A grade-A studio star vehicle for a prime Marlon Brando, Joshua Logan’s SAYONARA, complying with USA’s post-war rapprochement with Japan and Hollywood’s far-flung endeavor to marry oriental exotica with its tried-and-tested production formula, charts a defiant inter-racial romance with appeal, earnest and poignancy, but not without its ingrained stereotype of a disparate culture, also compounded by a pernicious double standard.s state of affairs will not be that rosy.Earning 10 Oscar nominations and winning 4, including two for its supporting players Red Button and Miyoshi Umeki (a very first and still one-and-the-only win for any acting performer of Far Asian extraction), SAYONARA is conduced to introduce Japanese culture to any foreign eyes, Kabuki, Shochiku Revue, puppet theater (foreshadowing the tragic coda for Kelly and Katsumi), by turns, is presented to offer an absorbing but superficial overview, but ultimately, what is irresistible for Lloyd is the propaganda of a courteous, biddable wife who treats her husband like the master of her universe, risibly if slightly offensively embodied by an unfeigned, impish Umeki, her performance doesn’t live up to the hype of Oscar caliber, as the characterization of Katsumi never surpasses kin-deep tentativeness. Red Buttons has a bit more to enact as the pertinacious Kelly, sets an intrepid precedent for Lloyd to emulate his own fight for love.Lloyd’s two girls are opposite forces, Patricia Owens’ Eileen, cannot be sated as a traditional army wife if Lloyd is not the right one for her, and her own rapport with a Kabuki star Nakamura (Montalban) is only briefly depicted, and it is not helped by the problematic double standard of casting the Mexican Montalban with artificial slanted eyes in the role, as if implying a racist undertone, which feels excruciatingly and conspicuously grating along with the Brando-Taka pair. An unsung Miiko Taka has a daunting job to achieve as the one who is designed to encompass all the virtues of a nubile Japanese woman from a westerner’s eyes, she must possess poise, elegance, passion and fidelity, vulnerable on the outside, but steely-minded when she makes up her mind, not to mention, in her first line, Hana-ogi has to divulge all her concealed feelings to a stunned Lloyd, her openness is one thing doesn’t conform to the preconception of a Japanese woman,。
故事發(fā)生在朝鮮戰(zhàn)爭時(shí)期，空軍少校羅伊德（馬龍·白蘭度MarlonBrando飾）深得將軍的信賴和喜愛，春風(fēng)得意前途無量。羅伊德被派遣至日本，在那里，他邂逅了名為阿儂（高以美子飾）的日本首席舞者，阿儂身上濃厚的異域風(fēng)情深深的吸引了羅伊德的注意，他不可自持的墜入了情網(wǎng)?！ ∪欢?dāng)時(shí)的政策禁止美國軍人同日本人戀愛通婚，因此羅伊德和阿儂都將這份感情深深的壓抑在心底。凱利（萊德·巴頓斯RedButtons飾）是羅伊德的下屬，和上司的經(jīng)歷相似，他也愛上了一個(gè)日本女人，然而，凱利和羅伊德的選擇不同，他寧愿犧牲性命，也要忠于自己的愛人。凱利的死讓羅伊德陷入了深深的思考之中。?電影《櫻花戀》上映于1957年的劇情影片，由喬舒亞·洛根執(zhí)導(dǎo)，編劇 詹姆斯·A·米切納、保羅·奧斯本，相關(guān)飾演分別有 馬龍·白蘭度、帕特里夏·歐文斯、萊德·巴頓斯、高美以子、里卡多·蒙特爾班、瑪莎·斯考特。這部電影豆瓣6.8分，
A grade-A studio star vehicle for a prime Marlon Brando, Joshua Logan’s SAYONARA, complying with USA’s post-war rapprochement with Japan and Hollywood’s far-flung endeavor to marry oriental exotica with its tried-and-tested production formula, charts a defiant inter-racial romance with appeal, earnest and poignancy, but not without its ingrained stereotype of a disparate culture, also compounded by a pernicious double standard.s state of affairs will not be that rosy.Earning 10 Oscar nominations and winning 4, including two for its supporting players Red Button and Miyoshi Umeki (a very first and still one-and-the-only win for any acting performer of Far Asian extraction), SAYONARA is conduced to introduce Japanese culture to any foreign eyes, Kabuki, Shochiku Revue, puppet theater (foreshadowing the tragic coda for Kelly and Katsumi), by turns, is presented to offer an absorbing but superficial overview, but ultimately, what is irresistible for Lloyd is the propaganda of a courteous, biddable wife who treats her husband like the master of her universe, risibly if slightly offensively embodied by an unfeigned, impish Umeki, her performance doesn’t live up to the hype of Oscar caliber, as the characterization of Katsumi never surpasses kin-deep tentativeness. Red Buttons has a bit more to enact as the pertinacious Kelly, sets an intrepid precedent for Lloyd to emulate his own fight for love.Lloyd’s two girls are opposite forces, Patricia Owens’ Eileen, cannot be sated as a traditional army wife if Lloyd is not the right one for her, and her own rapport with a Kabuki star Nakamura (Montalban) is only briefly depicted, and it is not helped by the problematic double standard of casting the Mexican Montalban with artificial slanted eyes in the role, as if implying a racist undertone, which feels excruciatingly and conspicuously grating along with the Brando-Taka pair. An unsung Miiko Taka has a daunting job to achieve as the one who is designed to encompass all the virtues of a nubile Japanese woman from a westerner’s eyes, she must possess poise, elegance, passion and fidelity, vulnerable on the outside, but steely-minded when she makes up her mind, not to mention, in her first line, Hana-ogi has to divulge all her concealed feelings to a stunned Lloyd, her openness is one thing doesn’t conform to the preconception of a Japanese woman,。
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