapter adapts elements from Mishima’s autobiographical novel Kyoko’s House and is defined by a distinct color palette dominated by blue tones. The visual shift signals emotional coolness and detachment rather than warmth or transcendence. The narrative centers on Osamu, a narcissistic actor whose sense of self is increasingly bound to his physical appearance. He is first shown performing in a traditional Japanese play, yet he feels disconnected from the meaning and emotional substance of the performance, treating it as an empty ritual rather than a source of truth.

Osamu begins an intense bodybuilding regimen, deliberately reshaping his body through discipline and repetition. As his physical form transforms, his emotional life becomes increasingly hollow. The cultivation of the body does not lead to spiritual fulfillment but instead intensifies his self absorption. He enters into a relationship with an older woman named Kyoko, who is fascinated by his beauty and physical presence. Their relationship gradually becomes sadomasochistic, with Osamu allowing Kyoko to inflict pain on him as a way of testing the limits of sensation and control.

In a series of stylized scenes, Osamu repeatedly poses before mirrors, admiring his muscular body and reinforcing his growing narcissism. He comes to believe that physical action and bodily perfection are more authentic and truthful than words or artistic expression. This belief draws him toward a world defined by force and transaction rather than meaning. Osamu becomes involved with a gangster and businessman who embodies the materialistic and morally empty aspects of post war Japan. This figure manipulates Osamu into financial indebtedness, gradually reducing him to a form of servitude.

One of the chapter’s most extreme moments occurs when Kyoko and Osamu engage in a scene in which she carves words into his flesh with a knife. The act symbolizes an attempt to unite body and language, turning the skin itself into a surface for meaning. Rather than achieving clarity, the act exposes the inadequacy of both flesh and words when divorced from purpose. Osamu experiences a moment of realization in which he understands that his physical beauty and strength are meaningless without direction or conviction.

Seeking to escape this emptiness, Osamu agrees to commit a violent act on behalf of the gangster, believing that decisive action will transform his narcissism into something meaningful. The chapter culminates in a climactic scene in which Osamu crashes his car in what appears to be a deliberate suicide attempt. The final images show his broken body, emphasizing the conclusion that pure action, when severed from ideology or belief, leads not to transcendence but to self destruction.

[7] Unity

The fourth chapter integrates all of the film’s previous visual styles, combining elements from the black and white biographical segments, the realistic color footage depicting Mishima’s final day, and the highly stylized theatrical adaptations of his literary works. This convergence signals a movement toward synthesis, bringing biography, fiction, and action into a single narrative field. The chapter opens with Mishima completing his final manuscript, The Decay of the Angel, the last volume of his Sea of Fertility tetralogy. The act of writing is presented as deliberate and final, an intellectual task reaching its point of completion.

Within the stylized segments, the focus shifts to Honda, a recurring character from the tetralogy who has spent his life observing what he believes to be a cycle of reincarnation. Honda visits a mysterious temple, where he encounters an empty room. The space is devoid of meaning or revelation, functioning as a symbol of the void at the center of human existence. These scenes are intercut with images of Mishima preparing for his final actions, binding the philosophical emptiness of the fictional world to the physical certainty of his own impending death.

Mishima is shown delivering his completed manuscript to his publisher before moving forward with his plan. The gesture emphasizes closure, suggesting that his literary work has reached its endpoint. The chapter repeatedly stresses Mishima’s belief that writing and action must be unified if a life is to have meaning. Words alone are insufficient, and action without words is incomplete. This conviction becomes the organizing principle of the chapter.

Mishima and the four members of his Shield Society arrive at the military headquarters wearing their uniforms, visually aligning themselves with both ritual and rebellion. They take the commanding officer hostage and barricade themselves inside his office, reenacting the events already depicted in the realistic color sequences. Mishima emerges onto the balcony to deliver his final speech to the assembled soldiers, speaking about the soul of Japan and the need to restore traditional values. His words are met with mockery and jeers, underscoring the failure of communication between his ideals and the contemporary world.

After recognizing that his message has failed, Mishima returns inside to complete his plan. The film depicts his seppuku in graphic detail as he ritually disembowels himself with a short sword. His follower Morita attempts to behead him but fails repeatedly, until another follower completes the act. The chapter, and the film itself, concludes with a transcendent image that merges all of the visual styles, suggesting that in death Mishima finally achieved his ideal of unifying art and action.

