三岛由纪夫传

本片的剧情比较侧重于三岛“暴烈”的一侧，而电影表现注重所谓的“美” 然而只是一种形式的美，空洞的美 但这或许应了三岛的愿呢 三岛一生都在追求一种“纯粹”，这纯粹在“美学”上必定是空洞无力的 文字并不足以满足他的纯粹，所以他选择了做一个行动者 一个暴烈的纯粹精神的行动者 尽管在世人看来，充满了军国主义，充满了极右翼色彩 尽管失败了 但我个人认为，这种行动天然地就失败了 因为三岛太在意这种“形式之美”的纯粹了，这种纯粹在世人看来毫无吸引力和号召力 所以他懦弱了，选择了切腹自尽 一次在他看来伟大的精神动员，在世人包括观众看来只不过是一次自恋的颅内高潮 我觉得电影拍得很好 其实三岛早就“死”了，在青年时期的幻想中死去了，最后的精神自裁，只不过为了证明“我的确在肉体上死去了”

看到有些观众评论，尤其是短评说到，绪形拳（Ken Ogata）的形象不适合扮演三岛由纪夫。

事实上，导演Paul Schrader也这样认为，但仍然称赞了绪形拳的勇气。

以下内容的根据是导演Paul Schrader的采访以及蓝光碟里的导演评论音轨，本人只是总结与转述。如果有网友有意见，可以自己去听听导演评论音轨，听听导演本人的看法。

此片的拍摄受到日本右翼（不希望美国人来执导他们的“英雄”的传记）和三岛由纪夫遗孀（涉及同性恋因素）的反对，原定的人选高仓健（Ken Takakura）因故退出。高仓健是否适合这个角色另说，但根据导演Paul Schrader在评论音轨的说法，这部电影的策划本身就是高仓健建议的，所以在写剧本时预计的主演也是他。因此，在受到干扰后，导演只能将希望降到“找到一个能演的演员”，于是绪形拳成了唯一的不得已的选择，因为他至少有勇气来演此片。

拍摄过程中，剧组也确实受到了日本右翼的威胁。

此片能顺利拍摄完成已经是很难得的事情，绪形拳面对威胁敢于出演三岛的勇气本身至少值得尊敬。

导演在《施拉德谈施拉德》的访谈中亲口提到了此事，而相关英文资料则更为具体丰富。

除导演评论音轨外的相关资料如下：

（1）

凯：有没有过暴力威胁？

保罗·施拉德：拍摄期间受到过威胁，还有谣言说，如果电影在日本上映的话，会有爆炸发生。曾经，我一度以为自己可能会有人身危险，于是有段时间，我在街头拍摄时都会穿件防刺背心。随后，有人向我解释了，外国人和醉汉、婴儿一样，不必真的对自己的行为负责，如果有人被袭击的话，那也只会是帮助我的那些日本人。我们的演职人员都是精挑细选出来，看的不仅是他们的能力，还要看他们的勇气和独立性。

凯：绪形拳的表演很好地抓住了三岛的传记作者所说的那种部分是西方式的魅力。

保罗·施拉德：是，但是选绪形拳来演三岛，有一点很不幸，那就是他不具备三岛的双性特质。绪形拳的形象和个性从很大程度上来说，都属于那种低下层或工人阶级的异性恋男性，尽管他可能也努力了，但仍无法逃脱这样的固定形象。我们找了很长时间，找了很多地方，想找到具有那种性的暧昧感觉的男演员，但就是找不到。

资料来源：《施拉德谈施拉德》，第233页。

（2）

Journalist: So you cast Ken Ogata as Mishima’s character. His performance is great in the movie, but to Japanese people and to me personally, he’s not a Mishima type of guy.

