Memoirs Of A Geisha Movie
Cherrie Patete
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.
In 1929, nine year-old Sakamoto Chiyo and her sister are sold by their father to work within the entertainment districts of Kyoto. They are taken from their home in a coastal fishing village known as Yoroido and travel to Kyoto by train. Chiyo is taken to the Nitta okiya (geisha boarding house) in Gion, but her sister is taken to a brothel within Kyoto's pleasure district.
Chiyo is introduced to Auntie, Mother, and Granny. Both Auntie and Mother are strict, though Auntie is kinder to Chiyo, whereas Mother is driven by money and business. Chiyo is also introduced to Hatsumomo, the premier geisha of the okiya, its primary earner, and one of the most famous geisha of Gion. Hatsumomo dislikes Chiyo and goes out of her way to torment her.
A few years later, Chiyo is given money and a handkerchief in the street by a kind stranger known to Chiyo as the Chairman. Soon afterwards, Pumpkin prepares to make her debut as a maiko and the "younger sister" of Hatsumomo, whilst Chiyo remains a maid. Mameha, another famous geisha in Gion, persuades a reluctant Mother to reinvest in Chiyo's training, with Mameha acting as Chiyo's mentor and "older sister".
Chiyo becomes an apprentice geisha with the given name of Sayuri, and is reacquainted with Chairman Iwamura, his closest friend and business partner Nobu, and a number of other prominent men. As Sayuri gains popularity, Hatsumomo tries to hurt Sayuri's reputation and career in the hopes of Mother adopting Pumpkin instead.
In 1944, geisha districts are ordered to close, and Sayuri desperately asks Nobu for help to avoid being conscripted into factory work. He sends Sayuri far north to live with his old friend, Arashino, where she stays for much of the war.
Sayuri peacefully retires from geisha work when the Chairman becomes her danna. Sayuri relocates to New York City and opens her own small tea house for entertaining Japanese men on business in the United States. The Chairman remains her danna until his death.
Much of the novel is set in the popular geisha district of Gion in Kyoto, and contains references to actual places frequented by geisha and their patrons, such as the Ichiriki Ochaya. Part of the story is also set in the Amami Islands, and Sayuri narrates the story from her suite in the Waldorf towers in New York City.
After the Japanese edition of the novel was published, Arthur Golden was sued for breach of contract and defamation of character by Mineko Iwasaki, a retired geisha he had interviewed for background information while writing the novel. The plaintiff asserted that Golden had agreed to protect her anonymity if she told him about her life as a geisha, due to the traditional code of silence about their clients. However, Golden listed Iwasaki as a source in his acknowledgments for the novel, causing her to face a serious backlash, to the point of death threats.[1] In his defense, Arthur Golden countered that he had tapes of his conversations with Iwasaki.[2][clarification needed] Eventually, in 2003, Golden's publisher settled with Iwasaki out of court for an undisclosed sum of money.
Iwasaki later went on to write an autobiography, which shows a very different picture of 20th century geisha life than the one shown in Golden's novel.[3] The book was published as Geisha, A Life[4][5] in the US and Geisha of Gion in the UK.
Memoirs of a Geisha is a 2005 American epic period drama film directed by Rob Marshall and adapted by Robin Swicord from the 1997 novel of the same name by Arthur Golden.[2][3] It tells the story of a young Japanese girl, Chiyo Sakamoto, who is sold by her impoverished family to a geisha house (okiya) to support them by training as and eventually becoming a geisha under the pseudonym "Sayuri Nitta." The film centers around the sacrifices and hardship faced by pre-World War II geisha, and the challenges posed by the war and a modernizing world to geisha society. It stars Zhang Ziyi in the lead role, with Ken Watanabe, Gong Li, Michelle Yeoh, Youki Kudoh, Suzuka Ohgo, and Samantha Futerman.
The film was released to 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. 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.
In 1929, Chiyo Sakamoto and her older sister Satsu are sold off by their poor father and taken to Gion, Kyoto. Chiyo is taken in by Kayoko Nitta, known as "Mother", the proprietress of a local okiya; Satsu, deemed too unattractive, is sent to a brothel instead. Chiyo also meets "Granny" and "Auntie", the other women who run the house; Pumpkin, another young girl; and the okiya's resident geisha, Hatsumomo.
Pumpkin and Chiyo soon begin their education to become future geisha. Hatsumomo, seeing Chiyo as a potential rival, immediately treats her with abuse. Hoping she will run away, Hatsumomo tells her where she can find Satsu in the red light district. They make plans to run away the following night. When Chiyo tries to escape via the rooftops, she falls and is injured. As a result, Mother stops investing in her geisha training and instead makes her a menial servant to pay off her debts. Satsu flees Kyoto and Chiyo never sees her again.
One day, while crying on a riverbank, Chiyo encounters Chairman Ken Iwamura. He buys her a shaved ice dessert and gives her his handkerchief and some money to cheer her up. Touched by his kindness, Chiyo resolves to become a geisha so that she might become a part of the Chairman's life.
Several years later, Pumpkin debuts as a maiko under Hatsumomo's tutelage. Shortly afterwards, Chiyo is taken under the wing of Mameha, one of the district's most prominent geisha, who persuades Mother to reinvest in Chiyo's geisha training, promising to pay her twice over after her debut. Chiyo becomes a maiko and receives the name Sayuri. At a sumo match, she is reintroduced to the Chairman, but attracts the attention of his gruff business partner Toshikazu Nobu.
Thanks to Mameha's efforts, and in spite of Hatsumomo's scheming, 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, the winning bid is a record-breaking amount from Dr. Crab, 15,000 yen. Mother immediately names Sayuri as her adopted daughter and the heiress to the okiya, crushing Pumpkin and enraging Hatsumomo.
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.
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]
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".[18] The Journal praised Ziyi Zhang, saying that she "exudes a heartbreaking innocence and vulnerablity" but said "too much of the character's yearning and despair is concealed behind the mask of white powder and rouge".[19] 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".[20] Eighteen days later, The Evening Standard put Memoirs of a Geisha on its Top Ten Films list.[21] 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".[22]
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.[26] 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".[27] The film garnered only average box office success in Japan, despite being a high budget film about Japanese culture.[28]
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