Mishima


Nonesuch Records (0075597911329)
Film | Rok: 1985 | Format: CD, Płyta winylowa
 

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# Tor   Czas
1.MISHIMA/Opening2:46
2.November 25: morning4:08
3.1934: grandmother and Kimitake3:37
4.TEMPLE OF THE GOLDEN PAVILION3:06
5.Osamu's Theme: KYOKO'S HOUSE2:58
6.1937: Saint Sebastian1:05
7.KYOKO'S HOUSE2:58
8.November 25: ICHIGAYA2:11
9.1957: award montage3:56
10.RUNAWAY HORSES9:09
11.1962: body building1:29
12.November 25: THE LAST DAY1:30
13.F-104: epilogue from SUN AND STEEL1:59
14.MISHIMA/Closing2:57
 43:49
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Mishima - 10/10 - Przegląd wersji Tom Daish, zgłoszone w (Język angielski)
From the album cover, it would be easy to assume that Mishima is a Japanese samurai action film, but closer inspection reveals that it's a biopic of the in/famous Japanese writer Yukio Mishima. In fairness, the samurai connection isn't entirely wrong as, aside from his writings, he lived an extraordinary life that culminated in his ritualistic suicide at an army base according to his own design. However, during his life, he learned the ways of the ancient warriors and even posed for somewhat prurient beefcake photos to demonstrate his prowess. The film's subtitle is A Life in Four Chapters, three dealing with his public, private and literary sides and a fourth, which is intercut throughout the film, which deals with his shocking final day, ultimately concluding with his somewhat gruesome self inflicted demise. There are few composers who immediately spring to mind for such a project and so the slightly more off the wall choice of Philip Glass seems somehow appropriate.
I've previously commented how difficult it can be to produce good minimalist film music to slow moving or talky films, but Mishima seems to overcome these difficulties and has an impressive self propulsion that never lets the drama or momentum sag. The Opening (which was used for The Truman Show and so may be familiar) starts with what sounds like a metal mobile jangling in the breeze, but soon builds through the orchestra into an almost heraldic burst of musical light. It is perhaps surprising how similar in tone this, and similar passages later in the score, are to Glass' classic Koyaanisqatsi, but there is a greater humanity here compared to the sterile world of that earlier score. Of course the actual underscore tracks tend to be a little more low key, with ebbing strings the order of the day, but there are a few surprises. Perhaps the biggest is the weird orchestral rock version of the Opening material in Osamu's Theme. It sounds like it ought to be awful, but it really isn't, even if it takes a couple of seconds to get used to the surprising change of pace. The more intimate passages reduce the string sections to single instruments, performed by the renowned Kronos Quartet, and are most effective, notably in the wonderful Award Montage.

This turned out to be the first of two biopics from the far east, the second being Martin Scorsese's Kundun about the Dalai Lama. However, for Scorsese, Glass used a great deal of orchestration appropriate for the setting, but Mishima has a more western view, even if the unusual harmonic shifts give it a distinctly exotic flavour. I'm not sure the music reveals much about Mishima as a person, but as a musical experience, it's still immensely satisfying. Philip Glass' style is very distinct and less prone to the extremes within his musical world than, for example, Michael Nyman. However, the more human element, plus perfect concision - each track, and hence the score as a whole, feel just the right length - make it a more approachable way in to Glass' music than Koyaanisqatsi and avoids the longeurs of his later Qatsi scores or the aforementioned Kundun. Its subject matter may seem the unlikely source for an obviously enjoyable score, but Mishima is both superbly crafted and compulsively listenable.
Mishima - 08/10 - Przegląd wersji Arvid Fossen, zgłoszone w (Holenderski)
De ellende van dit drama klinkt voor een keer niet episch, maar het lijkt alsof Philip Glass een vicieuze cirkel creėert met zijn strijkerensemble. Het is te moeilijk om de sfeer van deze ost te beschrijven, maar een ding staat vast: dit is Philip Glass.
Mishima - 10/10 - Przegląd wersji Philippe Gasier, zgłoszone w (Francuski)
la meilleure BOF jamais faite: épique, intime, exaltant, troublant tout ą la fois et successivement.


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