I just had the chance to see this charming movie again in widescreen format in what evidently is a new or restored print on Turner Classic Movies, and I'm realizing that I love the flick more and more each time I see it. The wonderful cast - Glenn Ford, Paul Ford (ironic - no relation!), Eddie Albert, Marlon Brando and Harry Morgan - do a fine job of playing out the movie's humorous meditation on culture clash, and the ability of a strong but flexible people to maintain their Eastern ways in the face of Western "aid". Brando, in particular, is surprising; this is about as far from Stanley Kowalksi or Terry Malloy as you can get, and one would not think him able to do much with a humorous, cross-racial characterization, yet the brilliant and convincing manner in which he pulls it off reminds us of the great thespian talent he once possessed and which he tended to squander as his life progressed. I believe this film had its origins in a very successful stage play; we can thank the forces involved for committing this funny, charming, and ultimately heart-warming story to celluloid. Best line: "I've come to a state of gracious acceptance somewhere between my ambitions and my limitations."
50 Reviews
Brando great!
wiggy305614 April 2005
For a guy who had some heavy duty roles,Waterfront,Sreetcar etc. this role was a real challenge for Brando and he is fabulous and steals movie although Glenn Ford is great too. This shows Brando's brilliance as an actor not that there was ever any doubt but this early in his career to take this comedic challenge shows his versatility. Is Glenn Ford ever bad? I don't think he gets the credit for all his talent. This movie probably could not be made today a victim of PC. Must have Asian play Asian and don't offend the the Japanese although the only people made to look like fool were the Americans which is fine with me because it's a comedy and people are suppose to look foolish. Never on, but caught on TCM.
Marlon Brando as Japanese?
IlyaMauter5 May 2003
Casting Marlon Brando in this film as Sakini, a Japanese interpreter for American troops in post WW-II Japan is considered by many critics and film historians alike as one of the worst casting errors ever made in a film history. In my opinion, though, Marlon Brando is the one responsible for turning this quite an average film into a hillarious comedy. Yes, they really did it. With a little bit of make up and great effort from actor's part to learn Japanese mannerism and language in order to get an accent in his speech we have here Marlon Brando in his most unimaginable role. The rest of the cast is also quite good, namely Paul Ford as Colonel Waiwright Purdy III, a somehow cliche figure of stubborn, narrow minded US military officer and Glenn Ford by his side as Captain Fisby, for whom Brando's character Sakini ends up working as an interpreter and, of cause, unforgettable Machiko Kyo, as a spirited geisha, whom lovers of Japanese cinema must remember from Akira Kurosawa's films.
Directed by Daniel Mann (Butterfield 8, Come Back, Little Sheba) and based on John Patrick's stage play that was a big hit on Broadway at it's time, The Teahouse of the August Moon is slow in parts and in terms of some aspects of the story considerably aged and outdated but still funny and entertaining movie. 8/10
Directed by Daniel Mann (Butterfield 8, Come Back, Little Sheba) and based on John Patrick's stage play that was a big hit on Broadway at it's time, The Teahouse of the August Moon is slow in parts and in terms of some aspects of the story considerably aged and outdated but still funny and entertaining movie. 8/10
A great satire of the okinawan experience after WWII
r-silvestri8 December 2004
I have spent many years on Okinawa and am always amazed at Brando's ability to create a character (Sakini) that is true to the Okinawan character. I have watched it many times over and enjoy it every time. When I'm asked why I visit Okinawa so often, I usually loan them my copy of "Teahouse" and wait for a response. It is a story of a resilient and happy people who have retained their culture, through many invasions. Brando's monologue at the beginning and end of the film masterfully explains it all. The kids will like it and adults should get a laugh while watching the arrogant victors being steered to the Okinawan's needs in a hilarious manner. It's not quite history and it's not quite fantasy, but it's all good fun.
Broadway play makes a good film
SimonJack22 January 2015
In watching "Teahouse of the August Moon," again recently, I can see how it made such a smash on Broadway. Besides its very funny plot and script, the setting seems ideal for a stage. Or, did they move the stage setting to Japan or elsewhere for the movie? I ask that because after three viewings over the years, the thought has stuck in my mind that it seemed like it was on stage. Perhaps the final scene when we see Sakini directing the locals to reassemble the teahouse drove that thought more than anything. I performed and worked in theater at the college level, and it struck me as a beautiful job of a change of sets and scenery.
The further we get away from the 20th century war years, the less humorous some of the spoofs of military management seem to be. I may have found this film much funnier years ago, but it seems to me now to be just OK or good. This is a comedy of situations, not witty dialog. And, its humor derives to a great extent from the variety of characters. But for one, I could have rated it a notch or two higher.
Glenn Ford just does not deliver the humor in his role as Capt. Fisby. He moves between a hapless, seemingly lazy guy who has lots of bad luck, to a frenetic, nervous character who's worried about doing things right. Then, he becomes a very laid back, un-excitable character who doesn't seem like anything will ruffle him. It just doesn't seem to work. The right actor might be able to deliver that, but it doesn't work for Ford. And, that's too bad, because as one of the two main leads, his character is a great part of the film. I know Ford was capable of great acting, but his interpretation for this role misses the mark.
Now, what earns the film seven stars from me are three performances and the local extras. Marlon Brando is excellent as Sakini, Eddie Albert is fantastic as Capt. McLean, and Paul Ford is superb as Col. Purdy. Purdy and McLean are the sources of most of the funny streaks of this film. We see a good contrast in how Albert transforms from the straight-laced psychologist to the giddy gardener. It works beautifully for him, and he is superb in that role. Paul Ford is a wonderful character actor who plays bombastic buffoons with bravado. And, Brando is excellent as the wonderful interpreter whom we know translates things to come out his way. His opening dialog is very good – in Oriental theatre style, he is the narrator who gives the story's background and sets the stage, so to speak.
