I just realized why the colors and sets in "Sakuran" were so flashy and gaudy, and just painful to look at. The story is about a high-class prostitute known as an oiran in Japanese. Their kimono were always flashier and gaudier than other kimono so that the oiran would stand out. But the director, Mika Ninagawa, had to make sure that the director stood out even more than the main character, or even the story. What Anna Tsuchiya did in the movie just gave me the creeps. You couldn't call it acting. It was nothing more than catering to her flipped-out, high-school-girl fan base. Hey Anna, good luck on that one as you get older. Yeah, right, an oiran as a crude and vulgar, prone- to-violence, biker chick. Didn't we already see you portray this character in a more appropriate movie?The story was painfully boring and predictable. What is the story of "Sakuran"? An obnoxious little bitch ever remains true to her self which is just that: an obnoxious bitch. She finds that, inexplicably, men are attracted to her and that she has an unexplained ability to manipulate men and becomes a successful, high-class prostitute even though she talks and behaves like she's a member of a female biker gang. This so-called seductive ability of hers is talked about but we never see it in action, probably due to the ineptitude of the main, pretend-phony-biker chick, I mean "actress." The main character of the movie makes a wealthy and powerful man angry at her because she keeps him waiting while she services a much more lowly customer. Not very oiran-like, is it? How could such a woman ever become an oiran? Oh, because the previous oiran got herself killed and the house needed a whore that could demand a high price. Who would pay a high price for a slut so cheap? Rumors get around. How could there be no repercussions for what she did to the powerful guy? Because the screenwriters are dolts. They just made up a bunch of crap.Then an even more wealthy and powerful guy falls for her (why?) and she throws him over for a penniless guy who is generally cold and distant toward her but respects who she really is (which doesn't make sense. How can anyone respect someone so worthless?).Speaking of crap, it's like the director squatted down and took a huge, psychedelic-colored dump on the aesthetics, culture, and society of the Edo Period. What of such things as sabi, mono no aware, wabi, subtlety, elegance, a rigidly hierarchical society? All shat upon by a director who comes off as a senseless, nouveau-riche parvenu. The amazing thing is that so many other Japanese, in watching this movie, squatted down around the director and took steaming spoonfuls of this blazing-colored stinking crap and exclaimed how tasty it was.Argentinean tango music with violin and bandoneon as backdrop for the Edo Period when Japan was totally isolated from the international world (except for the 3.7 acres of Dejima)? Why not just have Anna, the bad-ass-biker oiran, answer her cell phone and the rich and powerful daimyo character drive off in a hissy fit in his red Ferrari? The music we had to listen to was jarring and anachronistic (the same as the art design). Near the ending, I liked that there were only two or three tiny flowers on the shrine cherry tree. But, earlier, the second she said she would leave the quarters when it bloomed, we all knew exactly what would happen. How boring, to telegraph the ending so clearly. But what's the point of the old tree blooming? That rich and powerful guy already made the pleasure quarters bloom in cherry blossoms like the mountains of Yoshino in spring. That didn't impress her at all? No, of course not. I already know that about whores. The guys that treat them nicely get kicked in the balls. Maybe it bugs the whores to have people idealize them when they themselves know the truth of who they are: just cheap and worthless.Considering the director's obsession with goldfish, the second to last scene should have been of a goldfish bowl on a verandah accidentally knocked over. Two fish tumble into a stream which carries them off to escape beyond the walls of the pleasure quarters, belying how goldfish are stuck in their bowl and can't survive outside (just like the denizen's relationship with the pleasure quarters). Otherwise the talk of the fate of goldfish has no meaning.In the final scene the cherry trees were full in bloom, but the brevity of the blooms is one thing special about cherry blossoms. I couldn't help thinking that soon enough dusk would wipe away all the soft pink color and warmth from the scene. The sky would go quickly from hints of shadow, into an ever- deepening gloom, and night would fall. It would become cold, very cold. And dark. That really wasn't a happy ending, was it? Romantic love (in the Edo Period?) could survive in the face of terrible poverty and being ostracized for about as long as those cherry trees bloomed. Maybe a few days, unless it rained sooner. But the unconsummated romantic love we see here? It's existence in this period is incomprehensible.Anna Tsuchiya walking in the shoes of an oiran? She couldn't do it. Literally. Check out the scene of her "promenade" where she seems to have the correct footwear on but she has to hold on to some guy's shoulder to keep from tumbling on her ass.I was going to give this movie two stars for the art direction but then I realized what that was all about: sick dominance on the part of the director. Those colors and sets are just the way the director has of screaming, "I'm the most important one here! Me! It's all about me!!!!"

