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September 23, 2008

Memoirs of a Geisha (2005)

Should I see it?
No.

Short Review: They changed the name. The original title Diary of A Whore didn’t do well with test audiences.

This may be the best film about a little girl who pines to be a whore and gets her dream. Chiyo is sold as a young girl and is enlisted to become a geisha. Although geisha were not and are not prostitutes, this gem of a film would have us believe otherwise. So, in the language of this film, Chiyo wants to become a geisha which translates into Chiyo wanting to become a sex slave. In the whorehouse, when Chiyo’s antics become too much, she is punished and demoted to a life as a regular ol’ slave. Later, due to her outstanding beauty, Chiyo is sponsored and mentored by older geisha (sex slave) Mameha and is rescued from a life as a regular ol’ slave and brought into the world of the geisha (sex slave.) and given a new name for her efforts. The story goes on from there without much to keep it going. There’s a good deal of pretty scenery, some tears and mournful looks and there’s this big chunck involving World War II…I dunno, I drifted off for a while. Its’ like listening to someone tell a real long story and you have to keep reminding yourself to pay attention.

Apparently, we’re all okay with stories about girls dreaming of being sex slaves as long as the slavery is masked in beautiful clothing, graceful movements and a non-Western environment. As long as the slavery is Eastern we can pawn it off as being a “cultural difference”. Why is this much different than telling the story of a poor girl from the inner city who dreams of learning how to become a high-class hooker who can take on rich musicians and actors as her patrons? How is it much different than a girl from a trailer park begging fate to let her be a favorite pit stop in a harem? It isn't but since the story is framed in a historical setting and plays up all of the delicacies of the Japanese culture, we can comfortably forget what it is that is being shown.

To speak about the technical aspects of this film, I will easily admit that this is an impressive film in its aesthetics. It is a beautiful looking film. Is it original in much of its design? No. You can find like set and sound designs and cinematography in other similar films. The film follows the visual conventions that are already firmly in place on how Eastern period pieces should be shot and presented. Everyone is cruel and the backgrounds are dingy but the actors a pretty, the foreground is intricate and everything has a mystical aura about it.

The acting in this piece is quite good. Ziyi Zhang (Rush Hour 2) as Chiyo/Sayuri gives us one of her better performances and rivals her work in Crouching Tiger, Hidden Dragon. Ziyi Zhang has a longing and wounded feeling to her performance that transcends the dry script. Michelle Yeoh (Tomorrow Never Dies) is solid as well as the old whore Mameha. Yeoh is an under appreciated actress, probably because she’s made a name for herself in action films. She once again brings her charisma into full bear in this production. Li Gong (Farewell My Concubine) is also notable as Hatsumomo, Chiyo’s rival in whoring. Hatsumomo is a mean character driven by fear and insecurity. Li Gong handles her character’s delicate mindset with some care and delivers a complex performance. While these ladies give these good performances, the production as a whole lets them down.

There has been some nasty words over the producing of this film since the cast is primarily made up of Chinese performers. Given that this film portrays Japanese characters in a Japanese setting, this cannot stand according to some critics. Again, like the film’s request that we overlook the sex slavery in the story line because the film is about Japanese folk, the critics who take umbrage with the casting want us to have a different set of standards from Western centered pieces. In Western pieces The Irish can play English, Americans can perform as Jamaicans and the Germans can perform as any group of people they want as long as they keep within their borders and mind their organizational impulses. Have a few Chinese perform as Japanese and the whole balance of race politics gets upset. I say dial it back. Italians and Jews cross-dress their heritages nearly every week in productions. You can’t even keep track of how many nationalities the British and Americans have portrayed. As an American, do you know how many times my people have been portrayed by the evil Canadians? This is a nation full of people who are known for making syrup and second-class beer. Their main industry is being above America. Having them portray Americans is akin to having your younger, unemployed brother who still lives in your parent's basement pretending to be you down at the local bar. It’s irritating that these moose jockeys like to pretend they have it good and live in America, but we take it. Japan, its your turn. Take a hit for the cinematic team and get over yourselves.

The film runs on over well over two hours. After you get over the beauty of the production you will find there is scant to see you through this long running time. This film would have been served well by a strong edit and you will be best served by not bothering with it. If you’re able to ignore that this is about sex slaves and can enjoy lovely scenery and acting, you may like this piece. If you have a sense that perhaps slavery is a bad thing and shouldn’t be sold as something credible, even if its well lit, this ain’t going to be your cup of green tea.

Related Review:
Farewell My Concubine (1993)

Other Critic's Reviews:
Monsters and Critics
Confessions of a Film Critic

Labels: film, Li Gong, Michelle Yeoh, movie review, Ziyi Zhang

Scott said...: Ummm ouch.; September 23, 2008 at 2:57 PM

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