Sayonara

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.

There's no doubt that this is a dated film. But there are certain advantages to that. It's definitely a film of its time, and as such is very revealing. Although some of the dialogue and characterizations (not to mention the music) inspire giggles, there's a fair amount to be admired here. I was pleasantly surprised by how frank the film is in its portrayal of institutionalized racism and its effects on the rank-and-file soldiers and the buracracy that controls their lives. Red Buttons and the woman who played his wife both won Oscars for their roles, and deservedly so. They are not the main characters of the film, but they embody the film's message and its spirit as well, and are the most naturally written characters in the movie.

Red Buttons's display of rage when his wife attempts to disguise her ethnicity is amazingly genuine and moving.

Yes, the women are portrayed in a derogatory fashion, as a previous reviewer has observed. But this was 1957, after all, and on top of that the film takes place in a military setting. Add to that the fact that Japan at that time was at least as bad as the West in its treatment of women and it's hardly a surprise that the gender dynamic is what it is. The most ironic thing, I found, was the fact that although Hollywood was comfortable casting Asian women in the film, the one speaking role by a Japanese male character (who has a subtly romantic role in relation to an American woman) was given to Ricardo Monalban. It was okay to have miscegenation portrayed with some frankness, as long as it involved Japanese women, not Japanese men. Sad,

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.

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.

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'.