Sayonara

This movie is very interesting in which it concerns the relationships between Japanese and American servicemen after the Second World War in Japan. Especially Marlon Brando's character goes from reservations (especially considering the period the movie is set) to falling in love with a Japanese woman and hopes to marry her. Brando shines in this movie, and I put it among his best movies. The standout of the cast is Red Buttons, who at the time was still unkown as an actor, but in his debut revealed that he was destined for greatness. His performance of Joe Kelly, an American airman, is incredibly believable and touching, and Buttons won the Academy Award for best Supporting Actor for this film, and he truly deserved it. An interesting movie for the subject and the actors' performances, well directed and also very entertaining. And I think it's deeply underrated today.

A very nice novel by James Michener and decent screenplay was ruined by the selection of these two actors. Brando is unconvincing as a "mainstream" button-down military man and his exaggerated southern accent and disinterested affect only furthers the distortion. No doubt he is a powerful actor, but not necessarily a versatile one. Red Buttons is too soft to be the street-wise Kelley. Although Montalban is fine as Kabuki dancer Nakamura, a truly Japanese actor would have been preferable. The rest of the cast is fine. The relatively unknown James Garner would actually have been perfect for the Lloyd Gruver role in place of Brando. The movie could have also benefited from more location photography.

Bloated examination of racial injustice is so worthy and sincere that it becomes a huge bore that simply refuses to end. Brando adopts a Southern drawl with all the expression of a tired ventriloquist, while Red Buttons - a man with the kind of face and stature that should have made him a natural for comic sidekick roles - plays it straight.

I lived in Japan for 2-1/2 years, and although somewhat after the period during which this film is set - still when a Japanese who could afford one would rather own a 2-year-old American Plymouth (there were constrictions on sale of newer autos by Americans to Japanese) than the Toyopet, the forerunner to the Toyota today. It was also a period when the "much superior" Kodak was was preferred to the Minolta, and an RCA high-end radio to the lesser Sony model. Times have changed. Like some other comments regarding this film, I feel that it could have depicted areas of Japanese life more in-line with Michener's book (and more realistically). I also found both Brando's and Garner's characters tiresome, and their acting annoying and sophomoric. Brando's officer would (and should) never have fraternized with Buttons' airman to the extent shown, and his hanging-around the bridge where Hana-Ogi and the others made their way to and from the theater was silly, even inane, and displayed a demeanor more appropriate to a fraternity nerd in, say, "Animal House." (Marlon and Jim Garner hanging around this area, mooning and giggling bordered on the ludicrous. Two handsome, decorated military officers, they seemed sillier than the nerds peeking into the girls' shower room in "Porky's." But at least the latter were doing what high school boys might be expected to do, and they were less "silly" than Marlon and Jim.) Ricardo Montalban's performance could charitably be described as "wooden." It brought to mind the Yul Brynner character in "Westworld," but then that role WAS a robot. The general who was initially to become Brando's father-in-law, displayed characteristics which, in the real world, would have found him passed-over for promotion even to a major. The movie's best attributes are the music and locale. Finally, despite the acclaim heaped on Brando from his earlier roles onward, I for one, have found his accents and accompanying affectations both off-putting and annoying: in this film; as the German officer in "The Young Lions;" in his stilted, over-the top delivery as Stanley in "A Streetcar Named Desire," and as the pug in "On the Waterfront." This isn't to say his performances were "bad;" simply that their success was in spite of, rather than because of, these aspects of the performances.

This is a poor movie. It's melodramatic and it stereotypes Japan. And what did Marlon Brando say about this film in his interview with The New Yorker? "Man, I rewrote the whole damn script. And now out of that they're going to use maybe eight lines. I give up. I'm going to walk through the part, and that's that. Sometimes I think nobody knows the difference anyway. For the first few days on the set, I tried to act. But then I made an experiment. In this scene, I tried to do everything wrong I could think of. Grimaced and rolled my eyes, put in all kind of gestures and expressions that had no relation to the part I'm supposed to be playing. What did Logan say? He just said, 'It's wonderful. Print it!'" That about wraps it up for this stinker.

The genre was then at its peak,and Douglas Sirk was its high priest."Sayonara" ,although it has touching moments ,seems very static and academic today and lacks a truly inspired director.Joshua Logan never transcends his subject .Douglas Sirk's screenplays (magnificent obsession;a time to love and a time to die ;all that heaven allows;imitation of live) were as maudlin as this military melodrama ,but his pictures,his use of color,his extremism ,and his endings were admirable.Here the movie should end with the tragedy,because the last twenty minutes are perfunctory and Brando's last line comes as an anti-climax. With the ridiculous "teahouse at August moon..." the precedent year (another Japanese story where he played an implausible Japanese,and where a she-goat stole the show),it was the beginning of a weak period for Brando after the brilliant Kazan trilogy and his sensational Marc Antony in Mankiewicz's "Jules Cesar".It was 1967 before he found again a part worthy of himself,with Colonel Penderton in highly underrated Huston's adaptation of McCullers's "reflection in a golden eye". At a pinch,for melodramas lovers ,but they will not be completely satisfied.

