Mañana viviré

Of course the producers needed some names to carry this, and after all, Guinness could play anything, right? Here we have Sir Alec in a variation on his standard Refined Exotic Man, very similar to his Prince Faisal in Lawrence of Arabia and Brahmin Professor Godbole from A Passage to India. On Broadway Mr. Asano was played by Cedric Hardwicke, so this was simply continuing established --and highly outdated-- practice.

At least the onstage Mrs. Jacoby was portrayed by Gertrude Berg, creator and star of TV's The Goldbergs (1949-1957), and the kind of little round Jewish mama one would visualize in the role. Roz does her best, but it's not just that she's doing Jew-Face to Guinness' Yellowface-- she comes across as gawky and vulgar rather than sweet and endearingly quaint.

As has been presented in innumerable interracial romances intended for white audiences, the potential shock is taken out by the knowledge that hey, after all, those actors are both white. Acting is pretending! Nowadays, however, audiences are more sophisticated and like a bit more realism.

Now, who would we cast in a new production of A Majority of One?

Warner Bros. cast movie stars Rosalind Russell, and Alec Guiness in this movie based on the hit Broadway play directed by long time veteran Mervyn Le Roy with very fine Warner Bros production values.

Rosalind Russell an Irish Catholic Yankee was cast as a Brooklyn Jewish Matron, the part played by Gertrude Berg on Broadway. There is a lot of mileage between Roz Russell and Gertrude Berg! English star ( and also Catholic) Alec Guiness was assigned to play the Japanese male lead. Ms. Russell had a lot of talent and is one of the most glaring examples of a great actress who never won an Oscar. Alec Guiness right off his great Oscar win in The Bridge On The River Kwai playing the English officer tormented by his Japanese captors is elegant and intelligent in his performance in this film. Due to the deft professionalism and talent do these two very fine Stars pull off their characterization's.

Gary Vinson and Sharon Hugueny both WB stars are listed in the credits but I only saw them briefly. Warners contract star Ray Danton is fine in this film.

Looking at the film afresh as a mature adult, I'm now amazed I never realized that however excellent an actor Alec Guiness was, he simply looked ludicrous as an ersatz Japanese man. He appeared to have some sort of tightening device around his eyes so that they always looked closed! I guess that passed for generic Asian looks in those days. Too bad at the time James Shigeta was too young for the part; I kept visualizing him as an older man. That quibble aside, it is truly a heartwarming tale and well-performed by the wonderful Rosalind Russell and Mr. Guiness. Nice to see a regular-guy performance by Ran Danton, too, as the son-in-law. I'd always associated him with "Legs" Diamond and other unsavory characters he usually seemed to play. All in all, entertaining and drives home some important points about tolerance and family relations.

I've never seen another love story like A Majority of One. A story of two elderly individuals who are worlds apart having to overcome their racial prejudice, as well as being one of the few films in existence about love at old age. These imperfect and flawed characters feel so real and human, and while two and a half hours may seem overlong, I believe this time is justified. I wish more films could have the level of honest storytelling on display here.

The casting as Alec Guinness as a Japanese businessman has been widely criticised but I have disagree, I thought he was perfectly convincing in the role. His character is flawed, he's not the stereotypical wise old Asian man who is full of otherworldly knowledge which he easily could have been; he makes mistakes and doesn't have the answers to everything. Unlike many Asian characters in Hollywood films, he doesn't talk in broken English or exhibit any other commonly seen Asian stereotypes. Compared to Japanese stereotypes seen in World War II propaganda films 20 years earlier, A Majority of One was certainly a sign of progress.

Why should an actor's race limit the roles they can portray? If they play a character of a different race convincingly and in a non- offence manner, I don't see any reason to be up in arms. Should the roles an actor may want to attempt be limited to only characters of their race? I feel there is a double standard at play here; for a non white actor to be cast in a role or as a character originally conceived as white it will be viewed as forward thinking and progressive; for a white actor to be cast in a non white role then it is considered racist? Film is a business and you need big stars for a movie to be box office hit; how many Asian actors where big stars to American audiences in the early 60's. A movie like A Majority of One was an initial stepping stone to more equal representation in film, perhaps it not succeed as the film was not a box office success but the intent was there.

Rosalind Russell plays a potentially unlikable bigoted character but she manages to make the role endearing with her lovable nature and witty comebacks. I didn't see her character as an exaggerated stereotype. I've seen far more exaggerated representations of Jews in other films (do I even need to list examples?). Her character has lead an ingrown life in Brooklyn, however the movie shows the younger generation of her daughter and son in law holding more progressive views and are less conservative than their elders. Russell won't enter a bedroom wither son in law inhabiting without permission in case he isn't decent; her daughter on the other hand will just walk on in. Likewise the film highlights westernised trends in Japan such as Alec Guinness wearing a western flat cap tot the popularity of American music and Hollywood movies in Japan, while still acknowledging the anti American sentiment which exists in Japan. Also this movie has Eddie, a whiny little brat but in a funny way; I love this guy.

This is a gentle little film that may have it's faults with the hindsight of 40 years, but is enjoyable, especially I feel to those that remember the post WW11 days.

Alec Guinness plays the part beautifully, with his usual master of the character, Rosalind Russel plays a good stereotyped Jewish Mother .... the other characters just fill in between the lines. The only character that I find fault with is 'Eddy' the No. 1 boy of the family in Tokyo. He is obnoxious and completely out of character with a real 'House Boy' of the times that was lucky enough to get a 'cushy number' working for an American Diplomat.

In these days of virtual reality with sex, blood and car chases being the three main criteria of movie making, this movie is like going to a stage production from the 50's...... gentle and enjoyable.