The film garnered polarized reviews from critics worldwide and was moderately successful at the box office. It was also nominated for and won numerous awards, including nominations for six Academy Awards, and eventually won three: Best Cinematography, Best Art Direction and Best Costume Design. Zhang was also nominated the Golden Globe Award for Best Actress. The acting, visuals, sets, costumes, and the musical score (composed by Spielberg's long-time collaborator John Williams) were praised, but the film was criticized for casting some non-Japanese actresses as Japanese women and for its style over substance approach. The Japanese release of the film was titled Sayuri, the titular character's geisha name.
Plot
In 1929, Chiyo Sakamoto and her older sister Satsu are sold by their poor father and taken to Gion, Kyoto. Chiyo is taken in by Kayoko Nitta, or "Mother", a local okiya owner; Satsu, deemed unattractive, is sent to a brothel instead. Chiyo also meets "Granny" and "Auntie" (who is kind to Chiyo), the other women who run the house; Pumpkin, another young girl; and the okiya's resident geisha Hatsumomo.
Pumpkin and Chiyo soon begin geisha training. Hatsumomo, threatened by Chiyo, is immediately abusive. One night, Hatsumomo and another geisha (Korin) force her to ruin a valuable kimono belonging to their rival Mameha, a prominent geisha in Gion. Auntie takes up the responsibility in punishing Chiyo, as ruining Mameha's kimono has cost Mother money. Hoping she will run away, Hatsumomo tells her where to find Satsu in the red light district. They plan to escape the following night.
When Chiyo returns to the Okiya late that night, she stumbles upon Hatsumomo and her illicit boyfriend Koichi. As the noise wakes the rest of the okiya, Koichi runs away and Hatsumomo tries to frame Chiyo for stealing to distract from her tryst. Mother begins to severely beat Chiyo, who quickly informs her of Hatsumomo's relations with Koichi. Finding evidence of the affair, Mother bars her from seeing him, and locks the gate; only letting them out for appointments.
The next night, trying to escape via the rooftops, Chiyo falls and is injured. Due to her accumulating costs, Mother stops investing in her geisha training, making Chiyo a servant to pay off her debts. Satsu flees Kyoto and Chiyo never sees her again. Mother later tells Chiyo her parents died. One day, while crying on a bridge, Chiyo encounters Chairman Ken Iwamura. He buys her a treat, gives her his handkerchief and some money to cheer her up. Touched by his kindness, Chiyo resolves to become a geisha to one day be part of his life.
Years later, Pumpkin debuts as a maiko under Hatsumomo's tutelage. Shortly afterwards, Chiyo is taken under the wing of Mameha, who persuades Mother to reinvest in Chiyo's geisha training, promising to pay her double after her debut. Chiyo becomes a maiko and is renamed Sayuri. At a sumo match, she is reintroduced to the chairman, but is noticed by his gruff business partner Toshikazu Nobu.
Due to Mameha's efforts, and no thanks to Hatsumomo, Sayuri rises in popularity, attracting the attention of many men—including Dr. Crab and the Baron, Mameha's own danna. In a bidding war for Sayuri's deflowering ceremony, as part of her becoming a full geisha, Dr. Crab gives the record-breaking bid, 15,000 yen. Mother immediately names Sayuri as her adopted daughter and the heiress to the okiya, crushing Pumpkin and enraging Hatsumomo.
Returning home afterwards, Sayuri finds a drunken Hatsumomo in her room, with the chairman's handkerchief. A fight breaks out, in which Hatsumomo lights the okiya on fire. The building is saved, and Hatsumomo is banished. Sayuri's successful career is cut short by World War II. Sayuri is relocated to the countryside, where she works making kimonos. After the war ends, Nobu asks her to help him impress an American Colonel to get funding for their business. She convinces Mameha to help her, as well as Pumpkin, who now is an escort.
