"Memoirs of a Geisha" is a visually stunning melodrama that seems more like a camp, drag queen satire than anything to do with real people.

The first half of the film defensively keeps insisting that geishas are neither prostitutes nor concubines, that they are the embodiment of traditional Japanese beauty. But other than one breathtaking dance, the rest of the movie degenerates into "Pretty Baby" in Storyville territory, or at least Vashti and Esther in the Purim story, as all the women's efforts at art and artifice are about entertaining much, much older, drunken boorish men. Maybe it is Japanese culture that is being prostituted, and not just to the American louts after World War II.

Perhaps it's the strain of speaking in English, but Ziyi Zhang shows barely little of the great flare she demonstrated in "House of Flying Daggers (Shi mian mai fu)" and "Hero (Ying xiong)." Michelle Yeoh occasionally gets to project a glimmer of her assured performance in "Crouching Tiger, Hidden Dragon (Wo hu cang long)." Only Li Gong shows any real life. Otherwise, I kept picturing Charles Ludlam in various roles, or even Cillian Murphy, as in kabuki theater, particularly as the plot dragged down in cat fight after cat fight.

The supposed love story has zero chemistry, mostly due to the age differences, and I mostly felt sorry for Ken Watanabe and hoped his Hollywood pay check compensated for his loss of dignity as the mysterious "Chairman." I remember more emotion in "Portrait of Jennie" as the young girl is anxious to grow up into Jennifer Jones to please Joseph Cotton.

We see brief glimpses of reality when the geishas pose with regular women as photographic attractions, and as an ageless Ziyi Zhang lives out the war years in a very colorful kimono dying operation. The finale has little sense of normality.

The score includes many chopped up traditional melodies, with cello by Yo Yo Ma and violin by Yitzhack Pearlman instead of traditional instrumentation, that are beautiful to listen to in accompaniment to the lovely cinematography, as long as one completely ignores the plot and stiff acting.

As my mind wandered, I wondered how the great Japanese directors of samurai movies would have dealt with this story, which probably would have been more formal, but a lot more emotional.
Choose your answer. What is the sentiment of this review?
Options: - negative; - positive;
negative