The filmmakers have taken the source material -- Arthur Golden's best-selling novel -- and turned it into a glossy Hollywood production with the overripe melodrama you'd expect from a television soap opera, not a supposed epic drama.
Memoirs of a Geisha (2005)
Tomatometer
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Reviews Counted:155
Fresh:54
Rotten:101
Average Rating:5.4/10
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: Romance, Theatrical Release, Based On A Novel
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
I’ve little doubt that Swicord and Marshall have produced an accurate account of the geisha lifestyle, but I’m not sure that it feels like a terribly authentic one.
Marshall weaves together an exotically sumptuous production frayed by a disappointing ending that tries to draw a powdered happy face on tragedy.
Rob Marshall doesn't know the difference between a geisha and a glass of water.
Memoirs of a Geisha is grand entertainment, telling its epic story in bold yet graceful terms without ever descending to melodrama or soap opera.
I can't say that Memoirs is a good film, and it's certainly not action-packed (oh, my, is it ever not action-packed), but it's not without its merits, either.
Only occasionally does the camp classic struggling to free itself from the constricting kimonos and white pancake makeup of 'Geisha' claw its way to the surface.
Memoirs of a Geisha is everything you'd expect it to be: beautiful, mesmerizing, tasteful, Japanese. It's just not very hot.
In any case, if you judge Memoirs of a Geisha as a moving work of art, it's pretty fabulous.
Ultimately, Memoirs of a Geisha compares unfavorably with the book, though it offers pleasures of its own.
[I]n terms of pure beauty, Memoirs of a Geisha is among the most gorgeous films ever created, a magnificent cherry blossom of a movie, evoking the lovely mysteries of geisha life.
... a fascinating glimpse at a lost world of women with skin of porcelain and spines of steel, and the men in their thrall.
[T]he film is altogether too much like Sayuri: trying to overwhelm with surface beauty and unspoken emotion, it never hits deeper than the skin.
... the movie is a well-meaning, vaporous bore, enlivened only by occasional traces of Showgirls-style camp and plasticine tears trickling down impeccably powdered cheeks.
Rob Marshall's movie version has a harder time hiding the ripeness. And it's a bit like a geisha's persona -- visually exciting and emotionally remote.
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.
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