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"What does it all mean? Eternal struggle, sex ... New York Yankees." |
SAYONARA (1957)
Nominated for 10 Academy Awards/Winner of 4 Picture Actor Director Supporting Actor (WINNER: Red Buttons) Supporting Actress (WINNER: Miyoshi Umeki) Adapted Screenplay Cinematography Art Direction/Set Decoration (WINNER: Robert Priestley, Ted Haworth) Sound (WINNER: George Groves) Film Editing |
To give a bit of back history on SAYONARA before it materialized on screen, first, we should visit the author of the story, James A. Michener (1907-1997). His first book, inspired by his stories during his service in WWII while in the Navy, 'Tales of the South Pacific', publicized in 1947 as a collection of short stories, was adapted into the Broadway Musical SOUTH PACIFIC, premiering in 1949, with the music lyrics by Oscar Hammerstein II and the book by Hammerstein and Joshua Logan (to become the Director of the film adaptation of SAYONARA (1957)).
The film itself falls under the category of one of the films by Marlon Brando's Production Company, named after Marlon's mother's maiden name, 'Pennebaker Productions'. It was a film Brando admits in his biography, 'Songs My Mother Taught Me', was suggested by his father, Marlon Brando, Sr., to take into consideration after Brando (Jr.) finished THE TEAHOUSE OF THE AUGUST MOON (1956).
To brief a little of the history between the two, Jr. and Sr., through a story best told on its own, through the words of Brando himself, the two had a rough relationship and Brando's upbringing was a struggled and broken one. They did reach a point Brando (Jr.) describes as at least "civil" to one another in his adult years. But it was clear when Marlon became "successful" or what others considered a success (a term Brando often weighted to what worth, for what good), the purpose of Sr. as "manager" of his company was his way of keeping the situation with his father under control. Marlon considered his father "in charge" of the company as a means for a place Sr. could go after Jr.'s mother (Sr.'s wife), "Dodie" had passed away, never intending for Sr. to actually "do anything." According to Marlon (Jr.), Sr. had written him a letter about the financial state of his Production Company, mentioning there was a picture Joshua Logan wanted to direct (more on that story later), and Warner Bros., along with Producer, William Goetz, would join with Pennebaker to finance. |
At this, Marlon read the book by James A. Michener, finding the story itself intriguing, but disliked how the story between the two leads, American Korean War pilot "Major Lloyd Gruver" and Japanese Matsubayashi dancer "Hana-ogi", ended. It was only if the change to the end of the story, where the two ended up together, would Brando agree to do the picture. Ever wanting to be a voice to help the effort against racism among people and countries, Brando saw this as an opportunity to use his position, his "success" and his company to help push toward interracial marriage. Shown in a positive light. This being the intention of his company, as Brando:
wanted to make pictures that were not only entertaining but had social value and gave me a sense that I was helping to improve the condition of the world. My father disagreed with my priorities." |
A film dealing with the discrimination between races; at the time this film was made, there were more than 10,000 American Military personnel that had "defied" regulation and married Japanese women. This line too referred to in the film by Marlon Brando's character "Major Lloyd "Ace" Gruver" after he has served as a witness to one of his men and friend's wedding, Airman Joe Kelly (acted beautifully and sincerely by Red Buttons) to a Japanese woman "Katsumi" (acted just as equally beautifully and sincere by Miyoshi Umeki in her US feature film debut).
The friendship between Marlon's "Ace" and Red's "Kelly" on screen is a hard one to be faked ... Well unless it's Brando and Quinn, but that's another film, another view, another blog altogether ... VIVA ZAPATA! I'm looking at you (for my piece on "Viva" read here) ... even with as good as with the two actors we have in Brando and Buttons, which made me all the more happier to learn that Buttons and Brando were actually friends in real life. Buttons had met Brando during the 1940's when Buttons was visiting his friend, actor Karl Malden (during their WWII days together), while Brando and Malden were appearing in this play called "A Streetcar Named Desire" (excuse me as I pour sarcasm in my cup) ... "this play called" indeed. Buttons recalls how it was meeting Marlon then, 1947, and how it was to work with him in SAYONARA (1957).
