Memoirs of a Geisha (film)

Memoirs of a Geisha

Theatrical release poster
Directed by Rob Marshall
Produced by Steven Spielberg
Gary Barber
Roger Birnbaum
Douglas Wick
Written by Robin Swicord
Arthur Golden (novel)
Starring Zhang Ziyi
Ken Watanabe
Gong Li
Michelle Yeoh
Music by John Williams
Cinematography Dion Beebe
Editing by Pietro Scalia
Studio Spyglass Entertainment
Amblin Entertainment
Red Wagon Productions
Distributed by USA:
Columbia Pictures
DreamWorks (co-distributor)
International:
Spyglass Entertainment
Release date(s) December 9, 2005 (2005-12-09)
Running time 145 minutes
Country United States
Language English
Japanese
Budget $85 million
Gross revenue $162,242,962

Memoirs of a Geisha is a 2005 film adaptation of the novel of the same name, produced by Steven Spielberg's Amblin Entertainment and Spyglass Entertainment and by Douglas Wick's Red Wagon Productions. It was directed by Rob Marshall. It was released in the United States on December 9, 2005 by Columbia Pictures and DreamWorks. It stars Zhang Ziyi, Ken Watanabe, Gong Li, Michelle Yeoh, Youki Kudoh, and Suzuka Ohgo. Ohgo plays the younger Sayuri in the movie, which was filmed in southern and northern California and in several locations in Kyoto, including the Kiyomizu temple and the Fushimi Inari shrine.

Memoirs of a Geisha tells the story of a young girl, Chiyo Sakamoto, who is sold into slavery by her family. Her new family then sends her off to school to become a geisha. This movie is mainly about older Chiyo and her struggle as a geisha to find love, in the process making a lot of enemies.

The film was nominated and won numerous awards, including nominations for six Academy Awards, and eventually won three: Best Cinematography, Best Art Direction and Best Costume Design.

The Japanese release of the film was titled "Sayuri", based on the main character who was renamed as Sayuri in the movie.

Contents

Plot

The film, set in Japan during the Showa Era, tells the story of Chiyo Sakamoto (portrayed by Suzuka Ohgo as a child, and by Zhang Ziyi as an adult), who is sold into a life of servitude by her parents when she is nine years old. Chiyo is taken in by the proprietress of a geisha house, Mother (Kaori Momoi), where she works to pay off the debt of her purchase and the soiling of a silk kimono owned by a well-known geisha, Mameha (Michelle Yeoh), which Chiyo was blackmailed into defacing by another geisha, Hatsumomo (Gong Li).

One day while crying in the street, the young Chiyo is noticed by the Chairman (Ken Watanabe), who buys her an iced sorbet (kakigōri) and gives her his handkerchief. Inspired by his act of kindness, Chiyo resolves to become a geisha so that she may one day become a part of the Chairman’s life. Chiyo, now a young woman, is taken under the wing of Mameha, a rival geisha. Under Mameha's tutelage, the girl Chiyo becomes Sayuri, the most famous geisha in all Gion, Kyoto. Hatsumomo becomes Sayuri's rival and seeks to destroy her; however, Hatsumomo ends up destroying herself instead after setting fire to the okiya.

Sayuri, through her work as a geisha, is reunited with the Chairman, whom she has secretly loved since she was a literally a child, although she is led to believe he has no memory of who she was before she became a geisha. Her prosperous life is cut short by the outbreak of World War II and while the safety of Sayuri and Mameha is ensured by the Chairman, they must endure a life of hard labour. After the war, Sayuri is reunited with Mameha, and they become geisha once more.

The Chairman arranges to meet Sayuri, where he finally reveals to her that he knows she is Chiyo. He tells her that he was responsible for sending Mameha to her so that she could fulfill her dreams of becoming a geisha. Sayuri finally reveals her love to the Chairman, which she has been harbouring for over fifteen years. The film ends with their loving embrace and a stroll through a beautiful Japanese garden with waterfalls and rocks.