Films in which white actors play other races draw the ire of some people yet today. If they are derogatory of the race or character, they surely should be criticized. But, otherwise not. Because this is theater (on stage or on film), and that is part of what acting is all about. Making one's self into another character or person, of whatever age, race, physical condition, mental state or appearance – is a hallmark of acting. To aspiring thespians or established actors, the challenge of a different or demanding role is energizing. I played Hsieh Ping-Kuei in a college production of "Lady Precious Stream" by Chinese playwright and director S.I. Hsiung. Mr. Hsiung went to London in 1932 to pursue post- graduate studies of Shakespeare. Shortly after his arrival, he wrote Lady Precious Stream in English, adapting it from his Chinese culture. It was a huge success, running for 1,000 performances in 1935 and 1936 at the People's National Theatre of London. Its cast was all Caucasian, and in 1936 it moved to Broadway in the U.S. where is success continued. It was made into movies in England in 1938 and 1950, adapted by Hsiung, again with Caucasian casts.
I should like to see someone make a movie of "Lady Precious Stream" shot on location with the full original script. It could be with Asians in all the roles, or it could include a mix if one or more Western stars wanted to tackle a Chinese role. I think many Western audiences today would enjoy it immensely. The story is a romantic, sometimes comic, domestic drama set in a time of instability during the Tang Dynasty.
In the meantime, "Teahouse of the August Moon" can entertain as a comic look at U.S. military management in a conquered country whose culture is much different from that of America.
The further we get away from the 20th century war years, the less humorous some of the spoofs of military management seem to be. I may have found this film much funnier years ago, but it seems to me now to be just OK or good. This is a comedy of situations, not witty dialog. And, its humor derives to a great extent from the variety of characters. But for one, I could have rated it a notch or two higher.
Glenn Ford just does not deliver the humor in his role as Capt. Fisby. He moves between a hapless, seemingly lazy guy who has lots of bad luck, to a frenetic, nervous character who's worried about doing things right. Then, he becomes a very laid back, un-excitable character who doesn't seem like anything will ruffle him. It just doesn't seem to work. The right actor might be able to deliver that, but it doesn't work for Ford. And, that's too bad, because as one of the two main leads, his character is a great part of the film. I know Ford was capable of great acting, but his interpretation for this role misses the mark.
Now, what earns the film seven stars from me are three performances and the local extras. Marlon Brando is excellent as Sakini, Eddie Albert is fantastic as Capt. McLean, and Paul Ford is superb as Col. Purdy. Purdy and McLean are the sources of most of the funny streaks of this film. We see a good contrast in how Albert transforms from the straight-laced psychologist to the giddy gardener. It works beautifully for him, and he is superb in that role. Paul Ford is a wonderful character actor who plays bombastic buffoons with bravado. And, Brando is excellent as the wonderful interpreter whom we know translates things to come out his way. His opening dialog is very good – in Oriental theatre style, he is the narrator who gives the story's background and sets the stage, so to speak.
Films in which white actors play other races draw the ire of some people yet today. If they are derogatory of the race or character, they surely should be criticized. But, otherwise not. Because this is theater (on stage or on film), and that is part of what acting is all about. Making one's self into another character or person, of whatever age, race, physical condition, mental state or appearance – is a hallmark of acting. To aspiring thespians or established actors, the challenge of a different or demanding role is energizing. I played Hsieh Ping-Kuei in a college production of "Lady Precious Stream" by Chinese playwright and director S.I. Hsiung. Mr. Hsiung went to London in 1932 to pursue post- graduate studies of Shakespeare. Shortly after his arrival, he wrote Lady Precious Stream in English, adapting it from his Chinese culture. It was a huge success, running for 1,000 performances in 1935 and 1936 at the People's National Theatre of London. Its cast was all Caucasian, and in 1936 it moved to Broadway in the U.S. where is success continued. It was made into movies in England in 1938 and 1950, adapted by Hsiung, again with Caucasian casts.
I should like to see someone make a movie of "Lady Precious Stream" shot on location with the full original script. It could be with Asians in all the roles, or it could include a mix if one or more Western stars wanted to tackle a Chinese role. I think many Western audiences today would enjoy it immensely. The story is a romantic, sometimes comic, domestic drama set in a time of instability during the Tang Dynasty.
In the meantime, "Teahouse of the August Moon" can entertain as a comic look at U.S. military management in a conquered country whose culture is much different from that of America.
Above average comedy
rmax30482311 July 2004
Warning: Spoilers
I've seen this several times and it loses nothing with re-viewing, as long as you don't overdo it, I guess. Basically it's a story of Glen Ford going native, seduced by Marlon Brando, Machiko Kyo, a horde of Okinawan villagers, with Eddie Albert as a closet hydroponicist who gets sucked in along the way.
It has its weaker moments when it becomes a little cute, the way sitcoms are cute, and the ending is a feel-good addendum that tries to graft a happy ending onto an unhappy situation. The ending is less organic than Eddie Albert's vegetables.
Marlon Brando -- well, he's not Japanese. He's too tall and too hefty, and the role was really beneath him. The guy at the time was a fantastic dramatic actor, not a comedian. Paul Ford as Colonel Purdy is fine. No one has expressed disbelief better while on the phone. Albert doesn't have to do much. But Glen Ford couldn't be improved upon as Captain Fisbe, the abject schlemiel who always flunks every test of wits that's thrown in his direction. I couldn't stop laughing at some of the scenes -- Kyo wrestling with Ford while she struggles to remove his clothing, and Colonel Purdy on the phone, asking him, "What are you doing about physical education?", as Ford flops gracelessly on the floor. Ford doing a fine imitation of having a manic episode when Albert visits him -- "This is my cricket cage," and then adding quickly, so as not to be misunderstood, "I haven't got my cricket yet."
