Film Review: Memoirs of a Geisha (2005)

The notion that "there's no such thing as bad publicity" is a double-edged sword for films, particularly those burdened by controversy. Memoirs of a Geisha, the 2005 period romantic drama directed by Rob Marshall, is a prime example of this phenomenon. Based on Arthur Golden's best-selling novel from 1997, the film was embroiled in scandal due to its contentious origins – the book was allegedly based on interviews with Mineko Iwasaki, a famous former geisha who sued the author and publisher for defamation. The lawsuit was settled just two years before production began.

Set in 1929 Japan, the story follows young Chiyo Sakamoto (played by Suzuka Ohgo), who is sold along with her older sister Satsu (played by Samantha Futerman) to Gion, Kyoto's famed entertainment district. Sisters are separated when Kayoko “Mother” Nitta (played by Kori Momoi), owner of geisha establishment, decides that Satsu is not attractive enough and sells her to brothel. As Chiyo (played by Zhang Ziyi as an adult) grows up and trains to become a geisha, she faces numerous hardships, including jealousy from other geishas like Hatsumoto (played by Gong Li). Her dreams of escaping her fate are complicated by her growing attachment to Chairman Ken Iwamura (played by Ken Watanabe), a wealthy businessman who becomes her love interest.

On paper, Memoirs of a Geisha appeared destined for greatness – a sweeping “old school” romantic epic set in exotic setting during a tumultuous period of 20th Century very much like Doctor Zhivago decades earlier. It had talents like Steven Spielberg as producer and Rob Marshall of Oscar-winning Chicago fame directing. The ensemble cast, which included Chinese actresses Zhang Ziyi and Gong Li, Malaysian star Michelle Yeoh, and Ken Watanabe, arguably the most internationally renowned star of Japanese cinema, was nothing short of grand.

Indeed, the film's visual appeal is undeniable, thanks to Dion Bebe's cinematography and John Williams' musical score. The studio sets in California effectively reconstructed the world of 1930s and 1940s Japan, and Spielberg's budget undoubtedly played a role in this lavish production. However, beneath its polished surface, Memoirs of a Geisha suffers from a lack of chemistry among its characters.

The film's Hollywoodisation becomes apparent near the end, set after WW2, with the introduction of American character Colonel Derricks (played by Ted Levine), which feels like an awkward attempt to connect with Western audiences. The fact that the entire film was shot in English and featured Chinese actresses playing Japanese characters only added to the controversy surrounding its production.

As a result, Memoirs of a Geisha received a frosty reception in both Japan and China, with many viewers still resentful over the painful experiences of two nations’ bitter conflict during World War II. The cast, many of whom had difficulties with English, were also forced to speak in a uniform accent that wasn't comfortable for them; the result sounds unnatural and artificial, reminding audiences (at least those less cynical) that they are watching a Hollywood film.

Furthermore, from a strictly conceptual perspective, Memoirs of a Geisha appears as one of the more blatant examples of cultural insensitivity. Japanese and Asian women are portrayed as "exotic" in a way that is quite Orientalist in its negative implications. It's easy to imagine the reaction this film would cause today if standards of extreme "wokeness" were applied.

Despite earning some box office numbers and even winning several Oscars in technical categories, Memoirs of a Geisha failed to leave a lasting impression on audiences. Those who remember it often recall it for the wrong reasons – its controversies, cultural insensitivity, and lacklustre performances overshadowing any potential merits it may have had.

RATING: 4/10 (+)

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