I like the storyline of this show,it attract me so much

The Worst Film Ever

It's an amazing and heartbreaking story.

Great movie. Not sure what people expected but I found it highly entertaining.

I read a beautiful novel. Granted, I do not know much about Japanese culture, but the book was filled with information and subtlety that made me feel as though I did. The impression I felt was one of stifled hope under a beautiful mask that finally was able to burst through during the final pages. I cried.Then, I watched the movie, hopeful that it would be the embodiment of all of the emotion that the book had evoked from me. I normally have lower expectations of movie adaptations of books I have read because I understand that it is impossible to fit in every event and detail, but this film, for me, fell short.The beginning of the film was done incorrectly. The story of Sayuri being ripped from her family and subsequently throwing fits and crying was not true to the story and took away a piece of her character. When I read, I was struck by the fact that Sayuri didn't show much emotion more than silent crying and took that to be a cultural response. Sayuri being loud and throwing fits mischaracterized her.Hatsumomo was miscast, and Mameha was not done quite right. The character of Hatsumomo seemed too loud as I imagined her with a kind of quiet cruelty. Mameha was such an important character that I didn't feel she was given enough time or credit for all that she taught and gave to Sayuri. I wanted to see more of them entertaining as geisha. What a night for them would be like. Also, in the book, Mameha clearly plots directly against Hatsumomo, which, to me, was another important detail.The moment in which she meets the Chairman was not nearly as beautiful or heavily emphasized as it should have been. This was the moment when Sayuri was lost and without life direction and then decided to tether all of her hopes and dreams on this one man. Ken Watanabe was perfectly cast, but their meeting was too abrupt and insignificant. Nobu's character wasn't developed nearly enough. It was never truly explained how much he cared for her or the true reason why Sayuri did not want him as a patron. He was also supposed to be more disfigured. I missed this detail, not for the shock factor, but because it is what makes everyone pity him and what helps drive the Chairman to keeping himself away. I feel cheated because the most pivotal scene was changed. Sayuri should never have thrown the Chairman's handkerchief to the wind. She would have kept it always and never parted it with it for anything. She should have laid it in front of the Chairman as he spoke so that he would know that she loved him, too. Then end just wasn't right. The progression of the film was beautiful. I love the score, and I particularly love the scene in which she transforms into a geisha. The scene in which Sayuri danced was absolute heaven. Visually, the movie did many things right. Content-wise, it was a miss for me.

Set in early twentieth century Japan, the life and lure of Geisha and it's history is explained through the most tragic of circumstances. As an outsider in the US, a viewer takes home cultural identities that contradict most prior knowledge of the culture, mystification, and history of Geisha. While Geisha still exist today, the process is different. It means something to Japan. In the US, 'geisha girls' are a derogatory term. This movie shows the full stages of early twentieth century initiation through diabolical means. It shows an undercurrent happening even with the Geisha community. The time was dark. The Geisha served as escorts, mainly, for those in political power. Only some Geisha were permitted to have regular followers. Some Geisha were auctioned off. Some Geisha were truly in Love. Once you swallow the horror of the arrival of adolescence in a place in the dark history, the entire movie is a love story.There were people and guides with this Geisha-dreamer-girl, her whole life. The first guide, she found herself, as a little girl. He thought she reminded him of a young, abused Geisha attendee, however, he told her he was reminded of him children.The shaved ice cup, in the town scene, is the most crucial thing in the entire movie. She bases the rest of her life, where she places her trust, and whom she seeks to hide it from, on that single moment--when she saw HIM- (Ken Wanatabe) and his Geisha.Rivalries spring up, and collapse over the course of time. However the ART begins to inspire. Art becomes the universal truth that gets this lowly little child, from the hell she was dragged through, to the Love she seeks. The epic journey is told with the most brilliant costumes, sets, cinematography, and casting. Everyone in this movie was an artist. Despite war, misinterpretation, language barriers, and culture shock, this movie bridges a serious gap between worlds...as artists, people, friends. Not many remember why the cherry trees bloom here too. We need movies like this. We Are one world, with many tragedies, and Many many more artists.

