Develiker terrible... so disappointed.

Ploydsge just watch it!

Freaktana A Major Disappointment

Nessieldwi Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

mmallon4 Oh man, these are the kinds of quirky film concepts I live for, definitely up there with films like The Major and the Minor, The Whole Town's Talking and Sylvia Scarlett. I've never previously been a Shirley MacLaine fan but My Geisha may have converted me. Unlike many dual identity films, I actually found the premise here believable, in that Lucy's husband (Yves Montand) wouldn't recognise her disguised as her alter ego geisha by the name of Yoko. At times I forgot MacLaine is pretending to be a Geisha. OK the illusion might not work for everyone but it did for this viewer. Also on a more superficial appraisal, omg Yoko is so cute! I was also surprised and delighted that Edward G. Robinson actually has almost as much screen time as MacLaine, making the two a great comedic pairing. I stated in my review of The Whole Towns Talking (1935) that Edward G. Robinson appeared in some very quirky comedies in his career but this film just furthers that statement, My Geisha is by far the quirkiest of them all.However it's not just goofiness for the sake of goofiness, the dual identity set up actually allows for a deep and complex plot. For starters it examines the business of film by acknowledging the dilemma of casting white actors as non-white characters; you can't get a large budget for a film unless it stars a big box office draw, most of who in the early 1960's where white. The other surprising area of depth that comes out of the goofy plot is the examination of the husband's ego, tired of being in the shadow of his wife's success. Another point of interest if the moment when Edward G. Robinson's character receives the news that Lucy's husband has discovered the truth about Yoko, Robinson asks to be taken to the fourth floor of the hotel. The Japanese tend to avoid use of the number 4 due superstitions regarding the number as unlucky.This film would likely not be made today would be seen as politically incorrect but even if it did despite that you know the film would stop for 20 minutes when Lucy's secret is revealed (otherwise known as the liar revealed) in which one character would tell the other about how they've been betrayed and they never want to see each other again even though they get back together at the end. Not here though, when Lucy's husband discovers she is Yoko (which I should add is done a very clever manner) he quietly accepts that he was fooled and there's no big pointless, drawn out argument scene. Sorry, classic movie fan boy rant.I wonder what the Japanese reaction to this was. I assume this is an idealised version of Japan but ether way this film sure looks beautiful. I believe this could likely be credited to surprising choice of director, Jack Cardiff, normally more famous for his work as a cinematographer. The entire film is a feast for the eyes and ears and even the film within a film looks incredible and is itself emotionally moving. If I can find any complaint in the film it's that Bob Cummings' character is a real creep. Aside from that, My Geisha is another obscure, quirky gem which I adore.

spook95613 "my geisha" is charming. suspend belief a bit, and one realises how good an actress shirley maclaine is and how convincingly she becomes a geisha.the movie is fluff. but the attempt to parallel the plot to the libretto of "madama butterfly" is clever and almost successful. edward g.robinson as sharpless; maclaine as pinkerton, and montand as butterfly... it is a very literate attempt to use the sub-plot as the driver for the main plot.there are moments when one is reminded of a doris day-rock hudson frolic - expected in a comedy from 1962. but there's also a real "edge" that comes from the characters being a little less than saccharine. as has been pointed out, the cinematography is quite sharp. so there is an air of substance to the production, and quality is evident.in the end, though, one just should enjoy it.

John Borg This film is at the top of my "guilty pleasures" list of films; not a great film but one for which I have great affection. I first saw it in the mid 60's when I was a teenager at a Saturday afternoon matinée. Then, I had no idea what the title meant. The word geisha was totally new to me. At that age I would go to a Saturday matinée and watch whatever was offered, and as I watched this film I found myself falling in love with Shirley MacLaine, the music of Puccini's "Madama Butterfly" and Japan. I credit it with starting my abiding interest in and fascination with the culture of Japan and for my making several visits to that country as an adult. I watch it once a year between Christmas and New Year on my now worn VHS tape version. I have been looking forward, in vain, to it's release on DVD which for some reason has yet to happen and to seeing it once again in all its wide screen charm. p.s. Finally, Paramount has condescended to release this film in DVD format and it looks and sounds great.

Vornoff-3 Very Mild SpoilersThe basic plot of `My Geisha' is so cliché as to be ridiculous. A husband slights his wife by implying that she could not handle the lead in his new production of `Madame Butterfly', she dresses up as a Geisha to prove he couldn't tell her from a real Japanese girl, and he hires the lovely (fake) Japanese. The rest of the story toys with infidelity and the question of whether the couple `really' loves each other and all's well that ends well. You've seen it all (and with far better comic timing) on `I Love Lucy' dozens of times.However, Shirley MacLaine is both young and exciting as the spurned actress, Yves Montand is excellent as the long-suffering `Ricki' equivalent, and Edward G Robinson manages to pull off both Fred and Ethel while making it look almost fun to be an overstressed film producer. The Japanese actors all hold their own very well - in spite of a plot that may disturb the racial sensitivities of modern audiences. In spite of its datedness, this film manages to approach the intricacies of Japanese culture with genuine respect, and does not treat the `Geisha' as a by-definition dishonored woman. This is not to say that it depicts its subject with any degree of accurate detail, but at least it avoids the most heinous cliches.The other redeeming aspect of the movie is a reasonable amount of strong outdoor location work in 1960's Japan. The cinematographer is Japanese, suggesting that Jack Cardiff (who was himself a cameraman at one time) was looking for an Asian eye to depict the Japan he wanted American audiences to see. `My Geisha' does not capture an `authentic' Japanese flavor - certainly it looks nothing like a contemporary Japanese film - but it does, perhaps, give a refined tour guide's perspective.