Cast

Production

Pre-production

Producer Steven Spielberg had been scheduled to film Memoirs of a Geisha as the follow up to Saving Private Ryan. However fellow DreamWorks executive David Geffen had tried to persuade him not to take on the project as he said I don't think it's good enough for him. Whether or not he was dissuaded from the project, he went on to direct A.I. Artificial Intelligence instead.[1]

The three leading actresses (Zhang Ziyi, Gong Li, and Michelle Yeoh) were put through "geisha boot camp" before production commenced, during which they were trained in traditional geisha practices of musicianship, dance, and tea ceremony.

Production

The orange gateways at the Fushimi Inari Taisha shrine in Fushimi-ku, Kyoto, used in a scene wherein a young Sayuri runs through them

Production of the film took place from September 29, 2004 to January 31, 2005. It was decided by the producers that contemporary Japan looked much too modern to film a story which took place in the 1920s and '30s and it would be more cost-effective to create sets for the film on soundstages and locations in the United States, primarily in California. The majority of the film was shot on a large set built on a ranch in Thousand Oaks, California which was a detailed recreation of an early twentieth-century geisha district in Kyoto, Japan. 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, Japan, including the Fushimi Inari Taisha the head shrine of Inari, located in Fushimi-ku, Kyoto.

Post-production

In post-production one of the tasks of the sound editors was to improve upon the English pronunciation of the international cast. This sometimes involved piecing together different clips of dialogue from other segments of the film to form new syllables from the film's actors, some of whom spoke partially phonetic English when they performed their roles on-set. The achievement of the sound editors earned them an Academy Award nomination for Best Achievement in Sound Editing.

Reception

In the Western hemisphere, the film received mixed reviews. In China and Japan, responses were sometimes very negative due to various controversies that arose from the film's casting and its relationship to history.

Western box office and reviews

The British reviews for Memoirs of a Geisha were generally mixed. 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".[2] The Journal praised Ziyi, saying that she "exudes a heartbreaking innocence and vulnerablity" but said "too much of the characters' yearning and despair is concealed behind the mask of white powder and rouge".[3] 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".[4] Eighteen days later, The Evening Standard put Memoirs of a Geisha on its Top Ten Film list.[5] 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".[6]

In the United States, the film managed $57 million during its box office run. The film peaked at 1,654 screens, facing off against King Kong, The Chronicles of Narnia, and Fun with Dick and Jane. During its first week in limited release, the film screening in only eight theaters tallied up a $85,313 per theater average which made it second in highest per theater averages behind Brokeback Mountain for 2005. International gross reached $158 million.[7]

Overall, the American reviews were mixed. Illinois's 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".[8] 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 esthetic, in the culture of a geisha upbringing in the years that culminated in World War II".[9]

The film scored a 35% "Rotten" rating on Rotten Tomatoes[10] and 54/100 on Metacritic, meaning "mixed or average review."[11]

Casting controversy

Controversy arose during casting of the film when some of the most prominent roles, including those of the geishas Sayuri, Hatsumomo and Mameha, did not go to Japanese actresses. Zhang Ziyi (Sayuri) and Gong Li (Hatsumomo) are both Chinese, whereas Michelle Yeoh (Mameha) is an ethnic Chinese from Malaysia. More notable is the fact that all three were already prominent fixtures in Chinese cinema.

The film-makers defended the decision, however, and attributed "acting ability and star power" as their main priorities in casting the roles and director Rob Marshall noted examples such as Irish-Mexican actor Anthony Quinn being cast as a Greek man in Zorba the Greek.[12]

Opinion in the Asian community was mixed. To some Chinese, the casting was offensive because they mistook geisha for prostitutes, and because it revived memories of wartime Japanese atrocities. The Chinese government canceled the film's release there because of such connections, and a website denounced star Zhang Ziyi as an "embarrassment to China."[13] This was exacerbated by the word "Geigi" (芸妓?), a Japanese name for geisha used in the Kansai region, which includes Kyoto. The second character (妓) could sometimes mean "prostitute" in Japanese language, though it actually had a variety of meanings and there was a clear distinction between geisha and prostitutes which were called "Yūjo" (遊女?) in Japan. The character 妓 only means "prostitute" in Chinese, and the correct translation into Chinese of the word "geisha" is 艺伎 (traditional Chinese: 藝伎), which does not use it. Some Japanese have expressed offense that people of their own nationality had not gotten the roles. Other Asians defended the casting, including the film's main Japanese star Ken Watanabe who said that "talent is more important than nationality."[14] Other Asian actors such as Sandra Oh have in the past also defended inter-Asian acting