Sayuri travels with Nobu, the chairman, Mameha, Pumpkin, and the American soldiers to the Amami Islands. The Colonel propositions Sayuri, but she rejects him. Nobu confronts her afterwards, confessing his desire to become her danna. Sayuri plans to have Nobu catch her being intimate with the Colonel so he loses interest, enlisting Pumpkin's help. However, Pumpkin brings the chairman instead. When confronted, she admits it was in revenge for Mother adopting Sayuri instead of her. Disheartened, Sayuri gives up on the chairman.
Returning to Gion, Sayuri is summoned to a nearby tea-house. Expecting Nobu, she is surprised to see the chairman. He confesses his feelings for Sayuri, admitting he always knew who she was but refused to interfere with Nobu's feelings out of respect, and that he himself arranged for Mameha to become her mentor. Sayuri finally can declare her love to the chairman and they kiss.
Shortly after the book's release in 1997, the filming rights to the book were purchased for $1 million by Red Wagon's Douglas Wick and Lucy Fisher, backed by Columbia Pictures. The following year, Steven Spielberg planned to make Memoirs of a Geisha as the follow-up to Saving Private Ryan, bringing in his company DreamWorks. Spielberg's DreamWorks partner David Geffen attempted to persuade him not to take the project, feeling it was "not good enough for him".[4] Prior to Spielberg's involvement, the film was planned to be shot in Japan in the Japanese language.[5] By 2002, with Spielberg having postponed production for A.I. Artificial Intelligence, Minority Report and Catch Me If You Can, Spielberg stepped down from directorial duties to only produce.
Both Wick and Fisher approached Rob Marshall, who was interested in doing a non-musical after Annie and Chicago. This brought a third company into Memoirs of a Geisha, as Marshall was still signed to release his next film through Chicago distributors Miramax Films.[6][7]
The three leading non-Japanese actresses, including Ziyi Zhang, Gong Li, and Michelle Yeoh, were put through "geisha boot camp" before production commenced, during which they were trained in traditional geisha practices of Japanese music, dance, and tea ceremony. Anthropologist Liza Dalby was also brought in to aid in the production as an advisor,[8] though she later commented that "while the director and producers often asked my opinion on things, most of the time they went ahead and followed their own vision", calling the film a "wasted opportunity" to display geisha society accurately.
Production
The orange gateways at the Fushimi Inari shrine in Fushimi-ku, Kyoto, used in the scene where a young Chiyo runs through them
Production of the film took place from September 29, 2004, to January 31, 2005. It was decided that contemporary Japan looked too modern for a story set in pre- and post-war Japan, meaning that many scenes were filmed on cost-effective soundstages or on location in the United States, primarily California. The majority of the film was shot on a large set built on a ranch in Thousand Oaks, California.[9] Most interior scenes were filmed in Culver City, California at the Sony Pictures Studios lot. Other locations in California included San Francisco, Moss Beach, Descanso Gardens in La Cañada Flintridge, Sacramento, Yamashiro's Restaurant in Hollywood, the Japanese Gardens at the Huntington Library and Gardens in San Marino, Hakone Gardens in Saratoga, and Downtown Los Angeles at the Belasco Theater on Hill Street. Towards the end of production, some scenes were shot in Kyoto, including the Fushimi Inari-Taisha, the head shrine of Inari, located in Fushimi-ku, Kyoto.
Post-production
One of the tasks faced by sound editors in post-production was improving the English pronunciation of the cast, which in part involved piecing together different dialogue clips from other segments of the film to form missing syllables in the actors' speech, as some spoke only partially phonetic English when performing. The work of the sound editors earned the film an Academy Award nomination for Best Achievement in Sound Editing.
The film premiered at Tokyo on November 29, 2005. The film had a limited theatrical release on December 9, 2005, before expanding wide in December 23.
