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  • Any film that deals with bigotry in a positive manner is a film that should still be seen by current audiences as the message and moral of the story will always be relevant as long as we have a world full of bigotry.

    Aside from that, the film is really an old-fashioned love story..boy meets girl..boys loses girl...boy gets girl back....

    The weakest role goes to the late Kent Smith as Lt. General Webster(Riccardo Montalban is a close second)...my question would be how did he ever get to be a 3-star general...the character is such a wimp in the presence of his wife and military subordinates, it's a wonder they show him any respect at all.

    Brando's southern accent is a little overdone, and some scenes have a few holes but overall, I enjoy the film every time I see it.

    Red Buttons is great...I always love seeing comedians in dramatic roles...as in Button's case, often a comedian can better portray the tragedy of a person than a more traditional dramatic actor.
  • Beautiful shots of Japan And even though it's shot in 1957, it was filmed in Technirama and Technicolor.. truly amazing how it still looks vibrant today on a modern tv. I'm sure these soldiers faced such obstacles, falling in love with women of a nation we were at war with but today, all these years later it seems absurd they'd be harassed for it and only natural for young men 1,000s of miles from home for years on end. It's based on a James Michener book and even though it's 60+ yrs old, it's obvious they sure knew how to make movies all those yrs ago... I'd rather watch these old movies than 80% of the ridiculous content that's been out out in the past 30 years. Yes, there's a lot more movies put out these days but I'd venture an estimate that the quality movies produced today vs 60 yrs ago... they had us beat without a doubt. Great flick.. enjoy!!
  • "Sayonara" is a Drama - Romance movie in which we watch a US Air Force major in Japan falling in love with a Japanese woman something that he would never expect since he was against to marriages between American men and Japanese women.

    I enjoyed this movie because it had an interesting plot with a beautiful meaning. It presented a very sensitive and important subject of that time, something that made it even more interesting. The direction which was made by Joshua Logan, it was very good and I believe that he did an excellent job on it since he succeeded on presenting very well the main subject of the movie along with his main characters who did an equally good job under his guidance. Regarding the interpretations of the cast, both the interpretations of Marlon Brando who played as Major Lloyd Gruver and Miiko Taka who played as Hana-Ogi were very good but the best interpretations were made by Red Buttons who played as Joe Kelly and Miyoshi Umeki who played as Katsumi. In conclusion, I have to say that "Sayonara" is an emotional, beautiful love story that I strongly recommend everyone to watch because it will travel you back in time and you will follow this great story.
  • Sayonara is one of my special favorites. I love rediscovering this beautiful film. Personally I disliked the book; I found it cowardly. Brando is apparently responsible for the courageous ending of the film and I bless him for it. I find he was extraordinarily brave way back in 1957 when Sayonara was made. Strong, wonderful cast are a delight; James Garner, Patricia Owens and the two Oscar winners, Buttons and Umeki support Brando and Miiko Taki. The soundtrack is also lovely.
  • MarkJGarcia27 January 2010
    Released in December of 1957, Sayonara went on to earn 8 Oscar nominations and would pull in 4 wins. Red Buttons won the Oscar for Best Supporting Actor in his role as airman Joe Kelly who falls in love with a Japanese woman while stationed in Kobe during the Korean War. Oscar nominated for Best Leading Actor, Marlon Brando plays Major Lloyd Gruver, a Korean War flying ace reassigned to Japan, who staunchly supports the military's opposition to marriages between American troops and Japanese women and tries without any success to talk his friend Joe Kelly out of getting married. Ironically Marlon Brandos character soon finds love of his own in a woman of Japanese descent. This movie highlights the prejudices and cultural differences of that time. Filmed in beautiful color and with stunning backgrounds I found this movie to be well worth watching just for these effects alone. Good movie, gimme more...GimmeClassics
  • James Michener, himself a U.S. veteran of the Pacific war and married to a Japanese, wrote one of his earliest novels on the then controversial subject of romance among the former enemies. The novel follows two Americans who romance Japanese women, one with tragic results. The film gives a nice colorful richness to life in Kabuki theatre, post-war Japan and the USAF. Production design and costuming are first rate and lend the appropriate note of exoticness to the culture clash plot line. It is interesting that the script balances American bigotry toward the Japanese off against Japanese attitudes toward Americans. Miiko Taka lacks some credibility in the role of a famous entertainer - she neither dances nor sings particularly well - who in the book is almost a national treasure, leading to a scandal when she gets involved with an Air Force officer, Brando, who is very good here in a rare straight romantic role.
  • davjrj11 July 2005
    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.
  • bkoganbing23 March 2005
    The books of James Michener taking readers to faraway places with strange sounding names were probably at their most popular in the 1940s and 1950s. His Tales of the South Pacific became a major blockbuster Broadway hit for Rodgers&Hammerstein. South Pacific was directed by Joshua Logan and he was a natural to do the film adaption of another Michener success, Sayonara.