In defense of the film, Zhang spoke:

“ A director is only interested in casting someone he believes is appropriate for a role. For instance, my character had to go from age 15 to 35; she had to be able to dance, and she had to be able to act, so he needed someone who could do all that. I also think that 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.[15]

 ”

Film critic Roger Ebert pointed out that the film was made by a Japanese-owned company, and that Gong Li and Zhang Ziyi outgross any Japanese actress even in the Japanese box office.[16]

Chinese responses

The film received some hostile responses in China, including its banning by the Chinese government. It is important to note the modern political context between China and Japan when Memoirs of a Geisha debuted in 2005. Relations between the two nations were particularly tense due to three main factors: Japan had recently revised its history textbooks, which downplayed its wartime atrocities against China; secondly, Japan’s Prime Minister Junichiro Koizumi made a number of visits to Yasukuni Shrine, which honors all Japan's war dead, including some who were convicted war criminals, which was denounced by China’s foreign ministry as honoring them; and lastly, China helped to ensure Japan did not receive a seat on the UN Security Council.[17] Writer Hong Ying argued that “Art should be above national politics”;[18]. Nevertheless, the release of Memoirs of a Geisha into this politically charged situation added to cultural conflict within and between China and Japan.

The film was originally scheduled to be shown in cinemas in the People's Republic of China on February 9, 2006. The Chinese State Administration of Radio, Film and Television decided to ban the film on February 1, 2006 considering the film as "too sensitive." In doing so, it overturned a November decision to approve the film for screening.[19]

The film is set in Japan during World War Two, when the Second Sino-Japanese War was taking place. During this time, Japan captured and forced Chinese women as “comfort women” for their men.[20] Controversy arose in China from an apparent confusion of equating geisha with prostitution, and thus the connection with, and reminder of, comfort women being used in Japan at that time.

Newspaper sources, such as the Shanghai-based Oriental Morning Post and the Shanghai Youth Daily, quoted the fears that the film may be banned by censors; there were concerns that the casting of Chinese actresses as geishas could rouse anti-Japan sentiment and stir up feelings over Japanese wartime actions in China, especially the use of Chinese women as forced sex workers.[21][22]

Japanese responses

On a visit to Tokyo to promote the film, Zhang Ziyi received a mysterious parcel and letter, revealed to have been sent by an elderly Japanese woman who had once worked as a geisha. In her letter, the woman stated that she had been touched by the trailer of the film and expected the movie to bring back fond memories for her and her friends. Inside the parcel were several exquisitely worked antique kimono. Zhang Ziyi was moved to tears by the gesture and sent the woman an invitation to the film's Japanese premiere. She also promised to wear one of the kimono to the event as a sign of her gratitude.[23]

Awards and nominations

Oscar

Golden Globe

National Board of Review

Satellite Awards

BAFTA Awards

Screen Actors Guild Awards

NAACP Image Awards

Soundtrack album

Memoirs of a Geisha OST
Soundtrack by John Williams
Released November 22, 2005
Genre Soundtrack
Length 61:02
Label Sony Classical

The Memoirs of a Geisha official soundtrack featured Yo Yo Ma performing the cello solos, as well as Itzhak Perlman performing the violin solos. The music was composed and conducted by John Williams.

  1. "Sayuri's Theme" – 1:31
  2. "The Journey to the Hanamachi" – 4:06
  3. "Going to School" – 2:42
  4. "Brush on Silk" – 2:31
  5. "Chiyo's Prayer" – 3:36
  6. "Becoming a Geisha" – 4:32
  7. "Finding Satsu " – 3:44
  8. "The Chairman's Waltz " – 2:39
  9. "The Rooftops of the Hanamachi " – 3:49
  10. "The Garden Meeting " – 2:44
  11. "Dr. Crab's Prize " – 2:18
  12. "Destiny's Path " – 3:20
  13. "A New Name... A New Life" – 3:33
  14. "The Fire Scene and the Coming of War" – 6:48
  15. "As the Water..." – 2:01
  16. "Confluence " – 3:42
  17. "A Dream Discarded" – 2:00
  18. "Sayuri's Theme and End Credits" – 5:06