This is one of the greatest love story movies I have ever seen. Yes, I can agree that some parts may seem dated, but this does not distract from the film. One should try to observe, criticize and enjoy any art form from the perspective of the time. Clearly by the "Sex in the City" standards, Charlie Chaplin was horribly boring. However, when judged from the prospective of 1925 America, he was fantastic. Likewise Sayonara is a breakthrough film in its look into a mixed-race love affair, American "manifest destiny" arrogance and prejudice, and the complexity of different cultures. It is a natural next step to such films as Gentleman's Agreement. Its purpose, however, was not just social commentary, rather, it is entertaining and enjoyable, with innumerable lines that one just doesn't forget. However, even when taken only as a love story, it is terrific. Although, some attack Brando's accent, he is at his near best in nuance and characterization. Buttons and Umeki (who both won Oscars) and the rest of the supporting cast add much to the film. Taka, the real star, does a fabulous job making you feel the passion she has for Brando, while being torn by her sense of obligation and loyalty. Her speech when she first meets and speaks with Brando is a classic and something rarely if ever matched in cinema. The dialog between Taka and Brando in her dressing room in Tokyo at the film's end is equally good. Of course, it doesn't have the mouth-sucking, spit-swapping and worse, that exemplifies love in today's movies, but that makes it all the better. It portrays true love and passion, and not just "heat." If this movie doesn't touch you, then you are just too young, too cynical or dead.

That's pretty much what I thought of this film. I half expected Brando to start yelling "SUKIYAKI!!!" at the top of his lungs as he walks down an alleyway in Japan. I was amazed to learn that Brando was nominated for an Oscar for this film, because for the life of me I can't see what a woman would see in his character, especially a Japanese woman. (Yes, I'm female.) Brando kind of mumbles through the whole thing, and his character doesn't have any kind of intelligence or kindness. I'm sure this movie was a big deal in 1957. It actually does a reasonably good job of bringing up issues with interracial marriages, which is still a hot topic in large portions of the world. However, a movie that I think addresses the topic in a more interesting and timeless fashion is "The Bitter Tea of General Yen," starring Barbara Stanwyck and directed by Frank Capra. "General Yen" impressed me a great deal, whereas "Sayonara" did not. The happy surprise in this film was Red Buttons' performance. My only previous exposure to Red Buttons was in things like Dean Martin roasts when I was a kid. I didn't understand why he was famous. Buttons earned/won an Oscar for his sympathetic portrayal of a open-minded man who marries a Japanese woman and willingly learns Japanese culture because of his love. I'm not convinced the Brando character would ever do that.

This film is a bit of an oddity. If you are going to enjoy it, you must not take it too seriously. This film documents a lot of the intolerance surrounding relationships between western men and Asian women. As this film so amply shows, these relationships were not only frowned upon by both Americans and Japanese, but they were expressly forbidden by the U.S. military. This is especially interesting to me-an American living in Korea where such inter-racial relationships are common. There are many delightful visuals in this film. The beauty and grace of Japanese culture is well depicted, even if it is somewhat stereotypical. You must remember that this was the 1950s and political correctness was not yet the norm. Also, Marlon Brando and James Garner are always assets to any film. Ricardo Montalban posing as a Japanese man is completely laughable and adds to quirky value of this film. The story line is somewhat sappy, but all in all this film is worth watching at least once.

Brando's position in the pantheon of the greats is secure. Now that he is gone, (his life expired just yesterday) it will be worthwhile to review his legacy. Pictures like 'Sayonara', which were grade 'A' productions, but subject to criticism when they came out ,can now be viewed in a new light. We can now see the care lavished upon them. 'Sayonara' is a superb film in every category. Brando's odd (to say the least) 'southern' accent proves to be a brilliant choice in defining his character's contrasting presence in the Japanese scene, an approach he would employ later in his amazing, bizarre interpretation of Fletcher Christian. Whatever one thinks of Brando's choices in tackling a role, he was never dull, and watching him experiment is a viewer's treat. And Miyoshi Umeki: what a discovery! The portrayal of those in Japan who are just living their lives is done with sensitivity and humanity. Just as important as the stars' performance and the story itself, is Franz Waxman's music. It cannot be praised too highly, and is a perfect example of a meticulously crafted score: mature, totally sincere, and without one trace of cynicism or misdirection. Film music like this is safe from being taken for granted. Waxman's theme for the Red Buttons/Miyoshi Umeki relationship is among the most poignant and haunting even written for the screen. Its variations range from wistful to heartbreaking. None other than Irving Berlin supplied the title song (he gets as much screen credit as Waxman!). No pop hit, it nevertheless integrates well with Waxman's score. Ellsworth Fredericks' masterful Technirama lensing makes this picture one of the best of the 50s. Seeing it in widescreen is a thrilling event. The title sequence, in red lettering, is a fine example of how every department, even one which deals with the 'job' of giving credit, made sure that each element of a film like this worked in concert with each other, to create a cohesive whole. What a pleasure it is to have a proper introduction to a film, with visuals and overture tailored to the drama to come. Such was the style then. Bill Goetz produced. Thanks, Bill! Josh Logan as a director is often reviled, but why is it then, that his pictures are especially enjoyable, particularly with repeat viewings? His huge closeups are terrific! He really went for the gusto in splashing his stories on the screen, and made the most of the 'big Hollywood production' thing. Jack L. Warner's mid to late 50s productions rivaled 20th-Fox's in lavishness and quality. Fortunately for us, the fans of pictures like 'Sayonara', he and Zanuck always tried to outdo each other. Tonight, to honor the memory of Marlon Brando, I'm rolling 'Sayonara'.