    It was only a decade before that American films during World War II did not portray the Japanese kindly. I'm sure it wasn't easy for people who fought the Pacific war to change attitudes overnight. That and a general no fraternization policy with occupied peoples in general are at the crux of this story about interracial romance.

    Sayonara is a relevant film today. The military has always butted in to the personal lives of its personnel in ways no civilian employer could get away with legally. In America at the time Sayonara was made there were still miscegenation laws on the books in many states. Today gays in the military is a big issue. Someone may one day do a Sayonara like film on that issue.

    Joshua Logan was on familiar ground. South Pacific also had racism as a component of its plot. With a sure hand, Logan assembled a great cast and crafts a beautiful story.

    Marlon Brando, Patricia Owens, James Garner, Kent Smith some of the occidental players do a fine job. But the picture is stolen by the orientals here. Miko Taka hits the mark beautifully as Brando's love interest. But the real stars are the two that one both Supporting players Oscars, Red Buttons and Miyoshi Umeki.

    Buttons is your everyman enlisted man Air Force member. He falls passionately in love with Katsumi played by Miyoshi Umeki. They marry and the military cruelly does everything they can to break them up. They presume to KNOW what's best for Buttons and Umeki. Buttons was a TV comedian and a fair talent, but he never got a part as good as this the rest of his career.

    And Miyoshi Umeki's Oscar was the first one given to an oriental. It got a great deal of attention because at the time of the Academy Awards, Miyoshi was starring on Broadway in Flower Drum Song. I was privileged to see it on Broadway, it was the first Broadway show I ever saw. I still carry the memory of it.

    That Oscar symbolized something else too. Our war with Japan was really over and we saw in Sayonara a great nation with a proud tradition and culture.

    Ricardo Montalban plays Nakamura, a Kabuki Theatre actor. If Sayonara were done today, Logan would never get away with it. But Montalban is fine.

    Good location photography and a grand story. This film should be revived more often it has a great moral.
  • A big step forward for 1957 in terms of racial tolerance and the acceptance of interracial marriages, but marred by sexism and cultural stereotypes. The 'bad guys' in this film oppose interracial dating, and cruelly force American soldiers who marry Japanese women to leave them by transferring them back home. The 'good guys' fall in love across racial lines and have the courage to stand up for it, but their initial motivations seem to revolve around ogling physical beauty or enjoying how submissive Japanese women are. So while quite progressive for the period, it's tinged with elements that are a little repelling today.

    As for the performances, Marlon Brando's is bound to cause a love or hate reaction, as he affects a Southern accent and is practically lethargic in the film's first scenes. He has several moments of brilliance, and he also has moments where he garbles words or misspeaks, so I found his performance to be uneven. As for Red Buttons and Miyoshi Umeki, the Romeo and Juliet couple in the movie, they are earnest enough, but it's a little hard to see what the Academy saw when awarding them both Oscars, Umeki especially. Miiko Tara, on the other hand, is radiant and delivers a fine performance. The movie really picks up when we start learning her backstory; her character has the most depth and she handles it well. Lastly, it's unfortunate that Ricardo Montalban was cast as a Japanese Kabuki performer, but he does a solid job in the role, especially in his brief dance numbers.

