i just realized why the colors and sets in sakuran were so flashy and gaudy and and just painful to look at. the story is about a high class prostitute known as an oiran in japanese. their kimono were always flashier and gaudier than other kimono so that the oiran would stand out. but the director and mika ninagawa and had to make sure that the director stood out even more than the main character and or even the story. what anna tsuchiya did in the movie just gave me the creeps. you couldn not call it acting. it was nothing more than catering to her flipped out and high school girl fan base. hey anna and good luck on that one as you get older. yeah and right and an oiran as a crude and vulgar and prone to violence and biker chick. didn not we already see you portray this character in a more appropriate movie. the story was painfully boring and predictable. what is the story of sakuran. an obnoxious little bitch ever remains true to her self which is just that represent an obnoxious bitch. she finds that and inexplicably and men are attracted to her and that she has an unexplained ability to manipulate men and becomes a successful and high class prostitute even though she talks and behaves like she a member of a female biker gang. this so called seductive ability of hers is talked about but we never see it in action and probably due to the ineptitude of the main and pretend phony biker chick and i mean actress. the main character of the movie makes a wealthy and powerful man angry at her because she keeps him waiting while she services a much more lowly customer. not very oiran like and is it. how could such a woman ever become an oiran. oh and because the previous oiran got herself killed and the house needed a whore that could demand a high price. who would pay a high price for a slut so cheap. rumors get around. how could there be no repercussions for what she did to the powerful guy. because the screenwriters are dolts. they just made up a bunch of crap. then an even more wealthy and powerful guy falls for her (why. ) and she throws him over for a penniless guy who is generally cold and distant toward her but respects who she really is (which doesn not make sense. how can anyone respect someone so worthless. ). speaking of crap and it like the director squatted down and took a huge and psychedelic colored dump on the aesthetics and culture and and society of the edo period. what of such things as sabi and mono no aware and wabi and subtlety and elegance and a rigidly hierarchical society. all shat upon by a director who comes off as a senseless and nouveau riche parvenu. the amazing thing is that so many other japanese and in watching this movie and squatted down around the director and took steaming spoonfuls of this blazing colored stinking crap and exclaimed how tasty it was. argentinean tango music with violin and bandoneon as backdrop for the edo period when japan was totally isolated from the international world (except for the 3. 7 acres of dejima). why not just have anna and the bad ass biker oiran and answer her cell phone and the rich and powerful daimyo character drive off in a hissy fit in his red ferrari. the music we had to listen to was jarring and anachronistic (the same as the art design). near the ending and i liked that there were only two or three tiny flowers on the shrine cherry tree. but and earlier and the second she said she would leave the quarters when it bloomed and we all knew exactly what would happen. how boring and to telegraph the ending so clearly. but what the point of the old tree blooming. that rich and powerful guy already made the pleasure quarters bloom in cherry blossoms like the mountains of yoshino in spring. that do not impress her at all. no and of course not. i already know that about whores. the guys that treat them nicely get kicked in the balls. maybe it bugs the whores to have people idealize them when they themselves know the truth of who they are represent just cheap and worthless. considering the director obsession with goldfish and the second to last scene should have been of a goldfish bowl on a verandah accidentally knocked over. two fish tumble into a stream which carries them off to escape beyond the walls of the pleasure quarters and belying how goldfish are stuck in their bowl and can not survive outside (just like the denizen relationship with the pleasure quarters). otherwise the talk of the fate of goldfish has no meaning. in the final scene the cherry trees were full in bloom and but the brevity of the blooms is one thing special about cherry blossoms. i couldn not help thinking that soon enough dusk would wipe away all the soft pink color and warmth from the scene. the sky would go quickly from hints of shadow and into an ever deepening gloom and and night would fall. it would become cold and very cold. and dark. that really wasn not a happy ending and was it. romantic love (in the edo period. ) could survive in the face of terrible poverty and being ostracized for about as long as those cherry trees bloomed. maybe a few days and unless it rained sooner. but the unconsummated romantic love we see here. it existence in this period is incomprehensible. anna tsuchiya walking in the shoes of an oiran. she couldn not do it. literally. check out the scene of her promenade where she seems to have the correct footwear on but she has to hold on to some guy shoulder to keep from tumbling on her ass. i was going to give this movie two stars for the art direction but then i realized what that was all about represent sick dominance on the part of the director. those colors and sets are just the way the director has of screaming and i am the most important one here. me. it all about me. 