The script is full of yoks. Colonel Purdy demanding an explanation from Ford of exactly what he's been teaching the villagers. "Well, Colonel, you know, from each according to his abilities, to each according to his needs, share and share alike --" Purdy: "That's COMMUNISM!"
Alas it falls apart after the show at the opening of the teahouse. But that's nothing much, a wasted ten minutes. It's worth seeing, not only for the many successful gags but for Glen Ford's superb performance as well.
It has its weaker moments when it becomes a little cute, the way sitcoms are cute, and the ending is a feel-good addendum that tries to graft a happy ending onto an unhappy situation. The ending is less organic than Eddie Albert's vegetables.
Marlon Brando -- well, he's not Japanese. He's too tall and too hefty, and the role was really beneath him. The guy at the time was a fantastic dramatic actor, not a comedian. Paul Ford as Colonel Purdy is fine. No one has expressed disbelief better while on the phone. Albert doesn't have to do much. But Glen Ford couldn't be improved upon as Captain Fisbe, the abject schlemiel who always flunks every test of wits that's thrown in his direction. I couldn't stop laughing at some of the scenes -- Kyo wrestling with Ford while she struggles to remove his clothing, and Colonel Purdy on the phone, asking him, "What are you doing about physical education?", as Ford flops gracelessly on the floor. Ford doing a fine imitation of having a manic episode when Albert visits him -- "This is my cricket cage," and then adding quickly, so as not to be misunderstood, "I haven't got my cricket yet."
The script is full of yoks. Colonel Purdy demanding an explanation from Ford of exactly what he's been teaching the villagers. "Well, Colonel, you know, from each according to his abilities, to each according to his needs, share and share alike --" Purdy: "That's COMMUNISM!"
Alas it falls apart after the show at the opening of the teahouse. But that's nothing much, a wasted ten minutes. It's worth seeing, not only for the many successful gags but for Glen Ford's superb performance as well.
Fun and gentle view of cultures meeting
ddavis-usnr26 March 2005
This film is an under-appreciated and charming little adventure set in the time immediately after World War II. It has a very enjoyable mix of some excellently-cast actors, from the laid-back Glenn Ford, the frenetic Eddie Albert, and the pompous Paul Ford, to the host of beguiling Japanese actors. Casting Marlon Brando as Sakini requires a little suspension of belief, but his contribution quickly adds to the seductive quality of the movie. It turns out to be a good send-up of the officious, but largely benign, senior military leadership of the era, but largely revolves around Glenn Ford's character, Capt. Fisby, finding his métier. Mainly it is a loving and alluring little fiction about two peoples getting to know and appreciate each other.
It is a very nice little comedy to be enjoyed, but it clearly is not meant to be a documentary representation of U.S. Military occupation forces, and if it is viewed as such, much of the magic of the movie will be lost. While it may contain a few minor instances of the attitudes of that day, some of which are no longer politically correct, there is no malice in the characterizations and the overall message is one of appreciation of both cultures. A very enjoyable way to escape the hassle and hustle of today.
It is a very nice little comedy to be enjoyed, but it clearly is not meant to be a documentary representation of U.S. Military occupation forces, and if it is viewed as such, much of the magic of the movie will be lost. While it may contain a few minor instances of the attitudes of that day, some of which are no longer politically correct, there is no malice in the characterizations and the overall message is one of appreciation of both cultures. A very enjoyable way to escape the hassle and hustle of today.
Watchable but somewhat disappointing
JohnHowardReid11 November 2016
Warning: Spoilers
SYNOPSIS: Captain Fisby (Glenn Ford) is sent by Colonel Purdy (Paul Ford) to an Okinawan village to aid its recovery and welfare. He is accompanied by an interpreter (Marlon Brando). Fisby is showered with gifts from the villagers. Amongst the gifts is a geisha girl (Machiko Kyo). (In pronouncing, render Japanese names as sharply and gutter-ally as possible. Thus: Marchy/core, with the word snapped off extra fast).
NOTES: The stage play opened on Broadway at the Martin Beck on 15 October 1953 and ran a colossal 1,027 performances, making it one of the fifty most successful plays ever produced on Broadway. A long way from Fiddler On the Roof's 3,242 performances or Life With Father's 3,224, but a highly commendable achievement nonetheless. Adding spice to the success, the play was awarded the Pulitzer Prize for Drama. (The judges were particularly finicky that year too, making no award at all for Fiction, though Charles Lindbergh took the Biography prize for his Spirit of St Louis). The play also won the New York Drama Critics' Award for Best Play of the Year. It was inevitable that it should spawn a film version, a musical — Lovely Ladies, Kind Gentlemen (1970) — and even a surprisingly short-lived Broadway revival of a miserable 14 performances in November 1956 starring Gig Young.
With a domestic film rentals gross of $5.7 million, "Teahouse" came in 6th at the U.S./Canadian box-office for 1957. The movie achieved exactly the same position in Australia, but in the U.K. failed to make the top ten list of money-spinners.
COMMENT: A riot on the stage, but something less on the screen. The players try too hard, particularly Paul Ford, here recapping his stage role. (Louis Calhern was originally cast, but suffered a fatal heart attack whilst on location in Japan). Although Marlon Brando was a popular choice for Sakini, I would have preferred Broadway's David Wayne. Still Brando's portrait, viewed in 2016, doesn't seem quite as outrageous or ridiculous as it did 60 years ago.
