MEMOIRS OF A GEISHA
—1. Overview
—2. Reviews and Blogs
—3. Cast and Crew
—4. Photo Pages
—5. Trailers, Clips, DVDs, Books, Soundtrack
—6. Posters (Japan)
—7. Production Notes (pdf)
—8. Spiritual Connections
—9. Presentation Downloads
Many critics say MEMOIRS OF A GEISHA is all fish heads and spoiled rice. They complain about Chinese actresses playing the three main Japanese characters. They talk about how the kimonos aren’t correct. They note that the selling of a geisha’s virginity is altogether historically inaccurate. Indeed, historical revision is a big problem among filmmakers who feel their agenda is greater than the truth. TITANIC, THE LAST SAMURAI and today’s MUNICH all suffer from excessive artistic license.
And if Westerners (or any audience member for that matter) walks away from GEISHA with a distorted view of Japanese culture or geisha culture, then we all suffer for it. But if GEISHA induces interest in Japanese culture and/or helps the audience have more sympathy for all those trapped in bondage, than it still has merit.
Here’s the story, as originally penned by American Arthur Golden and translated to the silver screen by American director Rob Marshall. In the late 1920s, a poor nine-year-old fisherman’s daughter named Chiyo is sold to a geisha house in Kyoto's Gion district. There, she is subjected to cruel treatment from the owners and the head geisha Hatsumomo (Gong Li).
Chiyo’s only relief is a moment of kindness when she meets an older man simply called The Chairman (Ken Wantanabe). He buys her a flavored snow cone, speaks kindly to her and gives her some money. From that moment on, every move Chiyo makes is to get closer to The Chairman (Ken Wantanabe). One day, Chiyo is rescued by and taken under the wing of Hatsumomo's bitter rival, Mameha (Michelle Yeoh). Under Mameha's mentorship, Chiyo transforms into Sayuri (Ziyi Zhang), a geisha well trained in beautiful artistic and social skills. With her considerable talents, she enters a society of wealth, privilege, and political intrigue. Nevertheless, Sayuri faces the indignities of having her virginity auctioned off and also dealing with romantic advances from not The Chairman but the Chairman’s deformed business partner, Nobu (Kôji Yakusho). As World War II occurs, the world of the geisha forever changes. With years and years of slavery, moments of poverty, forced sexual encounters and mistreatment, Sayuri finally receives the love she has always longed for.
The movie excels in visuals and photography. Everything looks wonderful from the lanterns, housetops, kimonos, face paint and even the Sumo wrestlers. In one scene, Sayui talks with The Chairman among cherry blossoms. The picture is so beautiful; I was distracted and found it difficult to pay attention to the dialogue.
Much has been said of Gong Li’s performance of Hatsumomo. Her fierce countenance and relentless anger creates am antagonistic tour de force. It is the most dramatic and demonstrative role of the female leads here, and so some of her energy seems even greater than it is because all the other ladies play their roles with grace, decorum and reserve. Li deserves commendation, but perhaps not nominations or awards. All other actresses perform beautifully, if only serviceably.
The real star (and the saving aspect of this movie) is the story. It is one of continual struggle eventually leading to a redeeming love. Biblical parallels abound. Most obvious is the Old Testament story of Gomer, who is bought out of prostitution by her husband Hosea. I also think of the Israelites, brought out of slavery by the leading of God through Moses. Without her consent, Sayuri faces a lifetime of slavery and inhumane treatment. Her sorrows compound, until she meets a savior, the Chairman. Though not quite as obvious in the movie as in the book, we come to know that The Chairman frees Sayuri from her bondage. Hence, this story contains great beauty and truth, a reflection of our Savior saving us from bondage and sin.
Going back to all the complaints of GEISHA, I wonder if some people are criticizing the cowboy or gay details of BROKEBACK MOUNTAIN. After all, a straight Asian man, Ang Lee, directs that movie. I’m asking, “Is it necessary to have natives make and create stories about native events and cultures?� And, “Does a Japanese director guarantee a better treatment of geisha culture than an American?� After all, even Japanese director Akira Kurosawa was criticized for glamorizing and glossing over his samurai depictions.
The final question is, “ Has Golden and Marshall done America, the West and Japan a disservice by telling this story?� Perhaps, but I think its really a matter of taste and tolerance level if the geisha’s are historically accurate or not. Tell me I have a double standard but I think it’s much more egregious to depict a historical event inaccurately than it is a people group, especially one that is akin to enslaved prostitutes. But let yourself feel the acute sadness and despair of Sayuri and the joy in her eventual triumph, and you’ll find MEMOIRS OF A GEISHA a marvelous tale of redemption and love.
