A Lively Geisha (1970, Japan)

Nathan's review:

Fukugawa, Taisho era. Koshizu (Junko Fuji) is a famous Geisha, an intelligent and street smart woman whose patron, Asai (Meicho Soganoya) is the head of a ride trading company selling their wares at a fair, low price to the locals. She is deeply in love with Yukichi (Bunta Sugawara) who saved her from suicide a decade ago and when he returns to town, her life is turned upside down. Not only must she address her feelings towards a man with a chequered past, but also navigate a brewing disagreement between the Asai trading company and their rivals, the Yasukawa (Toru Abe), who is backed by local Yakuza, Boss Takegami (Rinichi Yamamoto) of the Gishin-gumi.

Genre master Kosaku Yamashita directs this entertaining love story from the pen of legendary Yakuza scribe Kazuo Kasuhara that skirts the line between Jidaigeki and Ninkyo, albeit in a Taisho era setting. Backed up by an excellent cast with a pair of stunning performances from Bunta Sugawara and Junko Fuji, there's a whole lot to enjoy, despite some flaws and the fact that although very different films, there's a lot of connective tissue between this film and Yamashita's remarkable Chivalrous Geisha, which handles just about every theme better than this one.

I think my biggest problem with the film is that it's structured like a classic Ninkyo, with two rivals butting heads, leading inevitably to murder, destruction and of course, a grand office raid. Meicho Sogonoya's company are honourable traders doing their utmost to keep prices low and help civilians in a time of economic depression, while Toru Abe is ruthlessly cornering the rice market, price gauging and using political connections to get away with it, while Rinichi Yamamoto's Yakuza follow him around as backup. It's no bad thing of course for genre fans who are used to this type of narrative, but it's all very routine studio fare and it reminds me quite a bit of Tai Kato's incredible 'Blossom and the Sword', which dealt with said depression and infamous rice riots in a much more thoughtful and in depth way.

But this is about as far from a bad film as you can get and those flaws aside, the film is made great by the beautiful, doomed love story between Yukichi and Koshizu at its core. It never falls too far into melodrama, nor does it ram their relationship down your throat, instead settling on two lovers who of course are destined never to be together because of their respective positions. There's some truly memorable moments too, from a flashback that explains the pair's connection as Yukichi stops her from throwing herself into a sewage filled river, to a really touching scene as the pair take a moonlit walk, finally recognising each other from a decade beforehand and confessing their feelings, it's moments like these that really make the film shine.

And that's without even mentioning the breathtaking finale, when Yamashita goes in a similar direction (once again) to Chivalrous Geisha, editing a stunning Kabuki dance against a bloodsoaked office raid happening elsewhere. Its not quite as amazing as the aforementioned film (that's a high bar to hurdle), but I can't see anyone not being stunned by Junko Fuji's 'Yasuna' dance, perfectly framed to accentuate her ethereal beauty while Bunta Sugawara desperately cuts his way through a Yakuza group, breaking down doors whilst covered in blood, his impressive tattoos filling the screen as he slashes and stabs his way towards his enemies in a chaotic whirlwind of retribution. It's glorious.

It should be said too that Yamashita's direction is as sharp, thoughtful and beautiful as ever, with special attention as always paid to the sublime Junko Fuji. As I've mentioned before, I don't think anyone could frame her quite like he and Tai Kato, both directors would linger their camera on her for a second or two longer than the norm, as if letting the audience fully take her in and appreciate her splendour, not just because of her beauty, but also to recognise her incredibly emotive eyes and facial expressions. It's a true gift of film in my eyes, however cliche that may sound.

Cast-wise, this is almost entirely Junko Fuji and Bunta Sugawara's show. Fuji is as pitch perfect as ever, showing off her impressive range as a performer with some truly terrific dramatic moments and sharing a brilliant chemistry with the mighty Sugawara, who is doing the thoughtful, subdued stoic act of his seniors Takakura/Tsuruta, and doing it very well indeed. As much as he is known, and loved, in the West nowadays for his Fukasaku collaborations, I still maintain he's an actor that doesn't get anywhere near the credit he deserves for the incredible range he had. But that's the nature of the beast I guess.

Elsewhere there's a solid showing from a number of Toei regulars, with Toru Abe and Rinichi Yamamoto on villainous duties and a brilliant small role for Keiko Yuge as Adakichi, Koshizu's jealous Geisha rival. Both Junzaburo Ban and Meicho Sogonoya have solid, if minimal roles as upright businessman who are also in love with Koshizu and there's also a cameo from the hilarious Kanbi Furiyama as an effeminate dance teacher. Last but not least is everyone's favourite Takuzo Kawatani, who is mostly in the background, but he does get a scene where he slaps Fuji, a scene where I chuckled at imagining him nervously squirming on set beforehand while the ever watchful eye of Koji Shundo glared over him. Certainly not a scene you would want to mess up!

A Lively Geisha aka 'Flint Geisha' is a solid, if unremarkable Ninkyo, masquerading as a Jidaigeki (or perhaps the other way around) that is made great by a heart breaking doomed love story at it's core and a couple of stellar performances. I must admit I was hoping to enjoy it slightly more on a rewatch, but I just can't shake the feeling that despite it being highly entertaining it's central themes have been done much, much better elsewhere. Still, it's a must watch for fans of Junko Fuji and/or Bunta Sugawara. 7/10