Robert Lewis directed the Broadway show. For the movie we're stuck with the considerably less talented Daniel Mann. Not only is his handling over-emphatic, he seems totally unable to judge when a jest is exhausted. A joke or comic situation, mild to begin with, is often elasticized way past boredom point. And though his training ground was the stage, Mann makes surprisingly little use of the width available to him on the CinemaScope screen. If this is an example of his method of staging with all the action crowded into the center, we wonder why he didn't face an actors' revolution. (Stage players are very fussy about "blocking". A director is continually forced to find all sorts of reasons, excuses and pretexts to string his actors out from one end of the stage to the other so that the audience has a good view of each performer).
But stay with it, folks. Despite the initial lack of promise, things do improve when Eddie Albert (of all people) comes on. Often a rather dull yet too earnest actor, Albert gives here a wonderfully relaxed, thoroughly professional performance that even overwhelms the dead hand of Mann's tepid direction. Albert's enthusiasm even infects some of the other players. Paul Ford is occasionally amusing, despite all the exaggerated bluster, and Henry "Harry" Morgan briefly shines. Miss Kyo, however, remains stubbornly giggly, if attractively decorative, but little else. As for Glenn Ford in the John Forsythe role, well Glenn Ford in comedy mode is Glenn Ford in comedy mode, period.
Although John Patrick himself penned the screenplay, on film Teahouse seems much less pointed, much less amusing than on stage or in print. Even Alton's grainy CinemaScope photography falls disappointingly short of his usual standards.
SUMMING UP: The opening twenty minutes or so of "Teahouse of the August Moon" promise great things. An American Army officer (Glenn Ford) is sent to establish the recovery and welfare of an Okinawan village, with a rascally Japanese interpreter (Marlon Brando) as an assistant. Alas, great things do not happen. Brando is woefully miscast.
NOTES: The stage play opened on Broadway at the Martin Beck on 15 October 1953 and ran a colossal 1,027 performances, making it one of the fifty most successful plays ever produced on Broadway. A long way from Fiddler On the Roof's 3,242 performances or Life With Father's 3,224, but a highly commendable achievement nonetheless. Adding spice to the success, the play was awarded the Pulitzer Prize for Drama. (The judges were particularly finicky that year too, making no award at all for Fiction, though Charles Lindbergh took the Biography prize for his Spirit of St Louis). The play also won the New York Drama Critics' Award for Best Play of the Year. It was inevitable that it should spawn a film version, a musical — Lovely Ladies, Kind Gentlemen (1970) — and even a surprisingly short-lived Broadway revival of a miserable 14 performances in November 1956 starring Gig Young.
With a domestic film rentals gross of $5.7 million, "Teahouse" came in 6th at the U.S./Canadian box-office for 1957. The movie achieved exactly the same position in Australia, but in the U.K. failed to make the top ten list of money-spinners.
COMMENT: A riot on the stage, but something less on the screen. The players try too hard, particularly Paul Ford, here recapping his stage role. (Louis Calhern was originally cast, but suffered a fatal heart attack whilst on location in Japan). Although Marlon Brando was a popular choice for Sakini, I would have preferred Broadway's David Wayne. Still Brando's portrait, viewed in 2016, doesn't seem quite as outrageous or ridiculous as it did 60 years ago.
Robert Lewis directed the Broadway show. For the movie we're stuck with the considerably less talented Daniel Mann. Not only is his handling over-emphatic, he seems totally unable to judge when a jest is exhausted. A joke or comic situation, mild to begin with, is often elasticized way past boredom point. And though his training ground was the stage, Mann makes surprisingly little use of the width available to him on the CinemaScope screen. If this is an example of his method of staging with all the action crowded into the center, we wonder why he didn't face an actors' revolution. (Stage players are very fussy about "blocking". A director is continually forced to find all sorts of reasons, excuses and pretexts to string his actors out from one end of the stage to the other so that the audience has a good view of each performer).
But stay with it, folks. Despite the initial lack of promise, things do improve when Eddie Albert (of all people) comes on. Often a rather dull yet too earnest actor, Albert gives here a wonderfully relaxed, thoroughly professional performance that even overwhelms the dead hand of Mann's tepid direction. Albert's enthusiasm even infects some of the other players. Paul Ford is occasionally amusing, despite all the exaggerated bluster, and Henry "Harry" Morgan briefly shines. Miss Kyo, however, remains stubbornly giggly, if attractively decorative, but little else. As for Glenn Ford in the John Forsythe role, well Glenn Ford in comedy mode is Glenn Ford in comedy mode, period.
Although John Patrick himself penned the screenplay, on film Teahouse seems much less pointed, much less amusing than on stage or in print. Even Alton's grainy CinemaScope photography falls disappointingly short of his usual standards.
SUMMING UP: The opening twenty minutes or so of "Teahouse of the August Moon" promise great things. An American Army officer (Glenn Ford) is sent to establish the recovery and welfare of an Okinawan village, with a rascally Japanese interpreter (Marlon Brando) as an assistant. Alas, great things do not happen. Brando is woefully miscast.
A gem!
EighthSense11 July 2004
This movie was the first chance to see Marlon Brando in a truly comical role, not the "He Man"-unbelievably good! His accent, his body movements, the Japanese he spoke, hard to believe this was the same man who did the Waterfront.I really think he deserved an award for this role. These were a couple of the most enjoyable hours I've ever spent. Having lived in Okinawa, and familiar with the practical, down-to-earth people there, I enjoyed the movie that makes so much fun and caricatures narrow-mindedness and pompousness while exalting creativity, adaptation, and "what really matters". The movie does make fun of the narrow-mindedness of some Americans, and shows the Okinawans with respect and tenderness, as assertive, business-minded, resilient, and proud. A real quality movie, and I'm so glad I taped it from Turner Classic movies.10 out of 10.