[8] Voice

The film opens with Mishima’s voiceover declaring, “I have always been fascinated by the harmony between pen and sword,” immediately establishing the central theme of uniting art and action that governs the film’s structure. The opening monologue functions as a conceptual frame rather than a narrative explanation. Mishima explains that he will tell his story through words, body, and action, a formulation that directly mirrors the film’s three visual modes and anticipates its fragmented design.

Mishima reflects that “all my life I have been acutely aware of a contradiction in the very nature of my existence,” introducing the internal conflict that animates the film. He speaks of his body and his words as forces locked in constant opposition, a struggle that will be explored across each chapter. The language of the monologue deliberately employs Western philosophical terminology rather than Japanese concepts, positioning Mishima between Eastern and Western intellectual traditions from the outset.

He refers explicitly to November 25th as “the last day of my life,” establishing the inevitability of his death from the beginning and framing the narrative as one shaped by foreknowledge. The dialogue has a composed and prepared quality, suggesting that these statements are not spontaneous reflections but carefully constructed final words. His tone remains calm, detached, and without hesitation, reinforcing the ritualistic nature of the day he is about to enact.

Mishima insists that words are insufficient, expressing his belief that literature alone cannot produce meaningful change. He makes no reference to specific Japanese political concerns, framing his suicide as philosophical rather than political. He describes his life as “a novel which I have already written,” implying that his final act will function as the closing chapter of a self authored narrative.

By positioning himself as the narrator of his own life, Mishima asserts control over the interpretation of his actions. The monologue frames his existence as a stage, invoking theatrical metaphors consistent with his interest in Noh drama. He concludes by suggesting that his death will transform his life into “a line of poetry written with a splash of blood,” romanticizing his suicide as the ultimate artistic statement, an interpretation aligned with Western sensibilities rather than traditional Japanese views of ritual suicide.

[9] Contrast

The film presents Mishima as a figure driven primarily by traditionalist and nationalist ideology, yet the real Mishima was a more complex political thinker than the film suggests. His positions cannot be reduced to a single reactionary stance, and his intellectual development involved a wider range of philosophical influences and contradictions. While the film foregrounds Mishima’s homosexuality as a defining element of his identity, the real Mishima’s sexuality was more private and multifaceted. He maintained a conventional marriage and family life while keeping his desires largely separate from his public persona.

The film compresses Mishima’s literary career into a narrow thematic range, but his actual accomplishments were far more extensive. He produced over one hundred works, including novels, plays, essays, and poetry, many of which addressed themes beyond those emphasized on screen. His intellectual life was also profoundly cosmopolitan. Mishima was deeply engaged with Western literature and philosophy, including the work of Thomas Mann, Dostoevsky, and Nietzsche, an engagement that the film downplays in favor of a more insular portrait.

Mishima’s physical transformation through bodybuilding is portrayed largely as narcissistic, whereas Mishima himself described it as philosophical, an effort to reunite body and spirit in an age he believed was dominated by excessive intellectual abstraction. The film implies a direct link between his childhood frailty and later extremism, yet his development was shaped by numerous intellectual, cultural, and social forces rather than a single psychological cause.

Accounts of Mishima’s final speech indicate that his remarks extended beyond nationalist rhetoric to include broader philosophical reflections on meaning in modern life, a complexity narrowed in the film’s depiction. The real Mishima also possessed a sharper sense of humor and irony than the consistently intense and solemn figure presented on screen. He was a successful businessman who managed his literary career with notable commercial skill, an aspect of his life that the film barely addresses.

The Shield Society is depicted primarily as preparation for a final act, while Mishima described it as a potential alternative military force devoted to preserving Japanese culture and loyalty to the emperor. His relationships with left wing intellectuals were similarly complex, resisting simple ideological classification. The film’s dramatic parallels between Mishima and his fictional characters heighten thematic resonance but overstate the autobiographical nature of his fiction. His relationship with Emperor Hirohito was also more nuanced than portrayed, marked by increasing disillusionment following the emperor’s renunciation of divinity. Finally, the film’s aesthetic interpretation of Mishima’s suicide as the perfect union of art and action reflects Western romantic notions of artistic sacrifice rather than Japanese concepts of ritual suicide grounded in duty and atonement.

[10] Rejection

Japanese society’s rejection of Mishima: A Life in Four Chapters emerged from a convergence of cultural, political, and ethical objections that extended well beyond questions of style. The Mishima family strongly opposed the film and successfully prevented its commercial distribution in Japan, regarding it as an invasion of family privacy and an unauthorized appropriation of Mishima’s life and death. This resistance shaped the broader institutional climate in which the film was received.