— Overview
— Reviews and Blogs
— Photo Pages
—2. Reviews and Blogs
—3. Cast and Crew
—4. Photo Pages
—5. Trailers, Clips, DVDs, Books, Soundtrack
—6. Posters (Japan)
—7. Production Notes (pdf)
—8. Spiritual Connections
—9. Presentation Downloads
Many critics say MEMOIRS OF A GEISHA is all fish heads and spoiled rice. They complain about Chinese actresses playing the three main Japanese characters. They talk about how the kimonos aren’t correct. They note that the selling of a geisha’s virginity is altogether historically inaccurate. Indeed, historical revision is a big problem among filmmakers who feel their agenda is greater than the truth. TITANIC, THE LAST SAMURAI and today’s MUNICH all suffer from excessive artistic license.And if Westerners (or any audience member for that matter) walks away from GEISHA with a distorted view of Japanese culture or geisha culture, then we all suffer for it. But if GEISHA induces interest in Japanese culture and/or helps the audience have more sympathy for all those trapped in bondage, than it still has merit.
Here’s the story, as originally penned by American Arthur Golden and translated to the silver screen by American director Rob Marshall. In the late 1920s, a poor nine-year-old fisherman’s daughter named Chiyo is sold to a geisha house in Kyoto's Gion district. There, she is subjected to cruel treatment from the owners and the head geisha Hatsumomo (Gong Li).
Chiyo’s only relief is a moment of kindness when she meets an older man simply called The Chairman (Ken Wantanabe). He buys her a flavored snow cone, speaks kindly to her and gives her some money. From that moment on, every move Chiyo makes is to get closer to The Chairman (Ken Wantanabe). One day, Chiyo is rescued by and taken under the wing of Hatsumomo's bitter rival, Mameha (Michelle Yeoh). Under Mameha's mentorship, Chiyo transforms into Sayuri (Ziyi Zhang), a geisha well trained in beautiful artistic and social skills. With her considerable talents, she enters a society of wealth, privilege, and political intrigue. Nevertheless, Sayuri faces the indignities of having her virginity auctioned off and also dealing with romantic advances from not The Chairman but the Chairman’s deformed business partner, Nobu (Kôji Yakusho). As World War II occurs, the world of the geisha forever changes. With years and years of slavery, moments of poverty, forced sexual encounters and mistreatment, Sayuri finally receives the love she has always longed for.
The movie excels in visuals and photography. Everything looks wonderful from the lanterns, housetops, kimonos, face paint and even the Sumo wrestlers. In one scene, Sayui talks with The Chairman among cherry blossoms. The picture is so beautiful; I was distracted and found it difficult to pay attention to the dialogue.Much has been said of Gong Li’s performance of Hatsumomo. Her fierce countenance and relentless anger creates am antagonistic tour de force. It is the most dramatic and demonstrative role of the female leads here, and so some of her energy seems even greater than it is because all the other ladies play their roles with grace, decorum and reserve. Li deserves commendation, but perhaps not nominations or awards. All other actresses perform beautifully, if only serviceably.
The real star (and the saving aspect of this movie) is the story. It is one of continual struggle eventually leading to a redeeming love. Biblical parallels abound. Most obvious is the Old Testament story of Gomer, who is bought out of prostitution by her husband Hosea. I also think of the Israelites, brought out of slavery by the leading of God through Moses. Without her consent, Sayuri faces a lifetime of slavery and inhumane treatment. Her sorrows compound, until she meets a savior, the Chairman. Though not quite as obvious in the movie as in the book, we come to know that The Chairman frees Sayuri from her bondage. Hence, this story contains great beauty and truth, a reflection of our Savior saving us from bondage and sin.
Going back to all the complaints of GEISHA, I wonder if some people are criticizing the cowboy or gay details of BROKEBACK MOUNTAIN. After all, a straight Asian man, Ang Lee, directs that movie. I’m asking, “Is it necessary to have natives make and create stories about native events and cultures?� And, “Does a Japanese director guarantee a better treatment of geisha culture than an American?� After all, even Japanese director Akira Kurosawa was criticized for glamorizing and glossing over his samurai depictions.
The final question is, “ Has Golden and Marshall done America, the West and Japan a disservice by telling this story?� Perhaps, but I think its really a matter of taste and tolerance level if the geisha’s are historically accurate or not. Tell me I have a double standard but I think it’s much more egregious to depict a historical event inaccurately than it is a people group, especially one that is akin to enslaved prostitutes. But let yourself feel the acute sadness and despair of Sayuri and the joy in her eventual triumph, and you’ll find MEMOIRS OF A GEISHA a marvelous tale of redemption and love.
— Overview
— Reviews and Blogs
— Photo Pages
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