A film for a more gentle age.
ianlouisiana25 February 2006
Warning: Spoilers
I saw this film when I was 17years old.Brando was King,Paul Ford was Colonel Hall in Sgt Bilko and I was at the Savoy,Brighton with Vivienne Wyman whose dad had a paper shop near the youth club.She had beautiful wavy black hair,a flawless complexion and I was the envy of the boys in the "Coffee Lounge".Life could not get any better.In retrospect not such an unlikely possibility.The war against Japan had only been over 12 years and the "Americanisation" of the rest of the world was on schedule . American largesse had kept Britain afloat both during and after the war;it was by now widespread throughout the "conquered" countries. The Japanese people had been redeemed through defeat and the Americans were prepared to be magnanimous in victory.Military Officers became advisors and democracy was shipped out in bulk whether it was wanted or not.No reasonable person could doubt their good intentions,but imposing an alien culture on the indigenous one is not a seamless process......and the "conquered" people may not be as conquered as you think..... That,in a nutshell,is the premise of "The Teahouse of the August Moon". The Americans poke gentle fun at themselves,Paul Ford does his good-natured bumbler schtick and Marlon Brando has great fun with those actor's friends the funny accent and make - up.There is some cod Japanese philosophy and the average American's ignorance of the rest of the world is lampooned. It was a time when in England we still spoke about "good Germans" (Rommel was a "good German" - Heydrich was not).By the same token,Sakini was a "good" Japanese man.We could not understand the Bushido code,therefore it was "bad".Sakini was cute looking and smiled a lot.You couldn't imagine him starving British P.O.W.s to death. At 17 I thought Brando's portrayal of a Japanese interpreter was brilliant and hilarious.Nearly fifty years later and I can't think of any other European/American actor who could have pulled it off. He was a young man at the height of his powers;rather like a juggler throwing more and more clubs into the air,there seemed to be nothing he could not do. Glenn Ford gets a rare chance to do comedy and reminds us of his versatility.Used to playing men with a past,here he plays a man without much future,at least not in the U.S.Army. Henry Morgan as usual makes every second of his screen time count.A major part in the long-running "M.A.S.H." was just reward for years of playing cops and noncoms in movies. It is pointless to call "The Teahouse of the August Moon" racist because the concept of racism as it exists now did not exist then.And by extension of course Marlon Brando must be racist - a quite ridiculous assertion. It is probably not a film for today;it may well be rediscovered in a more gentle age when the thought police are no longer trying to apply 21st century sensibilities on fifty year old movies. Strangely enough Vivienne didn't find it very funny - perhaps it was a bloke thing.I never got a date with her again.
Hard to watch
smoss46926 May 2013
I love Marlon Brando and I love comedy movies. The comedy in this movie has not aged well at all, in fact I would call it "tiring" in most scenes. The constant antics of the villagers actually get irritating as early as when the Captain is trying to get his jeep packed so he can leave the base. It didn't get better from there. Brando does a nice job playing the Japanese interpreter however; but since he's Brando that's to be expected. It was also interesting seeing a young Harry Morgan playing a military man decades before he did so on MASH.
I'd avoid this one. I picked it up for $3 from Big Lots and I feel like I vastly overpaid.
What a disappointment.
I'd avoid this one. I picked it up for $3 from Big Lots and I feel like I vastly overpaid.
What a disappointment.
A delightful gem
HotToastyRag21 March 2022
If you're not a fan of Glenn Ford's westerns, and you think he's merely an ordinary everyman, check out his timed perfection in The Teahouse of the August Moon. With such great talent, it's a wonder Jack Lemmon rose to stardom so quickly. Glenn has all the hesitation, stammering, exasperation, and desire to fix that it takes to be a comic genius. If the first time around, you don't catch all his jokes, don't worry. You were just laughing so hard, you couldn't keep up with the fast pace.
Every time I watch this delightful gem, I laugh myself sick. It does have a long running time, but it certainly goes by quickly. Glenn Ford's character is stationed in Okinawa after WWII, to oversee reconstruction and the wellbeing of the Japanese people. But in his mission to spread democracy, he's completely clueless in his new environment. Marlon Brando plays the scene-stealing Sakini, a Japanese interpreter who winks at and nudges the audience when he wants to make an inside joke. But even with an interpreter, Glenn still finds himself getting into one misunderstanding after another.
While it's seen as "white washing" by today's standards, Marlon Brando didn't intend for his performance to be offensive. In fact, he lived in a nearby Japanese village for four months to absorb the mannerisms, accent, and mentality of the local people. I found his portrayal of the savvy interpreter to be flawless; not only that, but I couldn't find any trace of his usual expressions or gestures. He completely transformed himself.
The story is heartwarming, funny, smart, and bittersweet. From Eddie Albert's obsession with soil and worms to Machiko Kyo's touching tea ceremony, this 1956 comedy is a one-of-a-kind gem with countless delightful moments.
Every time I watch this delightful gem, I laugh myself sick. It does have a long running time, but it certainly goes by quickly. Glenn Ford's character is stationed in Okinawa after WWII, to oversee reconstruction and the wellbeing of the Japanese people. But in his mission to spread democracy, he's completely clueless in his new environment. Marlon Brando plays the scene-stealing Sakini, a Japanese interpreter who winks at and nudges the audience when he wants to make an inside joke. But even with an interpreter, Glenn still finds himself getting into one misunderstanding after another.
While it's seen as "white washing" by today's standards, Marlon Brando didn't intend for his performance to be offensive. In fact, he lived in a nearby Japanese village for four months to absorb the mannerisms, accent, and mentality of the local people. I found his portrayal of the savvy interpreter to be flawless; not only that, but I couldn't find any trace of his usual expressions or gestures. He completely transformed himself.
