The film "Memoirs of a Geisha" itself is like a geisha: under the glamorous and exquisite appearance, what is hidden is just a mediocre heart. In fact, tearing off its gorgeous coat, "Memoirs of a Geisha" only has a bunch of artificial oriental flavor. It is completely fabricated by Hollywood techniques, and this alone may offend countless Asian audiences and many fans of Eastern culture in the United States. But what is more telling is that its compromise with business is just right, and it has become a qualified film. ()
A Japanese film jointly created by an American original, American directors and Chinese actors is destined to not be a pure work of art. There are cherry blossoms, wooden clogs, paper umbrellas, and kimonos, but the actors speak English with their mouths open. They are not very coordinated. The highest level of the film is photography, which has produced exquisite Japanese-style paintings of the mid-20th century for the audience. Except that the background is Japan, everything else is American, American dialogue, American happy ending: this 3-hour movie, it might be better if it ends in two and a half hours, Sayuri’s hopes are shattered. Standing on the top of the mountain and throwing the handkerchief that has been collected for many years into the sea, the audience is more likely to resonate with the helplessness and sadness of the geisha’s career, but Spielberg arranged for the hero and heroine to reunite under the cherry tree. Long love concubine, the last two people embraced forgively, and walked towards tomorrow hand in hand-this O. Henry-style ending greatly weakened the consistency of the whole play, obviously the small paws growing on the snake's body. This is not to blame Spielberg, Arthur Gordon’s original work is written in this way, but some plots can be used as novels, but not suitable for movies. (by)
