Sakuran (2006), directed by photographer Ninagawa Mika, is an adaptation of Anno Moyoko’s manga of the same name. The movie is a jidai-geki about the life of Kiyoha (Tsuchiya Anna), who grew up in Yoshiwara (a famous red-light district), before and after becoming an oiran (the highest-ranking courtesan). When Kiyoha has to choose between marrying a rich patron or continuing to work as an oiran while staying in the household with the male server that she truly loves, the movie conveys a strong dilemmatic theme of to love or to live. In the meantime, the movie also hints that similar dilemmas were often confronted not only in the old days, but also in the modern era. In applying techniques that are apparently different from the stereotypical jidai-geki, Sakuran depicts how the problems women faced in the past continue, and can be easily applied to that of modern times.
The story starts with the young Kiyoha being sold to Tamakikuya in Yoshiwara. She is under the care of the oiran of Tamkikuya, Shouhi (Kanno Miho), and is expected to learn the skills of being a courtesan through serving Shouhi. Refusing to become a courtesan, the rebellious Kiyoha tries to run away from the Tamikikuya numerous times, but she is caught and punished every time after escaping. Although she is disobedient, the managers of Tamakikuya believe that she will become a great oiran when she grows up. The reason for this is that she is talented and beautiful, and also has a strong, tough personality with a unique charisma. Under the guidance of Shouhi and Seiji (Andou Masanobu), the otokoshuu who grows up and serve courtesans in Tamakikuya, Kiyoha decides to become an oiran. Shouhi later leaves Yoshiwara, and Kiyoha instantly becomes one of the most popular girls right after she starts working as a courtesan. Meanwhile, her relationship with the oiran Takao (Kimura Yoshino) worsens because Takao’s lover grows interested in Kiyoha. Like Takao, Kiyoha also secretly falls in love with another man, Souichirou (Narimaya Hiroki). Later, both of them are betrayed and Takao is murdered by her lover. Heart-broken, Kiyoha devotes all her effort into becoming an oiran while refusing any intimate and emotional relationship afterwards. The movie reaches its climax when a rich samurai Kuranosuke (Shiina Kippei) visits Kiyoha hoping to marry her, but Kiyoha realizes that she is pregnant and in love with Seiji, who stays with her everyday.
Despite the historical setting of the film, the movie contains a lot of contemporary elements. These elements rarely appear in any other jidai-geki, and imply that problems Kiyoha and other females come across in the Edo period continue to exist in modern times. Some examples are the makeup and language used in the film. The prostitutes filmed in the movie do not “coat” their faces with the extra-white foundation, but instead use a more natural and modernized makeup. They also wear mascara and bright red lipstick. In regards to language use, Kiyoha and other courtesans tend not to use Kuruwa kotoba (language used by courtesans), such as ending the sentence with arinsu (～ありんす) instead of desu (～です), when they are by themselves. Yet, Shouhi and Takao often read classical poems and passages, and use Kuruwa kotoba even in private; with natural makeup and language, Kiyoha looks very natural, like a normal woman dressing in kimono nowadays regardless of the background setting of the film; when Kiyoha experiences emotional and relationship problems, the audience may easily link her to women in modern times and imagine women from both eras may also face similar dilemmas.
In addition, as the title of the movie’s sound track suggests, the film is more likely a reflection of Heisei Fuuzoku instead of an original story of Edo Mizushoubai (prostitution business). The music in the film is very modernized. For example, the music director Shiina Ringo uses electric guitar and rock elements in the music to illustrate the rebellious characteristics of Kiyoha. Shiina even composes English lyrics to give a hint of modernity. Moreover, the camerawork of the movie is totally different from that of a jidai-geki. Sakuran, as the directorial debut of Ninagawa, consists of many photo-like shots. There are no long shots or fixed camera shots that create a stage-like performance; instead, the composition of every shot is beautifully designed to be like a photo. Ninagawa also arranges a series of 1-second nudity shots, which appear like a photo slideshow, to express the shock Kiyoha experiences that leave a very strong impact on the audience. Other than these types of shots, Ninagawa also uses very bright colours in the film, which is very uncommon for jidai-geki. These contemporary forms of music and camerawork elements make Sakuran a unique jidai-geki that often reminds the audience of its connection to modern times. Some may argue that the story could be placed in a modern setting, such as somewhere in Shinjuku Kabukichou in the twentieth century, and still be totally reasonable; yet the film will have less impact as if made as a documentary film about modern prostitution.
Although Sakuran implies that women continue to face similar dilemmas between whether to love or to live, the movie also hints that women are actually becoming more independent by playing an active role in romantic relationships and in work. When Shouhi is still an oiran, she has no choice but to wait for her patronage to pay the miuke (buy her out). Shouhi chooses to marry her patron by giving up her popularity and living as an oiran. Takao also begs for love but gets nothing from her lover; she sacrifices her work for love but is killed by her lover. Kiyoha, after being forsaken by her lover, drives herself to work. Kiyoha, as a new-generation oiran, apparently has more initiative in both her job and her love relationship. Kiyoha can choose who to serve and sleep with, and her decision is not related to money but her personal interest. Also, instead of Kuranosuke, who plants sakura (cherry blossom) trees for her and pays her miuke, she chooses to run away with Seiji on her own. While Kiyoha displays a more active and independent role than previous oiran , she also represents the similar changes of women from a more traditional and passive role to a modern and active one. In addition to the characters, the movie itself is actually a representation of women’s independence; the movie is adapted from Anno Moyoco’s manga, directed by Ninagawa Mika, written by Tanada Yuki, and the music is directed and composed by Shiina Ringo. The success of the movie depicts the success of these four women in their professions, and represents how modern women can be independent from men and be successful with their job.
Sakuran is a highly enjoyable and artistic movie, not only for its depiction of the traditional oiran, but also for the extreme beauty of its composition. Although similar themes may have been covered by many other movies and some may find combining modern elements with period drama awkward, the audience can still enjoy the breath-taking artistry. I will also recommend the soundtrack of the movie, Heisei Fuuzoku, because the songs and lyrics match perfectly with the film and are brilliantly composed. Also,the audience may need to be aware that this is a PG-12 rated movie with some nudity and one bloody scene. Yet, regardless of some weaknesses, the movie is still fascinating and worth seeing.