    That's one thing I could have used a bit more of. In addition to Kabuki and Bunraku, we see a woman's dance troupe performing in beautiful, colorful costumes, and director Joshua Logan cuts these sequences to mere snippets strung together, when I would have liked to see more. Similarly, the film offers a glimpse into Japanese culture and I think its heart was in the right place (and probably was novel for a portion of American audiences in 1957), but it's superficial by today's standards, e.g. learning that one takes shoes off before entering a house, that sake is made from rice, etc. A nice exception was when Tara's character explains why a tea ceremony is so elaborate, saying "The pleasure does not lie in the end itself. It's in the pleasurable steps to that end."

    Overall, while I cringed at times, I admired the film for its courage and for its message, which is still relevant. I liked how Brando's character evolved over the movie, and in his defiance of military regulations and cultural norms against miscegenation, I saw the younger generation of the 1950's challenging the older generation, which was so important in the advances over the following decade, and led up to things like the Loving vs. Virginia Supreme Court decision of 1967. The ending is also strong along the two main story arcs, and still delivers an emotional impact.
  • I really enjoyed this movie about the relationships that sometimes developed between American servicemen and Japanese women in post-war Japan--as well as the obstacles that prejudices created for them. Brando goes from having contempt for the Japanese (which is natural considering WW2) to falling in love with a Japanese woman and wanting to marry her. His performance is okay (I am not a major fan of his acting style) and the movie is marvelous throughout. Red Buttons received an Oscar for his touching performance of another GI who falls in love in Japan (though the Japanese women who plays opposite him also did a remarkable job).

    I don't want to spoil it but the movie is a good one to watch with a box of tissues.

    This movie manages to say SOMETHING and be entertaining at the same time. A mostly underrated gem.
  • A rather lumbering but nevertheless fairly effective movie about American/Japanese race relations shortly after World War II.

    Marlon Brando is the military brat whose nicely laid out life -- marrying a general's daughter, golden boy of the highest echelon of privileged military elite -- crumbles when he falls in love with a Japanese singer. Red Buttons is one of Brando's men, persecuted for having the audacity to marry a Japanese woman. And Miyoshi Umeki is said woman, quiet, obedient, and doting. This story takes far longer to tell than it needs to under Paul Osborne's screenplay and Joshua Logan's stagey direction. But it's a story very worth telling, and it's told without a lot of the dramatic histrionics and preaching that were common in message movies of the time.

    "Sayonara" was the most nominated movie at the 1957 Academy Awards, receiving 10 nominations in the year that saw "The Bridge on the River Kwai" win Best Picture. It took home four awards, for Best Supporting Actor (Buttons), Best Supporting Actress (Umeki, who barely says a word throughout the whole movie), Best Art Direction, and Best Sound Recording. It won additional nominations for Best Picture, Best Director (Logan), Best Actor (Brando), Best Adapted Screenplay, Best Cinematography, and Best Film Editing. As far as I'm concerned, it was lucky to be in contention at all in a year that gave us "12 Angry Men," which was also nominated for Best Picture, and "Sweet Smell of Success" and "Paths of Glory," which weren't.

    Grade: A-
  • kastellos23 October 2007
    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.
  • hakata-3828522 November 2022
    I love the movie and the actors, but.

