February 4, 2016
Sisters of the Gion
– Japan, 1936

Many of these contrasts exist within two sisters, Umekichi
(Yoko Umemura) and Omacha (Isuzu Yamada). Both of them are geisha, yet their
lives lack the glamour and joy so often associated with women in that
profession. When we do witness them smiling and acting stereotypically servile,
we’re never allowed to forget that it is an act, and watching these two
characters I could only see their choices as having been driven by economics. Umekichi
is the more romantic of the two, a fault her sister attributes to her training
at a pleasure school. In stark contrast
to Umekichi, Omacha speaks of men and love with a vitriol that is both shocking
and disturbing. That she can so quickly adopt the behavior of a sweet,
good-natured young woman who laughs at jokes and serves tea with a smile may
forever change the way you see geisha.
A rift develops between the two sisters when one of Umekichi’s
patrons falls on hard times and she offers him a place to stay. Her sister’s
response is nothing short of contempt, and almost immediately she begins to
scheme a way to get rid of him. The film also introduces us to several male
characters. In addition to Umekichi’s patron, Shimbei Furusawa (Benkei Shiganoya),
there’s Kimura, a young man whom Omacha initially pins her hopes of a better
life on; Jurakudo, an well-to-do acquaintance of Furusawa’s, who takes an
instant liking to Umekichi; and Sangoro Kudo, Kimura’s boss, who unwisely
decides not to take his own advice. At times, each of these men represents hope
and then disappointment, as each in their own way proves unable or unwilling to
be what the sisters want them to be. Then again, how can they? While some are
weak-minded, others are adulterers, and as the saying goes, those who betray
their wives are prone to betray their mistresses.
According to contemporary thought, the geisha profession was
a noble one, and it was only until the end of World War II when the line
between geisha and prostitutes became blurred. This may be true, yet here
Mizoguchi shows us that the life of a geisha was far from rosy prior to the
Second World War. I’m reminded of Hou Hsiao-Hsien’s Three Times, in which a young man speaks of the opportunities of
his times, yet never thinks that the change should also benefit the young woman
whose comfort he has sought time and time again. In Sisters of the Gion, we watch as wealthy men toy with both their
wives and the geisha whose comfort they imply that they prefer. Never, however,
does that preference translate into anything more than fleeting moments of something
resembling happiness.
Sisters of the Gion
fascinates while simultaneously breaking our hearts. I found myself both sympathizing
with Umekichi and understanding the actions of Omacha. After all, when the world
seems to be against you, which is does to Omacha, it is believable and somewhat
reasonable that you would think of your own interests first. This does not
condone her behavior, nor does it excuse Kimura’s. However, it does present
viewers with a complex picture, one of a world in which men have the advantage
and it is oh so easy for some women to fall and be unable to get back up. (on
DVD as part of Criterion’s Eclipse 13:
Kenji Mizoguchi’s Fallen Women)
3 and a half stars
*Sisters of the Gion
is in Japanese with English subtitles.
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