Madame Butterfly

Don't go looking for much Puccini in this adaptation of the rather sad tale of "Madame Butterfly". Sylvia Sidney picks up the fan as the young geisha girl who encounters American sailor "Pinkerton" (Cary Grant) after the war. Rather cynically, his pal "Barton" (Charles Ruggles) informs him that he can pretty much have his way with the girl so long as he "marries" her beforehand and then she automatically becomes divorced afterwards when he gets on with his life Stateside. "Pinkerton" isn't quite so nasty, but when assured that "Cho-Cho San" will also just get on with things too, then a night of fun and fancy ensues. His departing comments to the girl hearten/mislead her by saying he will be back before the robin builds it's next nest. Well a visit to the US consul after his sailing makes matters works for the girl as he tells her that happens in the US every three years. He meant well! It's around then that he returns to Japan with a new bride (Shiela Terry) with both completely oblivious to the fact that there is now also a child - "Suzuki". "Pinkerton" does want to go and see her but he is unaware that she has waited patiently for his return and, well, the story takes quite a tragic turn when truths are told. This is not the liveliest presentation of this story with the staccato accents not really helping; Grant doesn't really impose himself and the pacing is distinctly ponderous. That said, Sidney delivers a solid performance as a woman who readily elicits feelings of sympathy and pity as her life becomes subsumed in a dream of faux-expectations centred on a selfish and thoughtless man. It's all watchable enough, just not really that great.

An American naval officer leaves his Japanese wife without realising she is pregnant with their son. Ponderous film version of Puccini's opera that features none of its music until the final credits. Sidney is good as the tragic Cho-Cho San, but Cary Grant gets little chance to shine as B. F. Pinkerton, who comes across as a flippant and unlikable character. The couple's reunion is achingly poignant, but it's a bit of a slog getting to it.

There is no way in the world a film like "Madame Butterfly" could be made today. After all, the entire cast of Japanese folks are played by white folks painted up to look like Asians. Such things were pretty common back in the day....and included films like the Charlie Chan series, "Dragon Seed" (with Katharine Hepburn playing a Chinese lady) and "The Conqueror" (with John Wayne as Genghis Khan and his hottie played by red-headed Susan Hayward!!). My complaint is not just that they are offensive but they also really were ridiculous...especially when Hollywood could have easily given jobs to Asian actors! But such was the attitude of the day....and such is the Japaneseness of "Madame Butterfly". Now not all is bad when it comes to the 'Japanese' in the film. The costumes and sets are terrific and it is obvious Paramount spent a lot of money to make the film. So, at least it looks great.

The story is based on the David Belasco play which was then made into a Puccini opera by the same name. The film, however, is not an opera though some of the music from the opera is included as incidental music.

Lt. Pinkerton (Cary Grant) goes out on the town with his navy pal, Lt. Barton (Charlie Ruggles). Soon Pinkerton meets Cho-Cho San (Sylvia Sidney) and he's smitten with her. But he's informed that he cannot date her or spend time with this geisha. Barton sees a loophole and suggests Pinkerton marry her....and then dump her when his ship leaves. She doesn't realize that Pinkerton is a dirty dog and they are married. Soon after the wedding, Pinkerton leaves....and Cho-Cho waits several years for him to return. In the meantime, she's had his child...a child who he doesn't know he has. Later, Pinkerton returns to Japan....with his new American wife!! What's next? Well, it's best I don't spoil it...see the film.

The story is lovingly made and looks great...and it's also quite moving. It is such a darn shame, then, that the casting decisions were so stupid....fine for 1932 but still stupid when you see it today. Part of this problem isn't just because such casting seems racist. It's also that folks in 2020 know a lot more about Japanese culture and know that what they are being given here is less Japan....and a lot more Puccini and Belasco.

Overall, a very good film version but one that begs to be remade. And, I have to knock off a point for Grant's singing...it's among the worst I've ever heard by an actor...even worse than Lee Marvin's singing in "Paint Your Wagon" but thankfully Grant's is confined to only one terrible song....and it's not a musical with multiple numbers!

I spied a photo I'd not seen before, went on a google search, Et voilà: Cary Grant as Pinkerton! What a thrill! Like found treasure in nana's attic. An adaptation of the original play, a few years pre-opera and Japan open to west still fairly new, was relevant for its time, although, a little different from the Puccini. In some ways, however, the story makes more sense. Sorry Giac!

Sylvia Sydney is incredible. She's more convincing as the embodiment of Cho Cho San, than most actors of the era, who seemed largely to be playing as if to audience than camera. (Not that I'm knocking it, the 30s and silent are my favs. Just sayin'. Psst it's the scenes and costumes. Moving Art.)

This version of Madame Butterfly absolutely worthwhile! If for the performance of Sydney and her costumes alone. Okay, and Grant's pretty face. One warning for opera lovers though: Other reviews point to Puccini's "incidental" music throughout. I may be wrong, but I only heard the overture at the opening credits and the main aria at the end. Everything in the middle not Puccini as far as I can tell. I say, still worth it.

Heaven knows what possessed Paramount to cast Sylvia Sydney in this in the first place, unless it was a desire to find a novel context for her to suffer in. Given that they did, it's actually been done with taste and elegance, Puccini is used quite well as incidental music on the soundtrack, and Miss Sidney is as moving as she always is (we can imagine only too well what a western woman wronged so grievously would have done with the dagger she reaches purposefully for at the conclusion).

Those outraged at the casting of a Jewish/American actress as a geisha should also take note of the fact that All-American cad Pinkerton is played by a Bristolian.