Sayonara



The 2nd most quintessential Asian Gal with White Guy movie, after The World Of Suzie Wong.

Lloyd Gruver (Marlon Brando), a United States Air Force Major stationed in Korea whose father is a four-star general and who is prejudiced against Asians, is irritated that many of his friends and associates are marrying Asian women (something which the U.S. Military as a whole strongly disapproves of). He is transferred to a desk job in Kobe, Japan, under command of his father's friend--three-star general Webster (Kent Smith). Lyold is engaged to Webster's daughter, Eileen (Patricia Owens), but he doesn't seem particularly attracted to her. Reluctantly, he serves as the best man at the wedding of his crew chief Joe Kelly (Red Buttons) to local woman Katsumi (Miyoshi Umeki). Gruver finds his prejudices challenged when he himself falls in love with the beautiful Takarazuka actress/dancer Hana-ogi (Miiko Taka)...

By today's standards, the film largely comes off as dated--perhaps even racist--, between the 50s melodrama and stereotypical portrayal of Japan and Japanese women. In 1957, however, a film portraying Japan and interracial marriages in a sympathetic light was a risque rarity, especially considering that director Joshua Logan had initially wanted Audrey Hepburn for Taka's role, and that the book it was based on ended with Gruver and Taka deciding that they would never be compatible and breaking up.

Earned Best Supporting Actor awards for Red Buttons and Miyoshi Umeki--making her the first and only Asian performer to win said award.


 * Ace Pilot: Gruver.
 * Asian Gal with White Guy
 * Beta Couple: Kelly/Katsumi and Eileen/Nakamura.
 * Fair for Its Day
 * Film of the Book
 * Melodrama
 * Scenery Porn
 * Star-Crossed Lovers: Kelly and Katsumi.
 * Tear Jerker:
 * Thirty Seconds Over Tokyo: The film uses many stereotypes of Japan like bunraku, Cherry Blossoms, geisha, kabuki and Yamato Nadeshiko. On the other hand, it is filmed on-location involving actual Japanese actors in Kobe, Japan, with Tokyo only coming into the picture later and being clearly distinguished when it does; it also has strong words regarding racism and prejudice despite its 1950s setting and release, and is overall Fair for Its Day.
 * Together in Death: is one of the definitive cinematic examples.