While watching Sakuran, I can't help but to chuckle at how long queues were formed, gawking from the outside, trying to get a taste of the cherry pie, as it somewhat mirrored my patiently waiting for the movie to be screened here, in any form, on the big screen. I had tried to get tickets to watch this during last year's Hong Kong International Film Festival, where director Mika Ninagawa was in attendance, together with actor Masanobu AndoXXX, but alas the tickets were sold out within minutes going online. It made my day to know that this year's festival had Sakuran in its lineup, and needless to say, this was one of two films shown during the festival that tickets were completely snapped up. And I guess waiting a few more days to the second last session of the fest is nothing compared to waiting for it for 18 months.So what do I think about it? I thought it was an absolute delight, and well worth every minute of the torturous wait to feast my eyes upon it. For those who have watched Memoirs of a Geisha, comparisons will be inevitable, from storyline right down to every other aspect of film-making, and in my opinion, Sakuran trounces Geisha hands down. Narrative-wise, it dealt with similar themes and development of its lead character, with their being sold to slavery in a brothel, before their good looks meant being groomed for their inevitable role of economic contribution to their owner's coffers in the world's oldest profession. However, these are strong willed individuals who refuse to conform, and stories of such nature never fail to add a dash of conflicted romance to spice up the plot.For historical buffs who want to know a little on the timeline and difference between the Geishas and the Oirans, the latter were high class courtesans meant for the pleasures of societal who's-who during the Edo period and were skilled in areas like dance, music and calligraphy, before the rise of the former group brought about an end to the Oirans, akin to an evolution of the role. The oirans operated from segregated "pleasure quarters" back then, which is like one big integrated resort filled with entertainment for pleasure. Both groups have elaborate rituals and rites, and in Sakuran, we get to see a grand procession of the top Oiran on impossible heels, together with her entourage being paraded, sort of heralding their arrival to the top, as well as to probably become a live advertising billboard.Based on a manga, the protagonist of Sakuran is Kiyoha (played by rocker Anna Tsuchiya, who owned the role), who when young was a scruffy looking kid with attitude and a motor mouth, and we see her transformation into that of an Oiran, an epitome of elegance, but still stuck with that caustic, acerbic wit and tongue (pardon the pun). While she possesses some innate powers of seduction mastered from a young age of observation, which naturally propelled her to fandom and legendary status amongst pleasure seekers, she too like Sayuri of Memoirs, yearns for freedom and escape from bondage, and while having to deal with plenty of suitors, here ranging from Lords to Samurais, her heart inevitably belonged to one man who, as the saying goes, is always close by.It centers around the love and life of a courtesan, and this movie would not have pulled it off if not for the very glamorous Anna Tsuchiya taking on the lead role, and giving the role a three-dimensional personality and dripping charisma all over the screen each time she comes on. With a flutter of the eyelash, or a whisper of her uniquely sounding voice, she owns this role, and is very much less of a bore given that she's not squeaky clean, nor a damsel-in-distress. She doesn't mince her words, and speaks her mind openly, which endears her, and isBut besides the acting front, with a whole supporting cast of wonderful actors bringing to life their respective characters, the movie is as strong on the technical end. Having a woman at the directing helm provided a very measured translation in bringing out the internal strength of a woman, and the art direction, costumes and sets too were pretty perfect. In fact, one of the earliest observations that strike you is that the colors are strikingly rich and saturated, and the gold fish and their tanks of different shapes and sizes, will make you wonder if you should go creative with your aquarium at home too. With an eclectic soundtrack of pop, rock, and even jazz to boot, there's never a dull moment in Sakuran as there's so much going on that you wish for the film to never stop going.And I'll end it off with one more comparison with Memoirs of a Geisha for good measure - this film is less dramatic or epic in scale, but more than compensates for it with its excellent charismatic cast, and a lot more flair without sinking into the melodramatic, even though I had wished for a darker ending. Oh, and because the film wasn't framed properly during the screening, I had a field day with spotting countless of microphones popping up all over the place overhead, and in one scene with the spewing of blood, had seen two fingers and a hose doing the deed. While these moments didn't ruin the movie, it did however brought a little shine off movie magic.

This film, from the first frame, is visually stunning. The colors are so vibrant they jump out at you, kind of like the great "Memories Of Matsuko". The story relates the lives of courtesans, mostly Kiyoha, played by the beautiful Anna Tsuchiya. They picked the right actress for this part, she is as visually stunning as the colors. The story traces her life from childhood as a courtesan, her lovers and all the trials she goes through. The film has nudity in it, which makes sense in this film's context, but it doesn't appear too gratuitous. This is the kind of film you'd want to watch in a theater or on an hdtv. It makes you appreciate the director's aim more. All in all, a good to very good film, which held my interest. I have never seen Ms. Tsuchiya in a film before, but, based on this, I will. Go see it.

Sakuran, though different on some levels from Memoirs of A Geisha, shares the same, maybe better, artistic visual. This movie tells the story of an oiran (prostitutes, different from geisha) named Kiyoha (later Higurashi) played by Tsuchiya Anne.Much more realistic than Memoirs of A Geisha, Sakuran has a simple plot circling in Kiyoha's raise from a hikkomi (oiran-apprentice) to the highest ranking oiran in Tamakuki House. A numbers of men introduces her with love, heartbreak, hope and freedom. The beautiful Kiyoha meets first love Sojiro (Narimiya Hiroki), wealthy samurai Kuranosuke (Shiina Kippei) and a kind brothel clerk Seiji (Ando Masanobu). Like a goldfish in a tank, the outspoken Kiyoha longs for freedom.Sakuran presents beautiful vibrant colors from kimonos, interior decors and ornaments throughout the movie. Very energetic and accompanied with strong modern songs by Shiina Ringo, Sakuran is sure to please the eyes. Outside its beautiful visual, the storyline and plot is rather bland without the ability to stir the viewer's emotion. Tsuchiya Anne gives a pretty strong performance and fits her character well.