Film: Geisha Assassin
Release date: 5th April 2010
Certificate: 15
Running time: 78 minsDirector: Go Ohara
Starring: Minami Tsukui, Shiguera Kanai, Nao NagasawaGenre: Martial Arts
Studio: MVM
Format: DVDCountry: Japan
Geisha Assassin was originally titled Geisha Vs Ninja, but given that the Geisha in questions spends a small amount of the film’s running time fighting any ninjas, the name change is understandable - although, it needed a complete overhaul.
So, this is pretty standard fare. Kotomi, played by Minami Tsuki, is the daughter of a Samurai, Yamabe. Kotomi is trained by her father from a very young age in the ways of the Samurai so that one day she can take over the sword.
As a young girl, she witnesses the murder of her father by one of his other pupils, Katagiri Hyo-e, and some years later seeks to avenge his death...
In the first scene, there is a sweeping pan shot of the forest, dramatic music and the words, “Geisha... the hostess who performs Gei performing arts. But from the age of civil wars to the Edo period, learning medicine and martial arts were also regarded as ‘Gei’. Eminent swordsmen like Miyuamobo Mysashi, therefore, were also Geisha.” An interesting link between two quite opposite occupations, and interesting new concept to explore, but, unfortunately, it is only reflected in the film a handful of times – in one scene, we flashback to Kotomi as a child telling her father she wants she wants to be a Geisha, a vocation he’s not keen for her to follow, of course. Although the concept is mentioned periodically throughout the film, this early scene delves as far as the filmmakers are willing to go.
So, all focus is on the action element, and there are some fairly exciting scenes – when we see her rip up her Geisha robes and transforming into a warrior, for example. This scene is made all the more thrilling as its set to epic American war style music - you know she’s getting ready to fight some serious battles. However, the plot has all the depth of video games such as Street Fighter – which is reflected in how they filmed the fight scenes (all well choreographed, but totally unconvincing).
As with any classic ‘80s/’90s video game, every time Kotomi gets close to the object of her revenge (the boss), another opponent is placed in her way – becoming progressively more difficult to defeat as she moves up a level. In fairness, this adds a lot of scope, and so we get to see demons, monks and tribal women, each with their own unique fighting style and weapons. After much blood-shed and a lashing of gore, Kotomi predicably reaches her goal and stands before Katagiri Hyo-e. This is where the twist is revealed, and the epic final battle takes place.
The fight scenes are set in natural environments, and the filmmakers should be commended for a neat emphasis on the elements; fire, water and wind - Ohara uses some really nice panning and transition shots to show a connection between the fighters and their surroundings. The best fight scene is probably with the monk, which focuses on the element wind. There are some matrix style moves and camera shots as the film’s speed is altered, and there is also great use of colour and light throughout, which lifts the visuals and balances out the gore (the use of orange and red in the leaves, for example – although, this is no Hero).
Geisha Assassin has a very basic revenge plot with a slight twist at the end, which makes it marginally more interesting than your average martial arts film.
Given the title, you’d expect a lot more time to have been given over to the Geisha aspect (even its original title doesn’t hold true, either). But if you like martial arts, this is still worth a watch. CC
So, this is pretty standard fare. Kotomi, played by Minami Tsuki, is the daughter of a Samurai, Yamabe. Kotomi is trained by her father from a very young age in the ways of the Samurai so that one day she can take over the sword.
As a young girl, she witnesses the murder of her father by one of his other pupils, Katagiri Hyo-e, and some years later seeks to avenge his death...
In the first scene, there is a sweeping pan shot of the forest, dramatic music and the words, “Geisha... the hostess who performs Gei performing arts. But from the age of civil wars to the Edo period, learning medicine and martial arts were also regarded as ‘Gei’. Eminent swordsmen like Miyuamobo Mysashi, therefore, were also Geisha.” An interesting link between two quite opposite occupations, and interesting new concept to explore, but, unfortunately, it is only reflected in the film a handful of times – in one scene, we flashback to Kotomi as a child telling her father she wants she wants to be a Geisha, a vocation he’s not keen for her to follow, of course. Although the concept is mentioned periodically throughout the film, this early scene delves as far as the filmmakers are willing to go.
So, all focus is on the action element, and there are some fairly exciting scenes – when we see her rip up her Geisha robes and transforming into a warrior, for example. This scene is made all the more thrilling as its set to epic American war style music - you know she’s getting ready to fight some serious battles. However, the plot has all the depth of video games such as Street Fighter – which is reflected in how they filmed the fight scenes (all well choreographed, but totally unconvincing).
As with any classic ‘80s/’90s video game, every time Kotomi gets close to the object of her revenge (the boss), another opponent is placed in her way – becoming progressively more difficult to defeat as she moves up a level. In fairness, this adds a lot of scope, and so we get to see demons, monks and tribal women, each with their own unique fighting style and weapons. After much blood-shed and a lashing of gore, Kotomi predicably reaches her goal and stands before Katagiri Hyo-e. This is where the twist is revealed, and the epic final battle takes place.
The fight scenes are set in natural environments, and the filmmakers should be commended for a neat emphasis on the elements; fire, water and wind - Ohara uses some really nice panning and transition shots to show a connection between the fighters and their surroundings. The best fight scene is probably with the monk, which focuses on the element wind. There are some matrix style moves and camera shots as the film’s speed is altered, and there is also great use of colour and light throughout, which lifts the visuals and balances out the gore (the use of orange and red in the leaves, for example – although, this is no Hero).
Geisha Assassin has a very basic revenge plot with a slight twist at the end, which makes it marginally more interesting than your average martial arts film.
Given the title, you’d expect a lot more time to have been given over to the Geisha aspect (even its original title doesn’t hold true, either). But if you like martial arts, this is still worth a watch. CC
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