Interviews

References

  1. ↑ Interview with Spielberg, Stephen J. Dubner, Steven Spielberg Interviews, ISBN 1-57806-113-X
  2. ↑ Lyttle, John. "The Eastern Affront: This Depiction of Oppression Is Decorously Polite." New Statesman 16 Jan. 2006: 47.
  3. ↑ "Memoirs of a Geisha." The Journal (Newcastle, England) 13 Jan. 2006: 20.
  4. ↑ "Dazzled by the Tricks of an Exotic Trade." The Evening Standard (London, England) 12 Jan. 2006: 34.
  5. ↑ "Critic's Choice; Top Ten Films." The Evening Standard (London, England) 30 Jan. 2006: 40.
  6. ↑ "GLAD TO BE GEISHA; Beautifully Shot and Brilliantly Acted, This Is an Oscar Favourite MEMOIRS OF A GEISH A ***** 12A." Daily Record (Glasgow, Scotland) 13 Jan. 2006: 46.
  7. ↑ "Memoirs of a Geisha". The Numbers: Box Office Data. http://www.the-numbers.com/movies/2005/MEMOI.php/. Retrieved 2007-02-25. 
  8. ↑ Defiglio, Pam. "Memorable Epic Takes a Beautiful Look Inside a Mysterious World." Daily Herald (Arlington Heights, IL) 16 Dec. 2005: 48.
  9. ↑ "'Geisha' Rises to Exotic Best; Faithful Book Adaptation Portrays Rivalry of Women." The Washington Times 16 Dec. 2005: D08.
  10. ↑ "Memoirs of a Geisha (2005)". Rotten Tomatoes. http://uk.rottentomatoes.com/m/memoirs_of_a_geisha/. Retrieved 2007-02-25. 
  11. ↑ "Memoirs of a Geisha (2005)". Metacritic. http://www.metacritic.com/film/titles/memoirsofageisha. Retrieved 2007-04-15. 
  12. ↑ "Geisha film-makers defend casting". BBC News. December 8, 2005. http://news.bbc.co.uk/2/hi/entertainment/4509318.stm. Retrieved May 12, 2010. 
  13. ↑ "China cancels release of 'Memoirs of a Geisha'". USA Today. February 1, 2006. http://www.usatoday.com/life/movies/news/2006-02-01-geisha-canceled-china_x.htm. Retrieved May 12, 2010. 
  14. ↑ "Watanabe defends casting in 'Geisha' - Boston.com". http://www.boston.com/ae/movies/articles/2006/01/28/watanabe_defends_casting_in_geisha. 
  15. ↑ http://www.helloziyi.us/Articles/interview-magazine-july2006.htm
  16. ↑ :: rogerebert.com :: Reviews :: Memoirs of a Geisha (xhtml)
  17. ↑ Britannica Online Encyclopaedia/China's Relations with Its Neighbours/Year in Review 2005>
  18. ↑ CHINA:'Memoirs of a Geisha' Lost in Political Din
  19. ↑ "China bans Memoirs of a Geisha". The Guardian (London). February 1, 2006. http://film.guardian.co.uk/news/story/0,,1699608,00.html. Retrieved May 12, 2010. 
  20. ↑ World History Connected/Vol.1 No.1/Yoshiko Nozaki: "I'm Here Alive": History, Testimony, and the Japanese Controversy over "Comfort Women".
  21. ↑ http://news.yahoo.com/s/afp/20060117/ennew_afp/afpentertainmentchinausjapanfilmgeisha_060117120127 - Yahoo! News
  22. ↑ "Lee slates China 'ban' on actress". BBC News. 2008-03-20. http://news.bbc.co.uk/2/hi/entertainment/7287318.stm. 
  23. ↑ http://www.star-ecentral.com/news/story.asp?file=/2005/9/18/music/12045815&sec=music

External links

Films directed by Rob Marshall
2000s
Chicago (2002) · Memoirs of a Geisha (2005) · Nine (2009)
2010s
Pirates of the Caribbean: On Stranger Tides (2011)
Television films
Annie (1999) · Tony Bennett: An American Classic (2006)