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The Geisha House (1998)

Omocha (original title)
Young Tokiko works at a geisha house as a maid, waiting for her maiko practice (apprenticeship of geisha) to begin. The movie depicts detailed lifestyle of geishas at that time, showing their rules, loves, beauties and humanities.

Director:

Kinji Fukasaku

Writer:

Kaneto Shindô
Reviews
9 wins & 9 nominations. See more awards »

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Cast

Credited cast:
Maki Miyamoto Maki Miyamoto ... Tokiko aka Omocha
Junko Fuji Junko Fuji ... Satoe
Kaho Minami ... Terucho
Mai Kitajima Mai Kitajima ... Somemaru
Masahiko Tsugawa Masahiko Tsugawa ... Yoshikawa
Yumiko Nogawa Yumiko Nogawa ... Michiko
Mariko Okada Mariko Okada ... Hanaman's owner
Takeshi Katô Takeshi Katô ... Kitayama
Noboru Mitani Noboru Mitani ... Mikami
Naomasa Musaka Naomasa Musaka ... Kayama
Takashi Sasano Takashi Sasano ... Kosaka
Rest of cast listed alphabetically:
Seizô Fukumoto ... Police detective
Ryôko Gi Ryôko Gi
Chinatsu Izumi Chinatsu Izumi
Yasuyo Matsumura Yasuyo Matsumura ... Tokiko's mother
Edit

Storyline

Young Tokiko works at a geisha house as a maid, waiting for her maiko practice (apprenticeship of geisha) to begin. The movie depicts detailed lifestyle of geishas at that time, showing their rules, loves, beauties and humanities.

Plot Summary | Add Synopsis

Genres:

Drama

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Details

Country:

Japan

Language:

Japanese

Release Date:

15 January 1999 (Japan) See more »

Also Known As:

The Geisha House See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color
See full technical specs »

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User Reviews

 
Mizu shōbai (The water trade)
1 May 2016 | by lreynaertSee all my reviews

Both Kinji Fukasaku's movie and 'Street of Shame' by Kenji Mizoguchi deal with the same theme: the discussion about the legal 'abolition of prostitution in Japan' in the years 1956-1958. While Mizoguchi's movie backs sharply the abolition, Fukasaku's movie is against it (e. g., its music is rather a glorification of the geisha trade). His work is a more or less objective analysis of the 'water trade' (the house rules, its financial aspects, the girls, the clients, the mamasan, the patronage), in the same vein as the Japanese writer Nagai Kafû did in his novels and short stories. Both movies explain clearly the social background and the causes of the choice of the girls to enter the water trade: poverty and family problems (ill health of family members).

Sayo Masuda (Autobiography of a geisha) as well as Arthur Golden (Memoirs of a geisha) confirm in their books that the important financial investment in the training of a girl to become a geisha is for a major part immediately recovered by the 'sale' of her sexual initiation. This fact was completely 'forgotten' in the movie 'Memoirs of a geisha' by Rob Marshall based on Arthur Golden's novel. Not a masterpiece, but well worth seeing.


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