A different way of telling a story

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Sure is colorful. There's a lot to write about when discussing this film but very little of it has to do with the story: In eighteenth-century Japan, a young girl is sold to a brothel by her mother; she's rebellious and tries to escape all the time; she's more talented and beautiful than all the other girls (suspension of disbelief required); she becomes an oiran (in the hierarchy of prostitutes, sort of like a four-star general in the army).It's not that the story is bad or unimportant, it's that everything else about the film screams "Look at me! Look at me!" The sets and costuming, the soundtrack, and the casting of a mixed-race Polish/Japanese version of Courtney Love in the lead role all go against type. And one cannot help but notice that this is not Memoirs of a Geisha. Insight from the nearly sixty second montage of naked female breasts near the beginning of the film might be missed if one doesn't notice that the director Mika Ninagawa, the art director Namiko Iwashiro, the music director Ringo Shiina, the producer Chikako Nakabayashi, the scriptwriter Yuki Tanada, and the artist of the original manga Moyoco Anno are all women.The film is beautiful to look at, if a little over-indulgent at times. No attempt is made to be true to the period. I don't speak Japanese, and subtitles are always deficient in nuance, but I'm sure the dialog is straight off the streets of contemporary Tokyo and not in any Edo period parlance. The mannerisms and delivery, and even the subtitles suggest this, and it's one of the things about the film I'm undecided about. I'm not generally a fan of costume dramas or period pieces so on the one hand I was interested in seeing this modernized production, but on the other hand I felt a sense of incongruity while watching it. The bold colors of the sets and costumes didn't bother me but the soundtrack is a little odd. Not so much in the style—which swims through many modern genres of pop, rock, and jazz—as in the reverb. The music often doesn't sound like it is in the same size room as the action that is taking place. I like Ringo Shiina's music, have a few of her solo CDs and those of Tokyo Jihen, the band she also plays in. It's not that I think the music is bad, or that it is too terribly out of place. I think the sound design could have been better, and I think that some of the folks who find the soundtrack a little jarring would be less put off by it if more attention had been paid to the overall sound design.Finally, I was not won over by Anna Tsuchiya in the lead role. I'm sure casting her was a well-thought out conscious decision by the director and I also, in theory, think she fits the package the director was trying to deliver. It's not that she doesn't look 'traditionally' Japanese, whatever that is. And it's not that she lacks a certain elegance I've come to expect of these types of characters, although I'm not surprised by the omission of her doing any of the arty things these pre-geisha geisha types were supposed to be fluent in like music, poetry, dancing, or witty conversation. It might be that she just isn't a very good actress. These rock star cum actress types often possess great charisma that passes itself off as good acting in the right context. I'm not sure this is one of them. I hope I haven't spoiled it for potential viewers by bringing up Courtney Love, but that's what it felt like to me, a little vulgar and somewhere between disappointing and distracting. Tsuchiya is a lot more attractive in her own musical environment than she is in this film. I just didn't buy her as a sophisticated beauty who rises to the top. Maybe I'm just upset that Yoshino Kimura is given short-shrift in the fake eyelash department or that the truly beautiful and engaging Miho Kanno is dispatched with too early in the film.

Sakuran was a fun, interesting and beautiful film. I had meant to watch it for some time but never quite felt in the mood for it when I made it to the Tsutaya DVD rental shop near my house. Last Friday I finally took the plunge and am so glad I did. Just before I watched it I was online and thought I would as I sometimes do check how people had rated it on IMDb. I like to believe this never affects my viewing of the film and am now surprised at it's relatively low rating. I was also surprised by the last person to review it. I rate the film an 8 but only really because I found the set disappointing at times and because Miho Kanno was not in it enough for me. Though there are many beautiful images in the film and wonderful costumes the overall cinematography and set give the feeling of a TV show. That perhaps is a criticism of the budget rather than the director.Kiyoha the main character? Kiyoha is wonderful. She remains tough and untainted by her treatment and surroundings and the way that she speaks compared to the otehrs around her more than anything emphasises this. When I say that she is tough I mean just that but she also has a rather pure and gentle soul despite her way of acting and speaking. We can see this in how she treats the younger girls in the brothel. I would guess that Anna Tsuchiya does an excellent job of portraying the character from the comic book series but would have to ask somebody who has read the series to find out for sure. There certainly seems to be none of the American weakness and fatal flaw in adapting controversial comic book characters to the screen. I feel that nothing had been watered-down here.In Kiyoha's relationships with men we see an unexpected honesty that both attracts us and them to her as much as her beauty. There are three main rivals for her love. Though not entirely unexpected her final choice is still gratifying. I shall not tell you much more except that I loved this film and again fell in love with Miho Kanno. What a beauty!