i just realized why the colors and sets in sakuran were so flashy and gaudy and and just painful to look at. the story is about a high class prostitute known as an oiran in japanese. their kimono were always flashier and gaudier than other kimono so that the oiran would stand out. but the director and mika ninagawa and had to make sure that the director stood out even more than the main character and or even the story. what anna tsuchiya did in the movie just gave me the creeps. you couldn not call it acting. it was nothing more than catering to her flipped out and high school girl fan base. hey anna and good luck on that one as you get older. yeah and right and an oiran as a crude and vulgar and prone to violence and biker chick. didn not we already see you portray this character in a more appropriate movie. the story was painfully boring and predictable. what is the story of sakuran. an obnoxious little bitch ever remains true to her self which is just that represent an obnoxious bitch. she finds that and inexplicably and men are attracted to her and that she has an unexplained ability to manipulate men and becomes a successful and high class prostitute even though she talks and behaves like she a member of a female biker gang. this so called seductive ability of hers is talked about but we never see it in action and probably due to the ineptitude of the main and pretend phony biker chick and i mean actress. the main character of the movie makes a wealthy and powerful man angry at her because she keeps him waiting while she services a much more lowly customer. not very oiran like and is it. how could such a woman ever become an oiran. oh and because the previous oiran got herself killed and the house needed a whore that could demand a high price. who would pay a high price for a slut so cheap. rumors get around. how could there be no repercussions for what she did to the powerful guy. because the screenwriters are dolts. they just made up a bunch of crap. then an even more wealthy and powerful guy falls for her (why. ) and she throws him over for a penniless guy who is generally cold and distant toward her but respects who she really is (which doesn not make sense. how can anyone respect someone so worthless. ). speaking of crap and it like the director squatted down and took a huge and psychedelic colored dump on the aesthetics and culture and and society of the edo period. what of such things as sabi and mono no aware and wabi and subtlety and elegance and a rigidly hierarchical society. all shat upon by a director who comes off as a senseless and nouveau riche parvenu. the amazing thing is that so many other japanese and in watching this movie and squatted down around the director and took steaming spoonfuls of this blazing colored stinking crap and exclaimed how tasty it was. argentinean tango music with violin and bandoneon as backdrop for the edo period when japan was totally isolated from the international world (except for the 3. 7 acres of dejima). why not just have anna and the bad ass biker oiran and answer her cell phone and the rich and powerful daimyo character drive off in a hissy fit in his red ferrari. the music we had to listen to was jarring and anachronistic (the same as the art design). near the ending and i liked that there were only two or three tiny flowers on the shrine cherry tree. but and earlier and the second she said she would leave the quarters when it bloomed and we all knew exactly what would happen. how boring and to telegraph the ending so clearly. but what the point of the old tree blooming. that rich and powerful guy already made the pleasure quarters bloom in cherry blossoms like the mountains of yoshino in spring. that do not impress her at all. no and of course not. i already know that about whores. the guys that treat them nicely get kicked in the balls. maybe it bugs the whores to have people idealize them when they themselves know the truth of who they are represent just cheap and worthless. considering the director obsession with goldfish and the second to last scene should have been of a goldfish bowl on a verandah accidentally knocked over. two fish tumble into a stream which carries them off to escape beyond the walls of the pleasure quarters and belying how goldfish are stuck in their bowl and can not survive outside (just like the denizen relationship with the pleasure quarters). otherwise the talk of the fate of goldfish has no meaning. in the final scene the cherry trees were full in bloom and but the brevity of the blooms is one thing special about cherry blossoms. i couldn not help thinking that soon enough dusk would wipe away all the soft pink color and warmth from the scene. the sky would go quickly from hints of shadow and into an ever deepening gloom and and night would fall. it would become cold and very cold. and dark. that really wasn not a happy ending and was it. romantic love (in the edo period. ) could survive in the face of terrible poverty and being ostracized for about as long as those cherry trees bloomed. maybe a few days and unless it rained sooner. but the unconsummated romantic love we see here. it existence in this period is incomprehensible. anna tsuchiya walking in the shoes of an oiran. she couldn not do it. literally. check out the scene of her promenade where she seems to have the correct footwear on but she has to hold on to some guy shoulder to keep from tumbling on her ass. i was going to give this movie two stars for the art direction but then i realized what that was all about represent sick dominance on the part of the director. those colors and sets are just the way the director has of screaming and i am the most important one here. me. it all about me. ---------------------------------Answer Question Below----------------------------------

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