The story is heartwarming, funny, smart, and bittersweet. From Eddie Albert's obsession with soil and worms to Machiko Kyo's touching tea ceremony, this 1956 comedy is a one-of-a-kind gem with countless delightful moments.
Worth watching for Brando's performance as a Japanese villager
PimpinAinttEasy8 May 2016
Warning: Spoilers
Dear Marlon Brando,
you were an unusual casting choice for the role of Sakini, a sort of a Japanese man Friday to occupying American forces looking to spread democracy across Japan. You looked like you were having fun and for once I could understand exactly what you were saying as you were not mumbling. I would love to hear the story behind your casting as a Japanese villager.
The film is a farcical and feel good social satire about American attempts to spread their values and way of life in the village of Tobiki, Okinawa after World War 2. Glenn Ford is the good hearted solider who is trying to impart the merits of democracy to the unsuspecting villagers with the help of Sakini. But things do not go according to plan and Ford's character ends up falling in love with the village and even helps them set up a brewery. A light-hearted study of American follies ..... I mean foreign policy and attitudes towards the natives, the film has some great one liners and some of the scenes are truly hilarious. It is worth the price of admission for your comedic role as a Japanese villager, Marlon. Paul Ford turns in a great performance as the hawkish Col. Wainwright Purdy III.
Best Regards, Pimpin.
(6/10)
you were an unusual casting choice for the role of Sakini, a sort of a Japanese man Friday to occupying American forces looking to spread democracy across Japan. You looked like you were having fun and for once I could understand exactly what you were saying as you were not mumbling. I would love to hear the story behind your casting as a Japanese villager.
The film is a farcical and feel good social satire about American attempts to spread their values and way of life in the village of Tobiki, Okinawa after World War 2. Glenn Ford is the good hearted solider who is trying to impart the merits of democracy to the unsuspecting villagers with the help of Sakini. But things do not go according to plan and Ford's character ends up falling in love with the village and even helps them set up a brewery. A light-hearted study of American follies ..... I mean foreign policy and attitudes towards the natives, the film has some great one liners and some of the scenes are truly hilarious. It is worth the price of admission for your comedic role as a Japanese villager, Marlon. Paul Ford turns in a great performance as the hawkish Col. Wainwright Purdy III.
Best Regards, Pimpin.
(6/10)
Offensive and stupid performance
planktonrules9 June 2005
I generally HATE the notion of "political correctness". I feel it is every American's first amendment right to say and do almost anything and that people who get offended should just learn to relax! Having said that, it is movies like THIS that encourage PC thought, as the movie has got to be offensive to most Japanese people. Not only did the studio pick an actor who looked COMPLETELY non-Japanese, but his part looked like a live-action version of the old Hoshimoto cartoons (as for his 'method acting', I think Marlon Brando watched dozens of these before attempting the part). Marlon Brando is nearly the Japanese equivalent to Stepin Fetchit. In the 1930s and 40s, it was common for Caucasians to play Asians (such as in the Charlie Chan or Mr. Wong pictures)--it's a shame to see this carry into the 1950s with Teahouse of the August Moon. Plus, his character is even more stereotypical than these earlier roles.
FYI--It's amazing that Brando did this movie, having also done the VERY sensitive movie Sayonara--a movie that really does a lot to humanize the Japanese. Also, for more highly offensive films featuring Westerners ridiculously cast as Asians, try Katherine Hepburn as a Chinese lady in DRAGON SEED, Mickey Rooney as a Japanese man in BREAKFAST AT TIFFANY'S and John Wayne as the Mongol warrior, Genghis Khan in THE CONQUERER. The worst, though, was probably the bright red hairdos of Susan Hayward and Agnes Morehead also from THE CONQUERER--even though they were clearly playing Mongolians!!!
FYI--It's amazing that Brando did this movie, having also done the VERY sensitive movie Sayonara--a movie that really does a lot to humanize the Japanese. Also, for more highly offensive films featuring Westerners ridiculously cast as Asians, try Katherine Hepburn as a Chinese lady in DRAGON SEED, Mickey Rooney as a Japanese man in BREAKFAST AT TIFFANY'S and John Wayne as the Mongol warrior, Genghis Khan in THE CONQUERER. The worst, though, was probably the bright red hairdos of Susan Hayward and Agnes Morehead also from THE CONQUERER--even though they were clearly playing Mongolians!!!
Brando was amazing
cherokeecfg11 September 2006
Marlon Brando was amazing in this film. I saw the comments made on TCM before they started the film and they said he saw the stage play and begged Paramount (?) to let him have a part in it when they made the film. They said he could have any part he wanted and he picked Sakini, the translator. As a Japanese teacher I want to tell you that I was stunned at his perfect accent! He spoke English exactly as a native Japanese person would. If I hadn't been told ahead of time that it was Marlon Brando, there is no way you could have convinced me that it wasn't a native Japanese actor doing the part. I could see that an attempt was made to make the natives look uneducated and doltish, but having lived in Japan for a year and a half, I simply couldn't see them that way. All you have to do is take a few minutes to watch any people and see the intelligence in their eyes and in their mannerisms and you can see how intelligent they really are whether YOU understand their language or not!
Satire of the U.S. Army
gbill-7487729 June 2023
Yes, Brando is in yellowface and knowing he would be made me dread watching this film, but it was worth giving it a chance. For one thing, I never thought I would see a movie with Michiko Kyo aggressively trying to undress Glen Ford after being introduced to him by Marlon Brando. Ah, the magic of cinema.
