It took over a decade for Arthur Golden to research and write about the secretive world of Japanese Geisha and there was no way a theatrical film could bring that level of detail to play. Still, this adaptation is miles ahead of Polanski's limp, pedestrian and pathetic OLIVER TWIST. This is an apt comparison since both films explore Dickensian ideals using melodrama as the vehicle to extrapolate their views.
The film is set in the 1920's and is about how two tiny fisher sisters are sold by their poor parents to a geisha house. Once they arrive in the city, the elder girl is deemed too plain and is sold off to a common whorehouse in the derelict district whilst the younger, Sayuri, is retained as a servant in the high-class geisha house. The tale then follows the trials and tribulations as the younger sister grows up and becomes a rival of the leading geisha Hatsumomo. This rivalry will last for many years and create a division that will result in heartache and tragedy. The exploitation of young women is very disturbing and extremely harrowing (when the bidding starts for Sayuri's virginity your blood will freeze). The script dares to peep into the world of shadows and closed doors of the geisha.
The movie has an absolutely ravishing palette and every scene is stunningly lit. The 2:35 scope is wonderfully majestic and evokes the floating world of the artist. From the opening scenes of the ocean and the windswept coastline to the candlelit interiors of the geisha houses to the cherry blossom in the countryside, all these vibrant vistas are visualized in the most seductive manner possible. There are many scenes where the interior of the houses are only witnessed though holes or cracks in the door. All these pools of wet darkness are superbly photographed and are very atmospheric indeed. If there is any justice at all then this film should sweep the Oscars in the cinematography and art design sections.
The fashion department have pulled out all the stops to weave clothes that capture the imagination and send spasms down the spine. The kimonos that the geisha girls wear look lush and rigid, their colours bleed off the screen and their fine stitching is a work of art in itself. This exquisite detail is incredible.
The music by John Williams, with Itzhak Perlman on violin and Yo-Yo Ma on cello, is emotionally gripping and has an epic charge to it that is beautifully married to the visuals. The main theme recurs in many different and subtle variations and when the film reaches the poignant climax it grabs your throat and leaves you aching. The end title theme is well worth staying behind for as the film ends and the audience leaves the theatre. Even now the epilogue music gives me goose-pimples.
Now, much has been written about how Chinese actors were cast into the major Japanese roles. Many have felt that this was a travesty and tried to generate a boycott of the film. This is a grave injustice because the three main ladies are well cast and their roles are fleshed out with amazing performances. Zhang Yiyi, Gong Li and Michelle Yeoh all have what it takes to bring life to their parts. Every tiny glance, subtle movement or twitch of the lips are caught by director Rob Marshall's team of committed professionals.
The female roles are all well written and are three dimensional human beings. The men, on the other hand, are rather clichéd and are mostly portrayed as weak or manipulative deviants. The only one who generates our sympathy is the Chairman, played by Ken Watanabe, but his role as the romantic interest of Sayuri is drastically underwritten. It is as if the film has been shorn of a whole subtext to bring the running time to a cinema friendly 145 minutes. This is a shame because there are some interesting male characters that should have been given more breathing room to realize their characters more fully.
However, despite these misgivings, the film is well worth trekking out to see on a large screen. This audio / visual feast is a rare treat and should not be missed. Another crucial note is that unlike Polanski's plodding and turgid version of OlIVER TWIST, which turns you off the source material, this film adaptation of MEMOIRS OF A GEISHA inspires you to snatch up the book for an immediate read.
Recommended.
The film is set in the 1920's and is about how two tiny fisher sisters are sold by their poor parents to a geisha house. Once they arrive in the city, the elder girl is deemed too plain and is sold off to a common whorehouse in the derelict district whilst the younger, Sayuri, is retained as a servant in the high-class geisha house. The tale then follows the trials and tribulations as the younger sister grows up and becomes a rival of the leading geisha Hatsumomo. This rivalry will last for many years and create a division that will result in heartache and tragedy. The exploitation of young women is very disturbing and extremely harrowing (when the bidding starts for Sayuri's virginity your blood will freeze). The script dares to peep into the world of shadows and closed doors of the geisha.
The movie has an absolutely ravishing palette and every scene is stunningly lit. The 2:35 scope is wonderfully majestic and evokes the floating world of the artist. From the opening scenes of the ocean and the windswept coastline to the candlelit interiors of the geisha houses to the cherry blossom in the countryside, all these vibrant vistas are visualized in the most seductive manner possible. There are many scenes where the interior of the houses are only witnessed though holes or cracks in the door. All these pools of wet darkness are superbly photographed and are very atmospheric indeed. If there is any justice at all then this film should sweep the Oscars in the cinematography and art design sections.
The fashion department have pulled out all the stops to weave clothes that capture the imagination and send spasms down the spine. The kimonos that the geisha girls wear look lush and rigid, their colours bleed off the screen and their fine stitching is a work of art in itself. This exquisite detail is incredible.
The music by John Williams, with Itzhak Perlman on violin and Yo-Yo Ma on cello, is emotionally gripping and has an epic charge to it that is beautifully married to the visuals. The main theme recurs in many different and subtle variations and when the film reaches the poignant climax it grabs your throat and leaves you aching. The end title theme is well worth staying behind for as the film ends and the audience leaves the theatre. Even now the epilogue music gives me goose-pimples.
Now, much has been written about how Chinese actors were cast into the major Japanese roles. Many have felt that this was a travesty and tried to generate a boycott of the film. This is a grave injustice because the three main ladies are well cast and their roles are fleshed out with amazing performances. Zhang Yiyi, Gong Li and Michelle Yeoh all have what it takes to bring life to their parts. Every tiny glance, subtle movement or twitch of the lips are caught by director Rob Marshall's team of committed professionals.
The female roles are all well written and are three dimensional human beings. The men, on the other hand, are rather clichéd and are mostly portrayed as weak or manipulative deviants. The only one who generates our sympathy is the Chairman, played by Ken Watanabe, but his role as the romantic interest of Sayuri is drastically underwritten. It is as if the film has been shorn of a whole subtext to bring the running time to a cinema friendly 145 minutes. This is a shame because there are some interesting male characters that should have been given more breathing room to realize their characters more fully.
However, despite these misgivings, the film is well worth trekking out to see on a large screen. This audio / visual feast is a rare treat and should not be missed. Another crucial note is that unlike Polanski's plodding and turgid version of OlIVER TWIST, which turns you off the source material, this film adaptation of MEMOIRS OF A GEISHA inspires you to snatch up the book for an immediate read.
Recommended.
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