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Gion bayashi (1953)

 -  Drama  -  11 June 1978 (USA)
7.7
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Ratings: 7.7/10 from 903 users  
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In the post-war, the sixteen year-old teenager Eiko seeks out the geisha Miyoharu in the district of Gion, in Kyoto asking her to be a "maiko" (apprentice of geisha). Eiko explains that her... See full summary »

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(novel), (screenplay), 1 more credit »
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Title: Gion bayashi (1953)

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Cast

Credited cast:
Michiyo Kogure ...
Miyoharu
Ayako Wakao ...
Eiko
Seizaburô Kawazu ...
Kusuda
Rest of cast listed alphabetically:
Saburô Date ...
Imanishi
Kyôko Hisamatsu ...
Young girl
Sumao Ishihara ...
Kokichi
Kanae Kobayashi ...
Hairdresser
Keiko Kobayashi
Midori Komatsu ...
Oume
Kanji Koshiba ...
Kanzaki
Kazuko Maeda ...
Maid
Ryusuke Maki
Tokiko Mita ...
Apprentice geisha #1
Kikue Môri ...
Domestic arts teacher
Chieko Naniwa ...
Okimi
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Storyline

In the post-war, the sixteen year-old teenager Eiko seeks out the geisha Miyoharu in the district of Gion, in Kyoto asking her to be a "maiko" (apprentice of geisha). Eiko explains that her mother, who was a geisha and Miyoharu's friend, has just passed away; her father Sawamoto has failed in business; and her uncle is harassing her. Miyoharu is a warm-hearted woman and accepts to train her. One year later, Eiko's father refuses to be her guarantor and Miyoharu borrows a large amount from the tea-house owner Okimi to buy her kimono and debut in a party. Miyoharu changes Eiko's name to Miyoe and introduces the teenager to clients as her sister. Soon Miyoharu is charged for the money but neither she nor Miyoe wants to have patrons. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis

Genres:

Drama

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Release Date:

11 June 1978 (USA)  »

Also Known As:

A Geisha  »

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Aspect Ratio:

1.37 : 1
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Referenced in Diana Vreeland: The Eye Has to Travel (2011) See more »

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User Reviews

 
lacks the strength of Mizoguchi's historical dramas
2 August 2000 | by (Freiburg, Germany) – See all my reviews

In fact Mizoguchi's historical dramas like "Saikaku ichidai onna" deserve more attention than this movie.

The fate of the two Geisha' is described too much in a text book manner "let's see the culture clash" in post war Japan. Thus the protagonists lack any psychological depth and they are rather symbols for tendencies than persons. Similar sujets have been dealt with by Ozu with much more artistic skill and of course, humour.

As a "typical" Japanese film , however, it is produced with enormous diligence regarding the mise en scene.

Therefore (7/10)


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