From the 'Observer':
He was the most gracious, wonderful guy ... Because he knew it was my first shot out of the box doing anything dramatic-I was in the comedy world-and he was just so wonderful to myself and the two Japanese girls, who were also neophytes. And he was just so gracious and wonderful. I loved the guy all my life."
—Red Buttons (read the full article here)
Much the same feeling as James Garner states in his book, "The Garner Files: A Memoir," they both found Brando to be a good experience to work with. "He could make you forget he was the great Brando and you'd just see the character." —James Garner
*time out hands* I take this moment in pause and appreciation to one of my *favorites* ... "Who is the tall dark stranger there ..." Yes my friends. Maverick is the name. My obsession with Brother Bret soon to be Brother Bret and Brother Bart, is a long and totally different full length blog of its own, which I hope to do one of these days. So, I'll only pause long enough for you to get a feel of what this experience was like for Garner, his first major feature film, a role he was a bit nervous about. In Garner's autobio, he talks of his first scene to be shot, where he and Marlon are in the back of a taxicab ... Yes. I know. You see it. The contenda.
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I was so tense my palms were dripping wet, and Marlon noticed it.
"What's the matter?" he asked.
"I'm so nervous I can't see straight. I've never done a first-class picture before.
Marlon immediately put me at ease. He took me aside and said, "If you have any problems, just let me know and we'll work 'em out."
That calmed me down. From then on, we worked well together."
—James Garner, The Garner Files: A Memoir
Though Brando is the "star" of SAYONARA, it's really Red Buttons and his love for his wife (Miyoshi Umeki as "Katsumi"), that steals the show. So natural and heartbreaking are Miyoshi and Buttons' performances, who was just coming off his canceled television show.
Personally, after watching this film for the first time several years ago all the way through, I *always* find it hard to watch from start to finish, past "the eyes scene" thereafter. The scenes between Red Buttons and Miyoshi Umeki are *that* powerful. Not to take anything away from Brando's performance throughout the film, but, at least for me, his shining moment really doesn't pack its punch until the end. His speech to "Hana-Ogi", too the film debut of Miiko Taka (who is still with us at 94! ... UPDATE: Ms. Miiko Taka has since passed away since I wrote this piece. Passing away on January 4, 2023, she was 97.), memorizes me into an emotional flow near tears. The sincerity he displays when he speaks, answering her question about their future and their children, is passionately done.
Personally, after watching this film for the first time several years ago all the way through, I *always* find it hard to watch from start to finish, past "the eyes scene" thereafter. The scenes between Red Buttons and Miyoshi Umeki are *that* powerful. Not to take anything away from Brando's performance throughout the film, but, at least for me, his shining moment really doesn't pack its punch until the end. His speech to "Hana-Ogi", too the film debut of Miiko Taka (who is still with us at 94! ... UPDATE: Ms. Miiko Taka has since passed away since I wrote this piece. Passing away on January 4, 2023, she was 97.), memorizes me into an emotional flow near tears. The sincerity he displays when he speaks, answering her question about their future and their children, is passionately done.
The quietness in which Miiko carries her character is an effective and impactful one: "I am not allowed to love. But I will love you if that is your wish."
Miiko (originally from Seattle, Washington), at the time this film came around, was a clerk at a Los Angeles travel agency. She had no previous acting experience and after actress Audrey Hepburn turned down the role of Hana-Ogi, Taka was discovered by a talent scout while at a Nisei Festival. She plays the character of the lead Japanese actress/dancer of the "Matsubayashi Girls Revue" (in the film performed by the "Shochiku Kagekidan Girls Revue"). Her presence onscreen is undeniably captivating, it's hard to believe this was her first film. Her naturalness is so in tune with the character, one can easily get lost in the story, thinking she and the character are one and the same.
Miyoshi, from Japan, who did have an entertainment background as a singer going by the name Nancy Umeki in her beginning days as a singer, translates her character in a charming way. You find yourself smiling unbeknownst to yourself every time she and Buttons enter a scene. Her "eyes scene" ... holds your breath mid-inhale.
