This is especially well done in the sumo wrestling scene, where the viewer is able to watch the geisha, the Chairman, Nobu, and her mentor as they meet and discuss the match and life in the real world outside of the ring and the tea house. This focus on expression and verbal interplay continues throughout the film and enhances the final scenes when the Chairman and the geisha meet and finally express their devotion for one another. The editor frequently cuts back and forth to the vast sky and the large town, as seen from the rooftops. These scenes are used to convey motion and the growing of the geisha. Her initial journey from the country to the city is played out by cutting from her departure from the train station, to a view of a moving train as seen from a distance to her arrival at another station. She grows from child to woman when the editor cuts from the scene of her praying at the temple to the city in winter from an aerial view. When she first considers running away the editor cuts back and forth between her on the roof looking out at the city and the vast amount of rooftops that stretch out below her. The scenery plays almost as important a role, conveying unspoken emotions, as the characters do. Every scene is beautifully edited in a manner that makes the most of the characters’ facial and physical expressions, their interactions, and the world around them, making this an interesting and entertaining movie for the viewer. It is easy to get swept away and I was left wanting more.
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The essay "Editing in Memoirs of a Geisha" discusses the movie Memoirs of a Geisha. Every scene is beautifully edited in a manner that makes the most of the characters facial and physical expressions, interactions, and the world around them, making this an interesting movie for the viewer…
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