    After WW2 the Japanese government negotiated with Macarthur for many things. One was a way to keep our GIs away from their civilian women. The vast majority of the women our guys met were prostitutes. Some were Japanese and some were leftover Korean comfort girls they were lovely and compliant and easy to fall for. This in conjunction with severe prejudice against Japan for their war atrocities AND miscegenation laws forced military leaders to transfer soldiers if they disobeyed orders and married one. The transfers were mild punishment they could have been court marshalled. I've lived there twice and love it and the women but those are the facts. After 1952 the bar girls were volunteers but still many were outcasts, others were looking for a better life.
  • 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.
  • There are two "Sayonara"s: the James Mitchner book and the

    Hollywood adaptation. The Major Llyod Gruver portrayed in the book is

    introduced as an army brat, graduate of West Point, no-nonsense air

    force pilot and career officer who does not discuss personal matters

    with enlisted men. The Ace Gruver introduced in the film is a

    brooding Brando who arrives in a fighter jet instead of on a Triumph

    motorcycle and whose best friend is Airman Kelly. The Japan portrayed

    in the Mitchner book is the everyday Japan of narrow streets, noodle

    vendors, ramen shops, yakitori stands, tatami rooms, and futon at bed

    time. The Japan portrayed in the film is a land of geisha,

    Takarazuka, kabuki, bunraku, pagoda, arched bridges, and a lot of other

    Japan stereotypes I have yet to encounter although I have lived in

    Japan for the past 31 years and have a masters degree in Far East Asian

    Studies from Sophia University, Tokyo. Both "Sayonara"s offer something o value. One is realistic. One

    is a beautiful fantasy. Read the book and watch the movie and take

    your choice of endings.
  • Somehow I'd never seen this very large, very successful adaptation of a James A. Michener novel detailing the cruel post-World War II military policy of discouraging intermarriage between American soldiers and, as Paul Osborn's screenplay has it, "indigenants," meaning Japanese women. It's lavishly shot in Technicolor and Technirama, doting on beautiful Japanese locations, and as a plea for tolerance, it must have had considerable bite in 1957. Marlon Brando, affecting a strange, intriguing Southern accent (he even had a dialogue coach), is the major who's happy enough to be engaged to Patricia Owens until he meets Miiko Taka and finds his well-curated prejudices against the former enemy evaporating. He counsels buddy Red Buttons against marrying Miyoshi Umeki but is quickly won over to their side-as in a Rodgers and Hammerstein show, including "South Pacific" (also derived from Michener), there has to be a tragic second couple to allow the primary one its happy ending. Buttons and Umeki both won Oscars; he's excellent, showing a serious side we never knew he had, while she's, well, rather passive-it's a delicate performance, but she hasn't that much to do. There's also Ricardo Montalban, of all people, as a Japanese kabuki master, and a young James Garner for Brando to play off of. Director Joshua Logan revels in the pageantry, and, this being a Josh Logan movie, if there's an excuse for a hunky man to take his shirt off, he does. Martha Scott and Kent Smith, somewhat on the sidelines as Owens' parents, do good jobs, and if the whole thing's a bit bloated at two and a half hours, in the end it's affecting. Dated by current standards, of course, but fairly honest, socially conscious Big Hollywood for its time.
  • 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.
  • Brando plays the ace jet pilot, just back from shooting MiGs down in the Korean War. On leave, he discovers his Madame Butterfly, falls in love. The lovers both see the folly of racism and the cruelty which conservative cultural norms can bring to human relations.

    This film is an excellent romance with a nice twist which rejects the racist, conservative standards, dominant at the time it was made in 1957. "Sayonara" will make you laugh and cry. Beware though, sometimes the musical background will make you wish it was not there, although, Irving Berlin's title song will entice your memory for a very long time after your theatre lights come on again.
  • diegosantti11 December 2001
    Personally, I think Sayonara was the greatest movie he ever made. It touched every emotion from anger to romance to complete tragedy. And Brando should have won for best actor. Anyway, the movie is awesome, the man is attractive to BOTH MEN AND WOMEN and now you have no reason not to see it! Do so, and fall in love.
  • Major Lloyd Gruver (Marlon Brando) is a US flying ace in the Korean War who is reassigned to Kobe, Japan. He claims he's not racist but he tries hard to talk admiring soldier Joe Kelly (Red Buttons) out of marrying a Japanese girl which is against regulations. Nevertheless he's a witness to his wedding. While bringing his girlfriend Eileen Webster and her family General Webster to the club, Captain Bailey (James Garner) tries to bring a famous Japanese performer in but is rejected by the guard and General Webster. He and Eileen go to see Kabuki and meets performer Nakamura (Ricardo Montalban). They have a blow out when Eileen wants to advance their relationship. Being a witness to the inter-racial marriage causes more friction between Gruver and General Webster. He falls for Hana-Ogi who is the star performer and his previous prejudices go out the window. In addition to official regulation, they face social isolation from both sides.