Many Japanese intellectuals viewed the film as a foreign misinterpretation of a complex and deeply contested literary figure. Directed by a non Japanese filmmaker, the project was widely perceived as lacking the cultural grounding required to interpret Mishima with sufficient nuance. This skepticism was intensified by the explicit depiction of Mishima’s homosexuality, a subject that remained largely taboo in 1980s Japan and was rarely addressed openly in mainstream discourse.

The film’s portrayal of Mishima’s ultra nationalist ideology proved equally uncomfortable. In post war Japan, such politics had been broadly rejected, and the film’s engagement with them reopened unresolved anxieties about militarism and authoritarianism. Conservative elements objected strongly to the film’s linkage of traditional Japanese values with homosexuality and fascism, finding the association offensive and destabilizing. At the same time, the graphic depiction of seppuku was criticized by many Japanese commentators as sensationalistic rather than respectful.

Political sensitivity further complicated the film’s reception. The depiction of the Japanese Self Defense Forces during the coup sequence was considered highly delicate given Japan’s post war military constraints. Business interests were reluctant to associate themselves with the film’s controversial subject matter, fearing public backlash and reputational harm. Film distributors worried about potential protests from right wing groups who viewed Mishima either as a hero whose memory was being tarnished or as an extremist best left forgotten.

Additional objections centered on the film’s artistic liberties with Mishima’s novels, liberties necessitated by copyright restrictions but interpreted as disrespectful to his literary legacy. Critics argued that the film overemphasized Mishima’s final act at the expense of his extensive body of literary work. The experimental structure and Western aesthetic approach were widely regarded as ill suited to depicting such a quintessentially Japanese figure. Finally, the film’s release in 1985 coincided with a period when Japan was carefully cultivating its international image as a modern, peaceful economic power, making Mishima’s violent nationalism an especially unwelcome reminder of the past.

[11] Framing

Mishima: A Life in Four Chapters reads unmistakably as a Western framing of a Japanese figure whose life and death remain culturally controversial. The film presents Mishima’s suicide primarily as a romantic artistic gesture, privileging aesthetic transcendence over Japanese concepts of honor, duty, and ritual obligation. In doing so, seppuku is reshaped into an act of individual expression rather than one grounded in social codes and historical practice, aligning the film with Western traditions of tragic self sacrifice.

The narrative structure itself reinforces this framing. By organizing Mishima’s life as “a life in four chapters,” the film imposes a Western literary framework that privileges thematic coherence and psychological development. This approach differs from Japanese narrative traditions that more often emphasize cyclical time, collective history, or social continuity.

The film foregrounds Mishima’s sexuality and bodily transformation in ways that reflect Western preoccupations with identity, the body, and self definition. These emphases diverge from prevailing Japanese attitudes toward such subjects during Mishima’s lifetime and risk recasting his experiences through an external lens. Philip Glass’s minimalist score, while widely admired, contributes to this framing by offering a distinctly Western musical interpretation rather than drawing on Japanese musical traditions associated with Mishima’s cultural context.

Mishima’s nationalism is depicted primarily as an expression of individual conviction rather than as part of a broader communal and historical framework. Director Paul Schrader has acknowledged approaching Mishima through his own fascination with men who stand alone against the system, a characteristically Western narrative of solitary resistance. The film’s visual language similarly draws on Western art cinema traditions rather than Japanese cinematic conventions.

The portrayal of the Shield Society emphasizes personal theatrical expression over its connections to Japanese military history and tradition. Mishima’s political ideology is treated as largely aesthetic, disengaged from the specific political debates of post war Japan. English narration overlays the film, placing a Western voice above Japanese experience. The film emphasizes universal themes of art versus action that resonate with Western audiences while downplaying culturally specific contexts. Mishima’s fiction is interpreted primarily through its autobiographical elements, reflecting Western concerns with authenticity. The stylized sets draw from Western theatrical traditions, and the film culminates by framing Mishima’s final day as an expression of individual heroism and tragedy, privileging psychological conflict over collective identity and historical continuity.

[12] Defense

Despite its Western framing, Mishima: A Life in Four Chapters remains a great film because of the ambition and seriousness with which it approaches its subject. Its bold and innovative structure interweaves biography, fiction, and the events of Mishima’s final day, creating a complex portrait that transcends the conventions of the biographical film. Rather than presenting a linear account, the film embraces fragmentation, allowing contradictions to coexist without resolution and reflecting the fractured nature of Mishima’s own self conception.