Paul Schrader: No, we knew that at the time. We had originally written this with Ken Takakura in mind because he had been the star of another script I had written called The Yakuza. Ken-san was perfect for this but because of his yakuza films he knew a lot of the right wing and gangster types, and they told him he couldn’t do the movie because there was a lot of pressure against the film in Japan. The right wing didn’t want the film because they didn’t want a representative of the MacArthur constitution making a film about their hero. The widow didn’t want the film because of the homosexuality. Between the two of them, that was a lot of pressure against us. Takakura wouldn’t do it, so we were looking for someone else. We had to choose between someone who looked and felt like Mishima, and someone who could do the acting. We were very aware of exactly that decision. We just felt it was more important to have the actor. At the time many Japanese were upset, but Ogata had a reputation for being quite courageous, particularly in a system that doesn’t encourage courageousness. So with Ballad of Narayama and Vengeance is Mine, he really kind of broke the mold. He had the guts to read the script and say, “I’m going to do it, I don’t care what anyone says.” And the very fact that Ogata had that courage gave the rest of the cast the courage to be in the film.

资料来源：Talks on Mishima

http://www.chopsticksny.com/archives/contents/entertainment/2009/03/1618

（3）

Paul Schrader:

Ken Ogata was a brave and talented actor. He took chances in a system that discouraged risk taking. I had been told that no reputable Japanese actor would star in Mishima because of the controversy surrounding Mishima and the notion of an American filming a story about him. The script had been written with Ken Takakura (who had starred in The Yakuza) in mind, but under pressure from the right wing (which, in Japan, is not a wing but the main building), he had to decline. Ogata read the script, liked the challenge, and accepted it without hesitation or apprehension. His confidence was contagious; it brought other talented actors to the project. With his death, Japanese cinema has lost one of its giants.

资料来源：Ken Ogata: “His confidence was contagious”.

http://www.criterion.com/current/posts/733-ken-ogata-his-confidence-was-contagious

（4）Jake Adelstein也曾在博客上提及此事。这位美国记者曾在读卖新闻供职，为揭露日本黑社会头目后藤忠政的罪行立下大功，也曾受到过日本右翼和黑社会的威胁。著有《东京罪恶》一书。

Mr. Schrader told me in March of 2011 that Takakura was one of the most impressive actors he’d ever worked with and that his Kendo (Japanese fencing) ability seemed top-notch. He had once offered Takakura the role of Yukio Mishima, the literary genius turned right wing extremist, in his bio-pic film Mishima and Takakura had seriously considered it. However, in the end for reasons he only obliquely hinted at, he politely declined the role. The film Mishima has never been shown in a film festival in Japan.

资料来源：Some parting words from Yakuza movie icon Takakura Ken on yakuza films, his favourite movies, and acting

http://www.japansubculture.com/yakuza-movie-icon-takakura-ken-talks-to-jsrc-about-yakuza-movies-exclusive/

When I was a student at Sophia University in the 90’s, I taught English to one of the doctor’s who performed the autopsy of Mishima. He told me that his shoulders had three or four deep cuts where his disciple had clearly missed the target: Mishima’s neck. This evening while drinking Otokoyama (男山, Man-Mountain), my favorite sake, with the screenwriter, Mr. Globus and members of the Japan society, was the first time I ever knew that there was more botched in that final act than just the decapitation. In his closing remarks, Mr. Schrader also noted that originally Takakura Ken had been offered the role of Mishima but politely bowed out later saying obliquely and apologetically, “There are certain forces that do not want me to do this film and as part of that subculture, I must decline.”