Home media
The film debuted on DVD, in both Widescreen and Fullscreen versions, on March 28, 2006. The release was a 2-Disc set, with a second disc dedicated to special features. The film was consequently released on the Blu-ray format on September 25, 2007. The Blu-ray version received positive reviews, for the video and audio quality and for porting over every single extra from the 2-Disc DVD release.[10][11]
Reception
In the Western hemisphere, the film received mixed reviews. In China and Japan, reviews were more negative, with some controversy among audiences and critics arising from the film's casting and its relationship to Japan's history.
Western box office and reviews
Memoirs of a Geisha received mixed reviews from Western critics. Illinois' Daily Herald said that the "[s]trong acting, meticulously created sets, beautiful visuals, and a compelling story of a celebrity who can't have the one thing she really wants make Geisha memorable".[12]The Washington Times called the film "a sumptuously faithful and evocative adaption" while adding that "[c]ontrasting dialects may remain a minor nuisance for some spectators, but the movie can presumably count on the pictorial curiosity of readers who enjoyed Mr. Golden's sense of immersion, both harrowing and [a]esthetic, in the culture of a geisha upbringing in the years that culminated in World War II".[13]
On Rotten Tomatoes the film has an approval rating of 35% based on 164 reviews with an average rating of 5.40/10; the consensus stated "Less nuanced than its source material, Memoirs of a Geisha may be a lavish production, but it still carries the simplistic air of a soap opera."[14] On Metacritic, the film has a score of 54 out of 100, based on reviews from 38 critics, meaning "mixed or average review."[15] Audiences surveyed by CinemaScore gave the film a grade "B+" on scale of A to F.[16]
In the United States, the film managed $57million during its box office run. The film was facing off against King Kong, The Chronicles of Narnia, and Fun with Dick and Jane during the Christmas holiday. On its first week in limited release, the film screening in only eight theaters tallied up an $85,313 per-theater average, which made it second in highest per-theater averages behind Brokeback Mountain for 2005. International gross reached $158million.[17] Despite being based in Japan, the film would have greater popularity in the United States than it would Japan.[18]
The New Statesman criticized Memoirs of a Geisha's plot, saying that after Hatsumomo leaves, "the plot loses what little momentum it had and breaks down into one pretty visual after another" and says that the film version "abandons the original's scholarly mien to reveal the soap opera bubbling below".[19]The Journal praised Ziyi Zhang, saying that she "exudes a heartbreaking innocence and vulnerability" but said "too much of the character's yearning and despair is concealed behind the mask of white powder and rouge".[20] London's The Evening Standard compared Memoirs of a Geisha to Cinderella and praised Gong Li, saying that "Li may be playing the loser of the piece but she saves this film" and Gong "endows Hatsumomo with genuine mystery".[21] Eighteen days later, The Evening Standard put Memoirs of a Geisha on its Top Ten Films list.[22] Glasgow's Daily Record praised the film, saying the "geisha world is drawn with such intimate detail that it seems timeless until the war, and with it the modern world comes crashing in".[23]
Casting controversy
Controversy arose due to the casting of the film, with all three main female roles going to non-Japanese actresses. Zhang Ziyi (Sayuri) and Gong Li (Hatsumomo) both held Chinese citizenship at the time of the film's production (Gong Li became a naturalised Singaporean from 2008 onwards), whereas Michelle Yeoh (Mameha) is an ethnic Chinese from Malaysia. All three were already prominent actresses in Chinese cinema. The film's producers defended the position, stating that the main priorities in casting the three main roles were "acting ability and star power". Director Rob Marshall noted examples such as the Mexican actor Anthony Quinn being cast as a Greek man in Zorba the Greek.[24]
Opinion of the casting in the Asian community was mixed, with some finding the casting of Chinese actresses for Japanese roles offensive in the face of Japan's wartime atrocities in China and other parts of Asia.[25] The Chinese government canceled the film's release because of such connections, and a website denounced Zhang Ziyi as an "embarrassment to China."[26]