Paul Schrader’s direction demonstrates a profound respect for Mishima, even when interpreting him through a Western lens. The film avoids exoticism and simplistic moral judgment, committing instead to sustained engagement with Mishima’s ideas, obsessions, and self mythologizing. This seriousness is reinforced through the film’s visual design. Eiko Ishioka’s production design creates striking and unforgettable cinematic tableaux that communicate the themes of Mishima’s work with clarity and force. The sets operate as interpretations rather than illustrations, translating literary ideas into physical space.

Philip Glass’s score, while unmistakably Western, functions as an essential structural element rather than an ornamental one. Its disciplined minimalism aligns precisely with the film’s emotional and philosophical rhythms, becoming one of cinema’s most widely praised marriages of music and image. Although the score does not attempt to reproduce Japanese musical traditions, it amplifies the film’s sense of ritual, inevitability, and internal tension.

The film succeeds in articulating Mishima’s central conflict between art and action in a manner that resonates universally while still acknowledging its Japanese context. It represents a genuine attempt to bridge East and West through serious engagement with Japanese literature and philosophy rather than superficial appropriation. Ken Ogata’s performance anchors this ambition. His portrayal captures Mishima’s intensity and complexity with restraint and subtlety, avoiding caricature and grounding the film’s stylization in human presence.

The film’s technical craftsmanship further contributes to its achievement. John Bailey’s cinematography and the meticulous attention to composition create a unified visual language of exceptional precision. By emphasizing the theatrical dimensions of Mishima’s life and death, the film captures something authentic about his self conscious performativity. It maintains ambiguity about his final act, neither fully condemning nor fully glorifying it, inviting interpretation rather than closure. Though filtered through Western sensibilities, the film introduced many international viewers to Mishima’s work. Its fragmented structure openly acknowledges the impossibility of fully capturing its subject, preserving a contested moment in Japanese cultural history while confronting enduring questions about nationalism, tradition, and the relationship between art and life.

[13–14] Aftermath

Mishima’s story, as depicted in the film, presents the integration of art and action as a central human struggle. His life is framed as an extreme attempt to unify intellectual expression with physical deed, pushing this tension toward an absolute conclusion. The film portrays physical transformation as a spiritual journey rather than mere vanity, presenting Mishima’s bodybuilding as a philosophical quest to overcome the divide between mind and body in a postwar world dominated by abstraction and words.

Beauty and destruction are shown to be intimately connected. Perfect beauty, embodied by the Golden Pavilion, becomes so overwhelming that it inspires its own annihilation. The act of destruction is presented as a means of preservation, fixing beauty eternally in memory through violence. Traditional values, when displaced into modern contexts, are depicted as capable of becoming radical and explosive. Mishima’s embrace of classical Japanese ideals transforms into a revolutionary rejection of postwar modernization, revealing how nostalgia can harden into extremism.

The film suggests that personal mythology can become a prison. Mishima’s carefully constructed public persona, shaped through writing, physical discipline, and theatrical self presentation, ultimately demands an ultimate sacrifice to maintain its coherence. His struggle reflects a broader conflict between tradition and modernity, producing deep identity crises at both personal and national levels. Art alone is portrayed as insufficient for meaningful change, leading to the belief that words must be embodied in action to acquire real significance.

At the same time, the film challenges simple divisions between intellect and courage. Mishima is depicted as both a serious intellectual and a man devoted to physical discipline, defying stereotypes that separate thought from action. His life increasingly resembles a theatrical performance of self creation, blurring the line between authenticity and role playing. The body becomes a canvas for ideological expression, deliberately used to make visible what he perceives as Japan’s spiritual weakness.

Failure of communication emerges as decisive. Mishima’s inability to connect with the soldiers during his final speech underscores the gap between his ideals and contemporary reality. Cultural displacement intensifies this alienation, as his rejection of Western influence mirrors a broader struggle over Japan’s postwar identity. The pursuit of purity is shown to contain an inherent danger, often leading toward extremism and self destruction rather than renewal.

Contradiction itself appears as a creative force. Mishima’s life demonstrates how internal conflicts between East and West, tradition and modernity, intellect and body can generate profound artistic expression rather than paralysis. His orchestrated death suggests that public spectacle can function as a form of literature, with life composed as narrative and the final act serving as a deliberate conclusion. The quest for transcendence is repeatedly linked to transgression, requiring the breaking of social, artistic, and legal boundaries. Yet the film ultimately confronts the limits of this vision. Individual mythology becomes isolated from social reality, and the body’s mortality asserts itself as the final boundary. Mishima’s suicide retroactively reshapes his entire life and career, reminding us that endings possess the power to redefine beginnings.