资料来源：The Hardest Men In Town: Chronicles of Sin, Sex, Violence and 1975 classic gangster film THE YAKUZA

http://www.japansubculture.com/the-hardest-men-in-town-yakuza-chronicles-of-sin-sex-and-violence-japan-society-yakuza-film-festival-day-one-the-yakuza/

M+ / 本片在前三节用某种类似于舞台剧的形式搬演了三岛的三部作品的片段，来分别表示三岛人生和创作中的三个面向。我看过其中两部，正期待着本片能启发一些新的理解。但看完却发现很多地方被一种猎奇化、简单化和通俗化的解读带过了。并且很多地方对于片段的选择和处理也让人看得一头雾水，甚至比原作小说还难读。

比如第一段《金阁寺》，本人觉得是一部讨论美的非常概念化的作品。小说本身已经很有门槛，但只要不深究那些形而上的东西，基本的故事还是能看懂的。但到了影片里，连主角的形象和动机都已经完全无法理解了。感觉选取的几个片段都以某种猎奇的视角望向沟口，人物都还没有树立起来就开始了行动，让最后的放火变得实在是莫名其妙。

第二部《镜子之家》则完全走向了猎奇，但问题是男主的肉体也不美啊……你要真想拍三岛对于肉体和死亡的话题，完全可以从《萨德伯爵的夫人》或者《潮骚》入手。而且这里对于三岛健身的讨论也非常迷幻，明明已经引用了《太阳与铁》之中的部分论述，却还是完全不顾三岛出游的前后逻辑，和他想要把肉体和文字都当作某种艺术作品来对待的态度。而是拿着三岛同性恋的话题大做文章，搞得好像是为了当好gay才去撸铁的，这感觉已经变成三岛黑了吧？

第三段真的是我最想喷的一段，因为《奔马》这部作品我非常喜欢，甚至可能是丰饶之海四部曲里最喜欢的一部。主角勋肉体和精神上的纯粹尤其让我感动，因为感觉这有可能是我某些个人性格缺陷的一剂良药。但导演在这里做了一个让我完全无法理解的决定，他复用了第一段里演《金阁寺》里沟口的演员来演勋。这两个人物有任何的共通之处吗？怎么可能有人能同时演好这两个角色呢？最后的结果就是两边都不挨着。金阁寺里的沟口应该是相貌丑陋的，奔马虽然也说勋不算英俊，但起码练习剑道所带来的那种杀伐决断之气和口吃的沟口就完全不是一类人。我当时看到的时候真的是眼前一黑的程度了。

所以我感觉本片最明显的问题就是选角，诚然绪形拳先生作为日本最伟大的男演员之一（我无比喜爱他在《复仇在我》之中疯魔的表演），但和三岛的形象还是有比较大的差距。主要是没有了三岛那种贵族气质，以至于上来第一场戏，在豪华的西洋别墅中穿着晨袍喝茶的戏，就显得格格不入。另外就是体型方面，虽然已经有在锻炼了，但距离三岛健美的身材还是相差甚远，特别是cos圣巴斯蒂安的那个场景。

此外，还有一个很难以理解的地方，就是本片给一个不熟悉三岛的观众，到底会留下一个什么印象呢？个人理解的三岛不是一个完全隐入作品背后的传统作家，相反他自己的一切，乃至于最后的死，都被三岛用和他创作艺术作品同样的态度来艺术化形式化了。你可以说他有表演欲，但毫无疑问这就是三岛由纪夫。我抱着对导演是如何理解三岛的好奇来看本片，可是看完我不但没能收获任何更深刻的理解，反而觉得三岛的作品和他这个人都有某种难以理解甚至滑稽可笑的地方（影院里多次笑场可见一斑）。那你怎么让观众看完对这个作家产生更进一步的兴趣，从而想要去读一读他的作品呢？我感觉一个艺术家传记电影拍成这样，那毫无疑问就已经是失败的了。

最后提一句，我觉得Philips Glass的音乐和三岛的艺术风格也是不兼容的。三岛虽然笔法华丽，但从来不絮叨。特别是《晓寺》中的印度之行，感觉在极尽描摹之余又不给人繁复杂多之感，实在是高级的文字。但Glass的极简风格给人的感觉就非常的絮叨，而且本片里配乐的比重还不小。虽然不是那种难听得不堪入耳的，但感觉还是差那么一点。毕竟日本有那么多不错的音乐家，随便找一个合作感觉都是很不错的选择。