Just saw the film- I am torn. On the one hand, any time an American studio does a Japanese picture it's almost like there's exploitation of sorts: the visuals are stunning and gorgeous (highly romanticized- even the mud looks good) but "Americanized" in a way- I wish I could be more specific, but it's an American film about a Japanese subject matter that the Japanese should be making....am I making sense?

There's voice over narration (which got a little irritating), and I found myself wishing they kept the Japanese language in the film and put up subtitles (like that would ever happen). The acting is strong and Williams' music works in the film but again, it seems "Americanized"- it's like I want a Toru Takemitsu score and I know I'm not going to get it. There are holes in the story and dialogue that are a bit annoying (like overstating the obvious).

Having said all that, I don't think it's a waste of time seeing the film. My friend cried quite a bit towards the end (which she said was very faithful to the book), and I must admit I started "feeling it" towards the end (which has a powerful bit of acting, in my opinion). The film did do a good job in bringing across the horrors of that life and the bad influence Americans had on the culture during World War II (oddly enough). Not bad, but not great.

Makes a lot of sense to me Michael. In fact, I'd say it's a criticism that's been made in several pieces I've seen.

Right now it's the worst-reviewed film of the entire Christmas season on the Tomato meter -- below even FUN WITH DICK AND JANE and CHEAPER BY THE DOZEN 2, which would place it as one of the most poorly-received films of 2005 by that website's standards.

Of course, that's not to say it's not leagues better that either of those studio concoctions, but on the other hand, it's not getting many positive notices...at all.

Eh, the Tomatometer crucified The Legend Of Zorro, which I quite enjoyed, so I'm looking forward to seeing the movie next week and making up my own mind (I'm reading the book right now, which is great).

Plus, Ziyi Zhang is one of the most beautiful actresses working today.

Ziyi Zhang is very attractive and does some solid acting in the film- that's for sure! My friend said the movie is very faithful to the book, so you'll have to confirm or deny that one after you've seen it (as I have not read the book).

Monterey Jack wrote:Eh, the Tomatometer crucified The Legend Of Zorro, which I quite enjoyed, so I'm looking forward to seeing the movie next week and making up my own mind (I'm reading the book right now, which is great).

Plus, Ziyi Zhang is one of the most beautiful actresses working today.

Thanks for the pic Jack I'm not discouraging you from seeing the film, and the Tomato Meter as we've said before needs to be taken with many grains of salt. However, that being said, it is true GEISHA is one of the worst-reviewed films of this year -- ZORRO wasn't savaged nearly as bad as this movie has been -- and it's likewise not going to be the Oscar front-runner they once anticipated for this project.

Of course, they may all be wrong I just found the trailers amusing, as if "FROM THE DIRECTOR OF 'CHICAGO'" was supposed to signal that someone akin to David Lean had directed an epic soap opera like this one.

Sadly, Williams' score still does not overly impress in terms of its performance away from the film...maybe if I had seen the movie I would appreciate it more. Surprisingly, MUNICH's album works better (for me anyway) apart from the picture.

mkaroly wrote:Just saw the film- I am torn. On the one hand, any time an American studio does a Japanese picture it's almost like there's exploitation of sorts: the visuals are stunning and gorgeous (highly romanticized- even the mud looks good) but "Americanized" in a way- I wish I could be more specific, but it's an American film about a Japanese subject matter that the Japanese should be making....am I making sense?

I understand where you are coming from. Remember, however, that even the book was written by an American, so it might be a little too far down the line to be concerned about the lack of authentic Japanese participation. (Having said that, I do wonder how Japanese viewers might feel about the lead character being portrayed by a Chinese actress. Complicated, isn't it?)

Ziyi Zhang... <sigh>. I've loved her since CROUCHING TIGER. I thought she deserved an Oscar nomination for FLYING DAGGERS. For an actress to handle the physically demanding action of that film and then deliver an emotionally powerful performance in the dramatic scenes is worthy of accolades, in my opinion.

Needless to say, I'm still looking forward to GEISHA.