In pre-war Japan two young sisters are sold to separate geisha houses; the older of the two manages to escape leaving young Chiyo behind. Here she works as a servant dreaming of the day that she can become a geisha; although that dream seems to be ruined before it can get started when Mameha, the most successful geisha in the house, takes against her. One day while out the local Chairman shows her an act of kindness; offering words of comfort and buying her flavoured ice. After this she resolves that she will become a geisha despite her lack of training. Time passes and another geisha takes her under her wing and sets about training her. She learns quickly and the soon becomes a rival to Hatsumomo who is determined not to be usurped. Meanwhile she meets the Chairman again, assuming he has long forgotten her, but it looks as if any relationship will be impossible.I was initially a little put off by the films run time but I needn't have worried it didn't feel long as I was quickly drawn into the story of young Chiyo and her life in the geisha house. Suzuka Ohgo does a fine job playing Chiyo as a child with the excellent Ziyi Zhang taking over when she goes up. The story progresses at a good pace with plenty of emotional ups and downs as Chiyo's prospects change… each time it looks as if things are going in the right direction something happens to dash her hopes… usually due to Hatsumomo; a delightfully self-centred character played by Gong Li. The romance is nicely understated in a way that meant we could believe neither party knew the others feelings.Much has been made of the use of well-known Chinese, rather than Japanese, actresses to play most of the leading characters; this didn't bother me… it seemed little different from having actors from one European country playing characters from another and nobody seems to worry about that. They did a good job and at no point did I have any difficulty understanding what any of the cast were saying so they either spoke English fairly well or did a great job speaking it phonetically.The film looks great; it's not surprising that it won an Oscar for the costume designs. The great look doesn't stop there though; the sets give a feeling of the era and some of the scenery is stunning; especially in the scenes set in the formal gardens. The film also provides an interesting insight into the very traditional world of the geisha. Overall I enjoyed this film more than I expected and definitely recommend checking it out.

The gentle standpoint of the Japanese woman...I guess you have all watches "Memoirs of a Geisha", the beautiful adaptation of Arthur Golden's book of the same name. This dramatic film does justice to the position not only of the geisha in the Japanese society, but it is also an embodiment of the innocence of the Japanese woman. I dare not say that there is no controversy in this movie - the lead female actresses are all Chinese. Though the depiction of the characters is so much true to the original. My opinion is such not because I understand all the qualities of the geisha performer, or the Japanese women, but as a result of the many various emotions and thoughts that this cinematic artwork awakens in me. The heartbreaking purity and vulnerability pierce through the silver screen into the viewer's mind like a clear chord from a Shamisen's stretched string.The movie follows the narrow path of poor Chiyo through the hardships of time and depicts the layering of an impeccable white powder mask. Despair and the driving forces behind the transition of the main character from the gentle Chiyo to the symbolic Sayuri. Romantic mystery and cruel reality wrap up the appealing of this powerful story. This film is about the power of the spirit which I guess most of the Japanese women have. Their obedience and timeless intimacy are two of the main characteristics which we all know. Also, we can see the world of the geisha depicted in details. It nurtures carefully, but also drains the natural desire for freedom. This harsh world imprints the sense that there is no alternative, but to live gracefully empty. The story though follows the historical turbulence of time and unites the two main characters at the end. Fate is involved like a thin invisible thread joining the dramatic parts of the story.The intimate music and the compelling visuals are so immersed that we ourselves feel deep compassion for Sayuri. Throughout her whole life she wants only one thing - to love and to be loved. The Chairman is that island of peace and happiness which she longs for. Do we all crave to express and feel? Aren't we all harboring such intimate dreams of fulfillment? Don't we all relate to the same heartfelt desire? I think that deep inside we are all the same. No matter when, where and how we live...