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Memoirs of a Geisha (2005)
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Reviews Counted:35
Fresh:10
Rotten:25
Average Rating:5.3/10
Consensus: 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.
Runtime: 2 hrs 25 mins
Genre: Based On A Novel, Romance, Theatrical Release
Theatrical Release:Dec 9, 2005 Limited
Box Office: $57,010,853
Synopsis: Arthur Golden's blockbuster bestseller, MEMOIRS OF A GEISHA, has been brilliantly brought to the big screen by Oscar-nominated director Rob Marshall (CHICAGO). The film opens in a remote Japanese... Arthur Golden's blockbuster bestseller, MEMOIRS OF A GEISHA, has been brilliantly brought to the big screen by Oscar-nominated director Rob Marshall (CHICAGO). The film opens in a remote Japanese fishing village in 1929, where two sisters, Chiyo and Satsu, are sold by their troubled father to people who place Chiyo in a classy geisha house known as an okiya in Gion and Satsu in a much more vulgar and dangerous district. Chiyo becomes a maid to Hatsumomo, a cold, controlling, and calculating geisha who is instantly jealous of Chiyo's unusual, beautiful eyes and childish innocence. Chiyo is befriended by Pumpkin, another maid at the okiya, but the two are soon driven apart. Chiyo is shown compassion by the Chairman and another, more successful geisha, Mameha, who takes her under her wing as her "little sister," furthering the battle between Chiyo, now called Sayuri, and Hatsumomo. As Sayuri is trained in the art of being a geisha, learning how to walk, talk, dance, and serve (up to a point) in order to please and honor her distinguished male clients, World War II looms on the horizon, threatening to upend Japan and its old ways. MEMOIRS OF A GEISHA is a lush, sweeping historical and romantic epic, featuring gorgeous period costumes, primarily the exquisite kimono worn by the geisha. Ziyi Zhang (HOUSE OF FLYING DAGGERS) is outstanding as Sayuri, who stands up to the oppressive Hatsumomo (the effervescent Gong Li), while Michelle Yeoh, who starred with Zhang in CROUCHING TIGER, HIDDEN DRAGON, is splendid as the wise and elegant Mameha. Ken Watanabe (THE LAST SAMURAI), Koji Yakusho (SHALL WE DANCE?), and Cary-Hiroyuki Tagawa (ELEKTRA) are among the men who take an interest in Sayuri, who is continually faced with difficult choices that will shape her destiny, just as Japan's destiny is changing shape with the coming of the West. John Williams's soaring score is enhanced by solos from virtuosos Yo-Yo Ma and Itzhak Perlman. [More]
Starring: Zhang Ziyi, Ken Watanabe, Gong Li, Michelle Yeoh
Starring: Zhang Ziyi, Ken Watanabe, Gong Li, Michelle Yeoh, Koji Yakusho, Mako
Director: Rob Marshall
Director: Rob Marshall
Screenwriter: Robin Swicord, Doug Wright
Producer: Steven Spielberg, Roger Birnbaum, Lucy Fisher, Douglas Wick
Composer: John Williams
Studio: Columbia Pictures
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Reviews for Memoirs of a Geisha
The subject remained interesting enough to this provincial American to accept and ultimately enjoy the film’s well-worn romanticism, even with its resignedly tired happy ending.
Memoirs of a Geisha is everything you'd expect it to be: beautiful, mesmerizing, tasteful, Japanese. It's just not very hot.
It is a lush, blushingly romantic portrait of Asian culture as seen through a Western lens.
The performances are good, the visuals are lush, the span is epic, but the film simply never soars.
Memoirs of a Geisha, the big-screen adaptation of Arthur Golden's best-selling novel, has a lesson to teach: Designing a movie isn't the same as directing one.
This is a lavishly detailed memoir in which little turns out to be that memorable.
For a while, you're waiting for Memoirs of a Geisha to start. Then you can't wait for it to end.
Shot for shot, Memoirs of a Geisha is one of the most beautiful movies in years, with due credit to Don Beebe's widescreen camera work, John Myhre's meticulous production design and Colleen Atwood's opulent costumes.
Memoirs of a Geisha isn't just drop-dead beautiful, it's cinematically alive with a spirited way that makes most contrivances forgivable.
Golden's straightforwardly involving prose, while no great shakes, has been replaced by an extremely fussy affair that is, in effect, its own silk-wrapped pictorial novelization.
Everything is beautiful -- even the squalor of poverty, the suffering of war. And nothing, ever, is revealed.
You've always got something to look at -- whether its Sayuri's exquisitely painted face or the perfect twirl of a gorgeously flowered umbrella. But the storytelling is soap-opera banal.
I object to the movie not on sociological grounds but because I suspect a real geisha house floated on currents deeper and more subtle than the broad melodrama on display here.
There is spectacle enough in Marshall’s movie -- rows of geisha trainees aligned in formation like Rockettes, acres of low, cedar-and-bamboo buildings with mountains in the distance -- but nothing that comes close to lyricism.
Memoirs of a Geisha is one long oxymoronic exercise in attempting to show delicacy through overkill.
This is a movie for the ear and the eye, not the brain and the heart.
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