In Japan, reception to the film was mixed. Some Japanese expressed offence at the three main female roles being played by Chinese actresses; others took issue with the portrayal of geisha in the film, deeming it inaccurate and Westernised.[27] Japanese cultural expert Peter MacIntosh, who had advised on the film, expressed concern that it had not been made specifically for a Japanese audience, and that anyone knowledgeable about Japanese culture who saw the film would be "appalled".[28] The film garnered only average box office success in Japan, despite being a high-budget film about Japanese culture.[29]
Other Asians defended the casting, including the film's main Japanese star Ken Watanabe, who said that "talent is more important than nationality."[30] In defense of the film, Zhang said:
A director is only interested in casting someone he believes is appropriate for a role...regardless of whether someone is Japanese or Chinese or Korean, we all would have had to learn what it is to be a geisha, because almost nobody today knows what that means—not even the Japanese actors on the film. Geisha was not meant to be a documentary. I remember seeing in the Chinese newspaper a piece that said we had only spent six weeks to learn everything and that that was not respectful toward the culture. It's like saying that if you're playing a mugger, you have to rob a certain number of people. To my mind, what this issue is all about, though, is the intense historical problems between China and Japan. The whole subject is a land mine. Maybe one of the reasons people made such a fuss about Geisha was that they were looking for a way to vent their anger.[31]
Film critic Roger Ebert pointed out that the film was made by a Japanese-owned company, and that Gong Li and Zhang Ziyi outgrossed any Japanese actress even in the Japanese box office.[32]
Chinese response to the film
The film received occasionally hostile responses in Mainland China, with the film being censored and banned by China. Relations between Japan and mainland China at the time of the film's release had been particularly tense, owing to the then-Prime Minister of Japan, Junichiro Koizumi, having paid a number of visits to the controversialYasukuni Shrine — a shrine specially dedicated to honoring Japan's war dead, including those convicted of war crimes. These visits were denounced by China's foreign ministry as having honored war criminals whose crimes pertained to Japan's actions in China in World War II specifically.
The film's setting of the 1920s to 1940s covers both World War II and the Second Sino-Japanese War, during which time Japan captured and forced thousands of Korean and Chinese women known as "comfort women" into sexual slavery for Japanese military personnel.[33] Various newspapers such as the Shanghai-based Oriental Morning Post and the Shanghai Youth Daily expressed fears that the film could be banned by censors, with concerns that the casting of Chinese actresses as geisha could create anti-Japanese sentiment, and stir up resentment surrounding Japan's wartime actions in China — in particular, the use of Chinese women as sex slaves for Japan's occupying forces.[34][35]
The film was originally scheduled to be shown within mainland China on February 9, 2006; however, the Chinese State Administration of Radio, Film, and Television (SARFT) decided to ban the film on February 1, 2006, considering the film "too sensitive" for release, a decision that overturned the film's approval for screening in November.[36]
Prohibition of screening in China
The film was originally scheduled to be approved in November 2005,[37] but in January 2006, the SARFT failed to issue a screening permit.[38] When asked by a reporter whether the film had passed the censorship process, the person in charge said "no comment".[39] After 25 January, Memoirs of a Geisha was banned from screening by theaters in mainland China. Mao Yu, director of the Film Council's publicity department, said the film was "sensitive and complex". The media pointed out Zhang Ziyi's role involving nudity and allusions to prostitution, and also a scene in which she bathes with a Japanese man as reasons for the ban, and the fact that it was totally unacceptable in China for a Chinese woman to play a Japanese geisha.[40][41]
Zhang Ziyi, sometimes credited Ziyi Zhang, is a Chinese actress, model, and former dancer. Known for playing independent and strong-willed characters, she is the recipient of various accolades. Born and raised in Beijing, Zhang was admitted to the Central Academy of Drama in 1996. That year, she made her acting debut in the television film Touching Starlight (1996). After her breakout role in Zhang Yimou's The Road Home (1999), which won her the Best Actress Award at the 2000 Hundred Flowers Awards, she gained international recognition for her performance in the wuxia martial arts film Crouching Tiger, Hidden Dragon (2000).
