+1
A Geisha (1953) Japan, Kenji Mizoguchi
I gave it 8.75
I would not have guessed that this is the same director as Story of the Last Chrystanthemum and Miss Oyu.
Gone is the 16th century, we are now 21st century. In fact it's so modern I would have guessed the film was made in the 1960s, (notwithstanding that it is set in Kyoto which still looks ancient to the current day).
Gone is the parable style subject, replaced by a realistic story narrative.
Gone for the most part - with the exception of one camera angle repeated numerous times, of the alleyway outside the protagonists' accommodation - are the lingering artistic shots, and cinematographic invention, replaced with a few exceptions with a much more functional style (surprisingly the cinematographer is the same as Miss Oyu). In fact, whilst perhaps this was thought at the time to be a technological leap forward, in fact it looks quite cheap. Tbh, I'm not sure why this trade off was necessary. The realistic story narrative could have been achieved with the long takes and carefully choreographed sets and lighting etc. But that's the way he's gone anyway.
I very nearly turned it off after 35 minutes and was not compelled to complete the film. But as it's a short film anyway, and I was wanting to do a review on it, I kept going. And this is one where I'm glad I did, because the film revealed itself as a serious commentary on a serious subject, addressing the pressure put on Geishas to give themselves to their clients. This is seriously bod subject matter for 1953, particular I should think in Japan which seems to have had a much more conservative culture than for example the US. Mizoguchi is taking what seems likely to have been a bold risk in commenting on the abuse of Geishas in this way. Bear in mind that 1953 is before the likes of Varda took strides in the feminist film making movement. And this is a guy doing it, so respect to him for that.
And you know, I think this is probably why he ditched the artistic filming techniques, because this isn't just some parable this time, this is a serious subject, and he doesn't want to detract from that. And the result is that it becomes a gritty, moody drama, even bordering on tense thriller at times. Gone are the caricatures, replaced by real characters (the relationship between the two women had some depth and substance to it). And unlike the parables, this one I did find engaging and engrossing. I began to care about these characters, and the plight of others like them. We feel their fear, their guilt, their repulsion, as well as their sense of mutual protection, hinting back to the themes in the earlier Mioguchi movies where sacrifice was the leading subject.
Did the ending pull its punches though, with a sugared coating? Perhaps.
It's sad that unfortunately many women around the world face similar circumstances to those depicted in this film (and worse) 70 years later. I'm sure Mizoguchi would be disappointed, even if he can take credit from the fact that this film has periods where it has real dramatic clout.
I got some decent shots out of it in the end too.
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