Mark

I was shocked to find out that the book was written by a guy- I had no idea. I kind of reacted the same way when I found out that Anne Tyler wrote THE ACCIDENTAL TOURIST (and that film is much, much better than GEISHA). I read Tyler's book but not the guy who worte GEISHA- I want to read it now.

mkaroly wrote: The acting is strong and Williams' music works in the film but again, it seems "Americanized"- it's like I want a Toru Takemitsu score and I know I'm not going to get it.

I've not yet seen seen/heard the score, but I know the feeling (I went thru this on Last Samurai). Takemitsu was one of a kind (and still undervalued by soundtrack fans -- glad to see someone else apprecaites him).

I expected Williams score to be more Takemitsu-esque, given Williams' obvious fondess for Takemitsu's music (as witnessed by his recording of "Tree Line" and the influence of Takemitsu in some of Williams' more avant garde writing). But when I heard Yo Yo Ma was to be a featured soloist, I was like "Oh, they're just going the trendy route."

For months I've been saying "If Williams passed on Harry Potter and the Goblet of Fire to do Memoirs, then Memoirs better be a really spetacular score!"

Oh well.

Still, I'll probably get the CD (I certainly won't be buying King Kong!).


Paul

Paul MacLean wrote:

mkaroly wrote: The acting is strong and Williams' music works in the film but again, it seems "Americanized"- it's like I want a Toru Takemitsu score and I know I'm not going to get it.

I've not yet seen seen/heard the score, but I know the feeling (I went thru this on Last Samurai). Takemitsu was one of a kind (and still undervalued by soundtrack fans -- glad to see someone else apprecaites him).

I expected Williams score to be more Takemitsu-esque, given Williams' obvious fondess for Takemitsu's music (as witnessed by his recording of "Tree Line" and the influence of Takemitsu in some of Williams' more avant garde writing). But when I heard Yo Yo Ma was to be a featured soloist, I was like "Oh, they're just going the trendy route."
Paul

I don't know many people who even know who Toru Takemitsu is! I have some of his CDs of concert hall music and it's just amazing fun to listen to them and read about what he was trying to accomplish. I have that old laserdisc on Takemitsu from that Music for the Movies series and watch it and the one on Bernard Herrman more than the Hollywood Sound one or the Delerue one- he was very unique and his film music was powerful and added a wonderful dimension to whatever project he was working on.

mkaroly wrote:I don't know many people who even know who Toru Takemitsu is!

I have a soundtrack collector friend who once referred to Takemitsu as "that Chinese guy"!

Takemitsu was an extraordinary composer, with an amazingly versatile range. Ran, Woman in the Dunes, Rikiyu, Rising Sun, Glowing Autumn -- all completely different. Glowing Autumn is a particular favorite of mine, a lush, exotic score which reminds me a bit of John Barry.

Anyway, I finally saw Memoirs of a Geisha last week. Williams' score impressed me, but otheriwse I was *dying* for that movie to end. I was bored stiff. And I must say Williams' use of cello kept reminding me of Seven Years in Tibet and Crouching Tiger, and since two of the main characters are played by Chinese actresses (with Chinese accents) the film felt Chinese to me!

Shades of Mulan, in which cherry blossoms fall about characters attired in kimonos and zori sandals!

Anyway, while I love Yo-Yo Ma and Itzhak Perlman, I would have preferred Williams used flute as the primary solo instrument. Since Williams' flute concerto was strongly influenced by Japanese music (writing for the flute as tho it were a shakuhachi), I was hoping in Memoirs he would take the same approach.

In any case I do like the score (particularly when freed from the film), but still I wish he had done Goblet of Fire instead!


Paul

This score won the Golden Globe last night- I'm surprised Brokeback Mountain didn't sweep....

I don't know how I feel about this- I like the score on its own but I didn't think it was the best it could have been for the film. Hmmmm.....

mkaroly wrote:This score won the Golden Globe last night- I'm surprised Brokeback Mountain didn't sweep....

I don't know how I feel about this- I like the score on its own but I didn't think it was the best it could have been for the film. Hmmmm.....

It's not my favorite Williams score, I'll put it that way, but I still suppose it's as good as anything else written in 2005.

That movie has fallen off the radar fast, as have a number of other holiday releases.