Enjo (1958)

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The film follows the events of the book fairly closely but changes the emphasis, one might even say the point of the story. The Mishima novel is dense with explications of Zen koans and abstruse theories about the meaning of beauty. Director Kon Ichikawa replaces philosophy with psychology and sociology, and shifts the book’s elevated tone to one of dark satire, dissecting the protagonist’s inferiority complex and the economic and spiritual poverty of postwar Japan. To Ichikawa, the Golden Pavilion was an implicit symbol of the feudal past and “everything which oppressed” Mizoguchi, but his destruction of it is also the ultimate expression of his own self-hatred and sense of unworthiness.



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