    This is a weak romance wrapped in a message movie. While I admire the message, the romance has a great deal of problem. First Brando has to dump the white movie pinup girl. I think it's a way to show that he's choosing a Japanese girl over a white girl to break the old mold. The first problem is that the audience isn't introduced to Hana-Ogi until after 45 minutes and she doesn't have much to do. It's very late for the romantic lead. The second problem is that she doesn't have chemistry with Brando or at least less chemistry than with Eileen. They don't really interact enough to create the chemistry. The third is that the message becomes larger than the romance and it is made to serve it. The movie may have maintained a better structure if Eileen was written out and General Webster was just Gruver's disapproving father.
  • ebiros25 December 2013
    Based on a novel by James Michener, Sayonara is a movie that's set in Korean war era Japan. Two American service men finds old world Japanese women more attractive than women from their own country.

    Major Gruver (Marlon Brando) stationed in Itami Japan is asked by his superior to convince his crew chief Airmen Joe Kelly (Red Buttons) to break off engagement with Katsumi (Miyoshi Umeki) - a Japanese girl. Interracial marriage was eschewed at the time, and somewhat thought to be out of form for Americans to marry an Asian, especially the Japanese who were their enemies in the recent war. Major Gruver tries to convince Joe that fine "real" American woman is what's really worth marrying until he is introduced to Hanaogi (Miiko Taka) by Joe and Katsumi.

    This movie was ground breaking in so many ways when it was released. Usage of James Michener's story who was known to write many international themed movies was a fresh move for Hollywood, and it was one of the first movie not to stereotype Asians as Charlie Chan type characters. It was also one of the first movie to cast Japanese as Japanese in their roles, not Americans with an Asian make up ( well not completely as Ricardo Montalban's character shows, and Hanaogi was supposed to be played by Audrey Hepburn until she declined the part ). In any case, the main characters were played by Brando and a new comer who was working as a travel agent in Little Tokyo in Los Angeles at the time, Miiko Taka. She was one of the first Asian woman to portray Asians in their native role. Likes of her showed that Asians can portray themselves much better than an American actors posing as Asians. She also showed that Asian beauty can be on equal footings with their counterparts, which began the paradigm shift to cast Asians in their native role in Hollywood movies.

    Marlon Brando may have been a rebel, but had no nonsense attitude about things. He was sensible in many ways about life which was taken to be unconventional at the time, but became more of a norm in society in subsequent years. Attitude of Major Gruver somewhat reflects his no nonsense ways he had with society, and he was the perfect actor to play the part. Miiko Taka had an outstanding regal presence in this movie. She was no second fiddle to anybody, and was perfect for her role as well.