The film is not without its issues which I'll get to in a moment, but on the positive side, it's not mean-spirited, and the real target of its satire is the U. S. Army brass, making it a forerunner of films like M*A*S*H. That's represented mostly by a pompous and dimwitted Colonel, Wainwright Purdy III ("a son of a ... son of a son", played by Paul Ford), who wants his Captain on Okinawa to lead the building of a pentagon-shaped (lol) schoolhouse. The only trouble is his Captain (Glen Ford) sees the wisdom of the local culture, and nudged along by his gently cunning translator (Brando), "goes native." A psychiatrist (Eddie Albert) is sent to check up on him, and he, too, ends up forgetting about the Colonel's commands.
Rather surprisingly, Brando was far from this film's biggest problem. His character is the most intelligent from either culture, practically and philosophically, and he gave a good performance, one without overtly offensive stereotypes. One could argue that he's too mild-mannered, too neutered, in keeping with the emasculation of Asian men by Hollywood, but the film is a comedy after all, and light-hearted all around. Obviously, this should have been cast with a person of Japanese descent, but to say the film is "racist" is too strong, and using it in places like this cheapens the word.
Meanwhile, through the characters of Glen Ford and Eddie Albert, several progressive concepts float through. For example, Ford sets up a co-op where everybody in the village is a partner so that they can "share and share alike" in the selling of their local products, including sweet potato brandy. "That's communism!" his commanding officer bellows. But this system is never shown to have some type of evil consequence, which was pretty impressive for the Red Scare/Cold War years in conservative America. Yes, he is essentially pushing capitalism, but it's notable that we also see that mass manufacturing has the unfair power to crush the little craftsmen and their handmade products.
Meanwhile, you have Albert's character pushing organic, chemical-free farming, about a decade ahead of his time for America. After extolling the virtues of using manure, he says "When you kill a worm, you're killing a friend." How I loved this little part of the film.
Through the locals, Ford's character learns the beauty of being still and appreciating a sunset. Perhaps my favorite moment was when he says this, which was delightfully contrary (or at least tempering) to the ambitions of his country at the time:
"I've learned in Tobiki the wisdom of gracious acceptance. See, I don't want to be a world leader. I've made peace with myself somewhere between my ambitions and my limitations."
It was also delightful to see Michiko Kyo here, playing traditional music and singing among other things. To the film's credit, Brando's character explains that a geisha is not the same as a western prostitute, but the use of a subservient geisha here, as in other films, was certainly part of the "exotic" appeal. As Gina Marchetti describes in Romance and the "Yellow Peril", many films in this period "used the myth of the subservient Japanese woman to shore up a threatened masculinity in light of American women's growing independence during World War II." Of the popularity of American films with geishas, she wisely points out: "For a time, in fact, it appeared as if the geisha was Hollywood's chief emblem of postwar reconciliation. Although on the surface she might appear cool, distant, mysterious, or morally suspect, underneath she was seen as docile, eager to please, malleable, childlike, and vulnerable. Metaphorically, a bellicose Japan, through the figure of the geisha, became a yielding and dependent nation."
On top of that, Ford's character does come across as a White Savior in some respects. For example, when he arrives at the village early on, he begins appointing people for local positions like Chief of Police, as if these things would have never been conceived of before. Thankfully, Brando's character balances some of this out, mentioning more than once that his civilization goes back thousands of years. The film does have a rather nauseating scene where Kyo's character wants to marry Ford's and come to America. With Brando seated behind Kyo as she demurely averted her gaze, Ford held all the power and in his wise beneficence, demurred, which just got to be a little much.
Overall, an interesting film, and certainly even more so when contrasting it to the tone and perspective of Japanese films from this period. It's flawed and not uproariously funny as a comedy, but I liked its spirit and was amused. It deserves criticism, but not as much vitriol as it gets.
The film is not without its issues which I'll get to in a moment, but on the positive side, it's not mean-spirited, and the real target of its satire is the U. S. Army brass, making it a forerunner of films like M*A*S*H. That's represented mostly by a pompous and dimwitted Colonel, Wainwright Purdy III ("a son of a ... son of a son", played by Paul Ford), who wants his Captain on Okinawa to lead the building of a pentagon-shaped (lol) schoolhouse. The only trouble is his Captain (Glen Ford) sees the wisdom of the local culture, and nudged along by his gently cunning translator (Brando), "goes native." A psychiatrist (Eddie Albert) is sent to check up on him, and he, too, ends up forgetting about the Colonel's commands.
Rather surprisingly, Brando was far from this film's biggest problem. His character is the most intelligent from either culture, practically and philosophically, and he gave a good performance, one without overtly offensive stereotypes. One could argue that he's too mild-mannered, too neutered, in keeping with the emasculation of Asian men by Hollywood, but the film is a comedy after all, and light-hearted all around. Obviously, this should have been cast with a person of Japanese descent, but to say the film is "racist" is too strong, and using it in places like this cheapens the word.
Meanwhile, through the characters of Glen Ford and Eddie Albert, several progressive concepts float through. For example, Ford sets up a co-op where everybody in the village is a partner so that they can "share and share alike" in the selling of their local products, including sweet potato brandy. "That's communism!" his commanding officer bellows. But this system is never shown to have some type of evil consequence, which was pretty impressive for the Red Scare/Cold War years in conservative America. Yes, he is essentially pushing capitalism, but it's notable that we also see that mass manufacturing has the unfair power to crush the little craftsmen and their handmade products.
Meanwhile, you have Albert's character pushing organic, chemical-free farming, about a decade ahead of his time for America. After extolling the virtues of using manure, he says "When you kill a worm, you're killing a friend." How I loved this little part of the film.
Through the locals, Ford's character learns the beauty of being still and appreciating a sunset. Perhaps my favorite moment was when he says this, which was delightfully contrary (or at least tempering) to the ambitions of his country at the time:
"I've learned in Tobiki the wisdom of gracious acceptance. See, I don't want to be a world leader. I've made peace with myself somewhere between my ambitions and my limitations."
