Oprah is right about the sets and costumes they (amongst other things) make you want to savor every moment of the film. Ken Watanabe was excellent, but I particularly enjoyed the performance of the actor playing Nobu.
The supporting males, while obviously not as well developed since they spend less time in the geisha quarters, still give incredible performances. Look out for Gong Li and Youki Kudoh in RICHLY developed supporting roles. I guess critics wouldn't know that writing reviews without seeing the film or walking out long before it's over (some, such as Jeff Wells, do).Īnyway, it's a fantastic film and more than deserving of multiple Academy award nominations - which it may not get thanks to the fact that so many people decided they wanted to use the film as the sacrificial lamb for a half-baked debate about international politics, rather consider that pan-Asian casting for major roles is NOTHING new (it's true of House of Flying Daggers, The Joy Luck Club and even Crouching Tiger) and that this film's production might represent international cooperation at its best. Matronly bouffants are a Western stereotype! But in any case, some of them do and some don't! THAT'S authenticity. "The film is inauthentic because the actresses do not wear matronly bouffants," one said. Some critics took it upon themselves to be the defenders of Japanese culture (without fully researching their arguments) and, in the process, betrayed their own racism. This is the most unfairly maligned film of the year.
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