I was drawn to this film for one reason, Anna Tsuchiya. After seeing Kamikaze Girls, I was excited to see her in Sakuran. Now imagine my surprise when I find out that not only is this film based on a manga, it is also about oirans. Now an oiran is sometimes mistaken for a geisha, but oirans were courtesans during the Edo period in Japan. The major difference between them and the geisha is sex. So a movie about prostitutes in Japan it was to be!
I need to first mention that the subject matter was handled well by Mika Ninagawa, a female director. That fact did not surprise me because the portrayal of sex was less about the sex and more about the act. I know male directors could have “gotten it”, but for some reason I think that Ninagawa viewed the subject on a different level. Most of this rambling was to reassure viewers that this was not a film about sex, but about what happens to a young girl brought up in the historical surroundings of the oiran. I have to also praise Ninagawa for the sumptuous cinematography. The colors pop from the screen, but recede when necessary. It’s really no surprise that Ninagawa has a photography background. Sakuran is certainly a great example of using cinematography to aid in the storytelling.
The basic premise is that Kiyoha (Anna Tsuchiya) is placed under the care of the local Oiran as a little girl. Her rebellious nature has led to this placement, and that nature becomes her primary character trait. She is the rebel girl that doesn’t like her position, but finds that by becoming the main oiran; she can rebel on a different level. She has two sides; one that wants to be an oiran and follow in the footsteps of others to become married to a wealthy land owner and the other side which is to escape it all. This culminates in a decision, love or money.
Tsuchiya makes this film more than what it is by turning her rock attitude into a presence that keeps you trained on her eyes. While there are sex scenes, those scenes become desexualized by the matter of fact way they are presented. The sexier moments occur in the eye contact between Tsuchiya and Seiji (Masanobu Ando). These moments are truly the sexier moments even surrounded by a brothel. This does bring in the disconnection between business and real love. Tsuchiya forces you to be on her side and root for her, which is essential in a film like this. You understand the rebellion and are able to confront her problems with her on an emotional level.
While Sakuran may not be the best film, it demonstrates potential for both Ninagawa and Tsuchiya. I will be interested to see where Ninagawa goes from here and hope that her amazing cinematography continues to be one of her best assets. As for Tsuchiya, her looks should place her in may more films. Her acting will continue to improve and hopefully this will lead to more prominent roles. I’m not saying she will be a great actress, but she does deserve a chance. Sakuran is one of those films that may not stick with you forever, but the imagery and visuals will certainly make an impression.