It's painfully clear that all effort in this film was directed toward cinematography and very little attention to everything else. Most obvious mistake is the miscast of the entire female cast. Many of them are very experienced and capable, but they all seemed out of place, and having an amateur director certainly didn't help. The story is a very common Geisha story, and characters behaved very inconsistently, thus making it extremely difficult for me to connect with the heroine. This movie's theme is "modern prostitution", but still, it was annoying how Tsuchiya Anna's lead character kept talking like a female motorcycle gang member while everyone else spoke in old Japanese fitting for this setting. This movie has very beautiful vibrant colors, similar to Zhang Yimou's "Hero", but viewers can easily tell it's filmed in a cheap, elaborate set. This is one of those jidaigeki made specifically for foreign audience: "Look at the colors, beautiful geisha, and exoticness!"The two sequences with Shiina Ringo's insert songs were really nice though, in mid-section of the movie. I actually really disliked her music before, but they fit perfectly in this movie. Although Ninagawa Mika is a complete failure as a film director, she has a major potential in PV (music video) production.I believe the story felt very plain because the director failed to focus on character development, and because Tsuchiya Anna's unconvincing acting as an Oiran. Had this film been directed by a known Jidaigeki director with any other known actress in Japan, it would've had the potential to become a masterpiece.

Ninagawa Mika's "Sakuran" is a gorgeous, vibrant and simply beautiful movie. Stunningly visual, lavish and absolutely mesmerizing.Based on manga writer/artist Anno Moyoco's "joyosei" (young woman's) comic series "Sakuran", the story tells of a young girl sold to a brothel in the red-light district of Yoshiwara by her indifferent mother (during the late Edo period) and her struggles to adapt to life as a Oiran (courtesan).The rebellious girl is put under the care of a beautiful Oiran, Shohi (Kanno Miho). The girl is given the name Tomeki and is trained by Shohi in the ways of becoming a great courtesan. She suffers much at the hands of her new "family" but in time becomes a "hikkomi" (prostitute).Her increasing popularity among the various Edo clientèle soon overshadows that of the current favorite Takao (Kimura Yoshino) much to her jealous disdain. Now given the more glamorous name Kiyoha, the young courtesan (Anna Tsuchiya) struggles with life as a Oiran while trying to find true love in a fake world. Eventually she achieves her goal of becoming a Yoshiwara star and assumes the new name of Higurashi but even this long sought after goal seems unsatisfying and she longs to find her own happiness.While comparisons to Rob Marshall's 2005 "Memoirs of A Geisha" are inevitable (Geisha are not Oiran and vice versa) especially with regards to story, I think "Sakuran" is more stylistically similar to Sofia Coppola's 2006 "Marie Antoinette". Like "Marie Antoinette", "Sakuran" is set in the past but rather than present it in a dull, drab, dated fashion, Ninagawa takes the opposite approach and presents the Edo period as a glorious spectacle of color and flamboyance. The modern rock music soundtrack, use of modern Japanese and focus on spectacular fashion also add to the similarities. This is not a historical documentation but an artistic interpretation of life at the time not unlike movies like "Samurai Fiction".Where "Memoirs of a Geisha" played more like a flawed theatrical fairy tale seen through the eyes of foreigners ("Gilbert and Sullivan's "The Mikado" comes to mind) "Sakuran" seems like a sensual and romantic Japanese manga come to life.Photographer turned director Ninagawa's eye for detail and skills in photography are put to great effect in "Sakuran" and it really shows on screen. The world of "Sakuran" seem almost too beautiful to be real. Cinematographer Ishizaka Takuro should also be credited with the amazing camera work.With fabulous production designs by Iwashiro Namiko and breath taking costumes and makeup by Iga Daisuke and Sugiyama Yuko "Sakura" is a good looking film.The screenplay by Tanada Yuki and Anno Moyoco tries its best to adapt the long manga story to film and does so admirably. Like her equally talented husband, Anno Hideaki (Evangelion, Cutie Honey Movie), Moyoco's flair for visuals do tend to overshadow the story a bit. I would have loved to see more of the mundane everyday lives of the Oiran as well as Kiyoha/Higurashi's struggles at trying to be accepted.Rock idol/model Anna Tsuchiya is an unconventional beauty (she reminds me a lot of Christina Ricci) and is definitely very good here. While her rebel role is not all too dissimilar from her previous role in fan favorite "Shimotsuma Monogatari" (AKA Kamakazi Girls), "Sakuran" does give her more of an opportunity to display her very natural and playful acting style. I hope that she is given more roles in the future that showoff more of her acting talents as indeed it is a waste to have her type-casted in the same type of "Jajauma" character.The modern soundtrack by Shiina Ringo (which mixed jazz, rock, pop and even cabaret) was also very good and surprisingly didn't really seem that much out of place amid the Edo era Yoshikawa setting."Sakuran" is definitely a surprising delight and a very good debut for Ninagawa who is certainly poised to become another shining star in the Japanese cinema world.