Gong Li is a Chinese Singaporean actress. Regarded as one of the best actresses in China today, she is known for her versatility and naturalistic performance. She starred in three of the four Chinese-language films that have been nominated for the Academy Award for Best International Feature Film.
Zhang Yimou is a Chinese filmmaker. A leading figure of China's Fifth Generation directors, he made his directorial debut in 1988 with Red Sorghum, which won the Golden Bear at the Berlin International Film Festival.
Mizuage was a ceremony undergone by apprentice oiran and some maiko as part of their coming of age ceremony and graduation.
Memoirs of a Geisha is a historical fiction novel by American author Arthur Golden, published in 1997. The novel, told in first person perspective, tells the story of Nitta Sayuri and the many trials she faces on the path to becoming and working as a geisha in Kyoto, Japan, before, during and after World War II.
Arthur Sulzberger Golden is an American writer. He is the author of the bestselling novel Memoirs of a Geisha (1997).
Mineko Iwasaki is a Japanese businesswoman, author and former geisha. Iwasaki was the most famous geisha in Japan until her sudden retirement at the age of 29. Known for her performances for celebrity and royalty during her geisha life, Iwasaki was the heir apparent to her geisha house while she was just a young apprentice.
The 71st New York Film Critics Circle Awards, honoring the best in film for 2005, were announced on 12 December 2005 and presented on 8 January 2006.
Suzuka Ohgo is a Japanese actress.
Jasmine Women is a 2004 Chinese film directed and co-written by Hou Yong in his directorial debut. The film is an adaptation of Su Tong's novel Women's Life (妇女生活) and depicts the emotionally troubled lives of 4 generations of Shanghainese women from the 1930s to the 1980s. Jasmine Women stars Zhang Ziyi and Joan Chen, who both portrayed multiple characters, as well as Jiang Wen, Lu Yi, and Liu Ye.
Chiyo is a feminine Japanese given name. Notable people with the name include:
Memoirs of a Geisha: Original Motion Picture Soundtrackis the film score to the 2005 film of the same name, composed and conducted by John Williams. The original score and songs were composed and conducted by Williams and feature Yo-Yo Ma and Itzhak Perlman as cellist and violinist, respectively. The soundtrack album was released by Sony Classical Records on November 22, 2005.
Flowing is a 1956 Japanese drama film directed by Mikio Naruse. It is based on the novel Nagareru by Aya Kōda.
Geisha (芸者), also known as geiko (芸子) or geigi (芸妓), are female Japanese performing artists and entertainers trained in traditional Japanese performing arts styles, such as dance, music and singing, as well as being proficient conversationalists and hosts. Their distinct appearance is characterised by long, trailing kimono, traditional hairstyles and oshiroi make-up. Geisha entertain at parties known as ozashiki, often for the entertainment of wealthy clientele, as well as performing on stage and at festivals.
Sayuri is a common feminine Japanese given name.
The Hundred Flowers Award for Best Actress was first awarded by the China Film Association in 1962.
"Yimou girls" is a nickname for actresses who made her acting debut and received media attention through starring in a movie directed by Zhang Yimou.
↑ Lyttle, John. "The Eastern Affront: This Depiction of Oppression Is Decorously Polite." New Statesman Jan. 16, 2006: 47.
↑ "Memoirs of a Geisha". The Journal (Newcastle, England) Jan. 13, 2006: 20.
↑ "Dazzled by the Tricks of an Exotic Trade." The Evening Standard (London, England) Jan. 12, 2006: 34.
↑ "Critic's Choice; Top Ten Films." The Evening Standard (London, England) Jan. 30, 2006: 40.
↑ "GLAD TO BE GEISHA; Beautifully Shot and Brilliantly Acted, This Is an Oscar Favourite MEMOIRS OF A GEISH A ***** 12A." Daily Record (Glasgow, Scotland) Jan. 13, 2006: 46.
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