Miiko (originally from Seattle, Washington), at the time this film came around, was a clerk at a Los Angeles travel agency. She had no previous acting experience and after actress Audrey Hepburn turned down the role of Hana-Ogi, Taka was discovered by a talent scout while at a Nisei Festival. She plays the character of the lead Japanese actress/dancer of the "Matsubayashi Girls Revue" (in the film performed by the "Shochiku Kagekidan Girls Revue"). Her presence onscreen is undeniably captivating, it's hard to believe this was her first film. Her naturalness is so in tune with the character, one can easily get lost in the story, thinking she and the character are one and the same.
Miyoshi, from Japan, who did have an entertainment background as a singer going by the name Nancy Umeki in her beginning days as a singer, translates her character in a charming way. You find yourself smiling unbeknownst to yourself every time she and Buttons enter a scene. Her "eyes scene" ... holds your breath mid-inhale.
We can talk of Brando's decision to use a Southern accent for a character who was not written as such, which seems to bring forth rather brow raising questionably by some. However, I never find that it takes away from Marlon's performance. And his decision to make the character a Southern one, should earn a certain amount of respect, as a sound one; though, I can't say this was the reason for it, the idea of a Southern male, brought up in a military home, following the military "rules", to fall in love with a Japanese girl during this time in history ... Seems another chalk up for Brando wanting to showcase another side of what was the sign of the times.
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Having said all this, I hope it sparks some interest to watch if unseen or to watch again if it's been a while. Other notables in the film, are Kent Smith (THE SPIRAL STAIRCASE, CAT PEOPLE, HITLER'S CHILDREN, NORA PRENTISS, THE DAMNED DON'T CRY) and Martha Scott (CHEERS FOR MISS BISHOP, HI-DIDDLE-DIDDLE, SO WELL REMEMBERED, OUR TOWN, ONE FOOT IN HEAVEN) whom both annoy me to no end in this film, though staying true to their character in reflecting what a lot of particularly white Americans felt about integration and interracial marriages, are otherwise found in much more likable characters, especially in the films I've afore named. As well as Patricia Owens (in her third film after ISLAND IN THE SUN (1957) and NO DOWN PAYMENT (1957)) as she was a loan out to Warner Bros. by Fox.
... And if you think I've forgotten Ricardo Montalbán, who, if you are unaware, here plays the role of a Japanese actor performing at the Kabuki Theater, "Nakamura", I assure you I have not. For he is a "great admirer of Miss Monroe" himself.
... And if you think I've forgotten Ricardo Montalbán, who, if you are unaware, here plays the role of a Japanese actor performing at the Kabuki Theater, "Nakamura", I assure you I have not. For he is a "great admirer of Miss Monroe" himself.
For, as you can tell by my Ricardo Montalbán thread on my Twitter account, the appreciation for the young talented Ricardo Montalbán is much underappreciated and overdue.
Pardon me as I thread my personal line of dedication gifs over the course of time, as I found there were far too few and lacking in regard to the young talent that is Ricardo Montalbán ... Carry on. pic.twitter.com/Aaf0RTLJkM
— Dominique Revue (@DominiqueRevue) January 13, 2018
I close out with Irving Berlin's last film work, with the song intended originally for Broadway, introduced in the film, 'Sayonara'. Joshua Logan approached Irving in 1953 to write the score, at the time meant for a musical adaptation to James A. Michener's novel, but with the hiatus of the project, Berlin lost interest in the other four songs. Registered for copyright as an unpublished song October 7, 1953, the song would finally make its introduction in the film four years later.
Nat King Cole would perform the song, sung in the film by Miiko Taka to Brando's "Lloyd", in the next to last episode of his television show THE NAT KING COLE SHOW, December 10, 1957, just five days after the film received its New York premiere on December 5, 1957, before its Japan premiere on the 20th of the same month with its Christmas Day release in California to follow.
IN CLOSING: I leave with you the 1957 review of the film from THE NEW YORK TIMES: read here, and hope you decide for yourself when the film airs Saturday during the #31DaysOfOscar 2.17.2018 at 2PM CT on TCM.
Sayonara, Guys 'n Dolls.
To view my other pieces thus far in my #31DaysofOscar: Start here
Or to follow along in my series, visit my Twitter account @DominiqueRevue
For more of my personally made gifs, visit my channel at: @DominiqueRevue
Or to follow along in my series, visit my Twitter account @DominiqueRevue
For more of my personally made gifs, visit my channel at: @DominiqueRevue