    The movie has style, and beauty all its own. Situations between the casts were very romantic. The movie showed that it's cool to date an Asian woman, which today no one even thinks twice about. A great movie in its production and style, and stands as a classic all on its own.
  • (Flash Review)

    Life for Japanese and Americans forming relationships in Japan while the two big bombs are fresh in memory is a challenge. Nobody better tell Brando who he can be with or not. Not even the American military who try very hard to break apart or sabotage mixed culture relationships. This is certainly a film centered around culture and the cavernous division between the former enemy countries. Set in picturesque Japanese locations, showcasing several dance performances with elaborate costumes, the film portrays the harsh challenges to sustain that type of relationship. Brando was great with his performance as was the supporting cast.
  • Knowing a movie is based off a James Michener novel is enough of a clue that the subject matter will be sad, but as an extra warning, this Joshua Logan drama is entitled Sayonara. So bring the whole Kleenex box when you sit down for this fantastic movie. Sweeping up Rag Awards for Best Picture, Director, and Supporting Actress (and with additional nominations for Actor, Actress, Supporting Actor, Screenplay, and Song), Sayonara is one of the best movies of the entire decade.

    Marlon Brando stars as a soldier stationed in post-war Japan, with as healthy a dose of American prejudice as you'd expect. At the start of the movie, he learns that his friend and fellow soldier, Red Buttons, is planning on marrying a Japanese girl. He tries to talk him out of it with any number of verbal tactics, suggesting his family won't approve, his friends will shun him, and finally saying that he just doesn't understand how a "normal American" can actually want to marry a Japanese. Red has a comeback for every objection, and at the end of the day, Marlon agrees to be a witness at the ceremony even though he still doesn't approve. When he congratulates the happy couple, he does so with such a perfect level of condescension and forced sincerity; it's easy to imagine he's witnessed a man marrying his dog. He pats the bride on the head and says, "Take good care of him, darlin'." Marlon got some flack for his muddled accent, but he did it on purpose to show that as an Army brat, he moved around a lot during his childhood. I've actually known people whose accents reflected different areas they've lived, so I didn't mind his compilation one bit.

    Of course, with such a heavy prejudice ingrained in him, it's a reasonable guess that living in Japan and getting to know the people will eventually soften Marlon's edges and open his mind. Through observing Red's happiness with his wife, Miyoshi Umeki, and with a developing fascination of a famous dancer, Miiko Taka, Marlon has the opportunity to mature and move past the war.

    The entire movie is devoted to culture-clash, constantly showing the difference between the bigoted world and the accepting one. In the first, there's an all-white country club that doesn't allow any Japanese as guests. When James Garner tries to bring a Japanese dancer to tea, even though he's a respected officer, head honcho Kent Smith won't see him through the front door. Kent is also Marlon's future father-in-law; his daughter is the classy Patricia Owens who can offer Marlon a completely different life than the one Red enjoys with Miyoshi - in the second world.

    Sayonara presented three new faces to audiences, and two of them won Academy Awards. Miiko Taka wasn't an actress, but director Joshua Logan liked the look of her. Turns out, she gave a wonderful performance and showed all the elegance, morality, respect, and duty that her character required. People might have known Red Buttons and Miyoshi Umeki, but for comedy and singing, respectively. In these heavy dramatic roles, it was an unexpected treat that these debut actors could make the audience cry. Miyoshi's broken English is so endearing, and her shy mannerisms work their way into your hearts in an instant. During her wedding ceremony, she doesn't understand the officiant's words, so Red Buttons answers for her. "She will," he says to answer her vows. "She will," Miyoshi repeats innocently.

    Obviously I recommend this movie, but my recommendation does come with a warning. There are some extremely cute moments, but they build you up for an even greater fall. I've seen this movie four times and look forward to the fifth viewing, but I know it'll be too sad for some people.
  • "Sayonara" is a solid film with a very interesting "southern" accent given to us by Brando with a rather contrived (and disappointing) supporting performance by Red Buttons. Don't get me wrong though, I really like Red Buttons and I enjoyed his character but the ending os his chracter arc is weak. I say weak because it is already a tragic love story between him and Katsumi. It didn't need the punctuation we are given. It certainly feels overstated, but maybe I'm wrong.

    Even still, I enjoyed the Japanese culture we see in this film, as well as not a single bad performance in the ensemble (maybe Ricardo Montalban is a bit gimmicky) but it doesn't take away from the film. Great score and overall solid film.
  • 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.
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