It was also delightful to see Michiko Kyo here, playing traditional music and singing among other things. To the film's credit, Brando's character explains that a geisha is not the same as a western prostitute, but the use of a subservient geisha here, as in other films, was certainly part of the "exotic" appeal. As Gina Marchetti describes in Romance and the "Yellow Peril", many films in this period "used the myth of the subservient Japanese woman to shore up a threatened masculinity in light of American women's growing independence during World War II." Of the popularity of American films with geishas, she wisely points out: "For a time, in fact, it appeared as if the geisha was Hollywood's chief emblem of postwar reconciliation. Although on the surface she might appear cool, distant, mysterious, or morally suspect, underneath she was seen as docile, eager to please, malleable, childlike, and vulnerable. Metaphorically, a bellicose Japan, through the figure of the geisha, became a yielding and dependent nation."
On top of that, Ford's character does come across as a White Savior in some respects. For example, when he arrives at the village early on, he begins appointing people for local positions like Chief of Police, as if these things would have never been conceived of before. Thankfully, Brando's character balances some of this out, mentioning more than once that his civilization goes back thousands of years. The film does have a rather nauseating scene where Kyo's character wants to marry Ford's and come to America. With Brando seated behind Kyo as she demurely averted her gaze, Ford held all the power and in his wise beneficence, demurred, which just got to be a little much.
Overall, an interesting film, and certainly even more so when contrasting it to the tone and perspective of Japanese films from this period. It's flawed and not uproariously funny as a comedy, but I liked its spirit and was amused. It deserves criticism, but not as much vitriol as it gets.
"See, if you have a geisha, you gotta have a chaya, you know."
classicsoncall9 February 2019
Warning: Spoilers
I look at Marlon Brando in this picture and I shudder. And then I wonder what might have possessed the man to take on a role like that of Sakini, a Japanese interpreter for the U.S. military. Then to make it even more comical, because I guess that's what it's supposed to be, the name of Sakini sounds a lot like zucchini, so that impression stayed with me and was reinforced when Captain McLean (Eddie Albert) came on the scene with his experimental gardening program. No zucchinis in his game plan were mentioned though, they would have been a nice addition.
I will admit the picture was humorously entertaining for the most part, and the principal players fell into their roles rather well. While appearing here as Colonel Wainwright Purdy III, Paul Ford must have been taking on a relief assignment from his regular gig as Colonel John T. Hall on 'The Phil Silvers Show', more commonly referred to today as 'Sergeant Bilko'. Harry Morgan, who portrayed Purdy's staff assistant Sergeant Gregovich, would also find himself in another military situation as Colonel Sherman T. Potter in both the movie and TV versions of "M*A*S*H". Glenn Ford looked a little out of his element here as Captain Fisby, but his character seemed to be written that way so it worked. And then there's Brando; still scratching my head over that casting decision. Those weird ridges on his forehead didn't help matters any.
Well there was no such thing as political correctness back in the Fifties, at least not as we know it today. Brando as a Japanese recalls such character actors as Warner Oland, Sidney Toler and Roland Winters playing Charlie Chan, Boris Karloff as Mr. Wong, and Peter Lorre as Mr. Moto, so his casting here probably wasn't as weird back then as it would be today. And amid the lunacy going on with those purveyors of military intelligence, his character Sakini was probably the most stable one in the story.
I will admit the picture was humorously entertaining for the most part, and the principal players fell into their roles rather well. While appearing here as Colonel Wainwright Purdy III, Paul Ford must have been taking on a relief assignment from his regular gig as Colonel John T. Hall on 'The Phil Silvers Show', more commonly referred to today as 'Sergeant Bilko'. Harry Morgan, who portrayed Purdy's staff assistant Sergeant Gregovich, would also find himself in another military situation as Colonel Sherman T. Potter in both the movie and TV versions of "M*A*S*H". Glenn Ford looked a little out of his element here as Captain Fisby, but his character seemed to be written that way so it worked. And then there's Brando; still scratching my head over that casting decision. Those weird ridges on his forehead didn't help matters any.
Well there was no such thing as political correctness back in the Fifties, at least not as we know it today. Brando as a Japanese recalls such character actors as Warner Oland, Sidney Toler and Roland Winters playing Charlie Chan, Boris Karloff as Mr. Wong, and Peter Lorre as Mr. Moto, so his casting here probably wasn't as weird back then as it would be today. And amid the lunacy going on with those purveyors of military intelligence, his character Sakini was probably the most stable one in the story.
Simply hilarious
SquirePM20 August 2000
This movie is a joke! A joke! Get it??? A joke from beginning to end.
And it's hysterical. From the patently ludicrous comedy turn by Marlon Brando to the patented comic shtick by the wonderful Paul Ford. With Glenn Ford and Eddie Albert sandwiched in the middle in a farcical romp that barely lets you stop laughing long enough to catch your breath.
Ah, the mighty American conquerors, hornswoggled by the "simple peasants" of the beaten nation. Peter Sellers did this again a few years later in The Mouse That Roared - - let's get the Americans to beat us in a war so they'll make us rich!
But this one is a LOT funnier. ***** out of *****
And by the way, when I sent this tape to my daughter she called me and said she liked the film but I told her Marlon Brando was in it, and he wasn't! Ah, these twentysomethings!
And it's hysterical. From the patently ludicrous comedy turn by Marlon Brando to the patented comic shtick by the wonderful Paul Ford. With Glenn Ford and Eddie Albert sandwiched in the middle in a farcical romp that barely lets you stop laughing long enough to catch your breath.
Ah, the mighty American conquerors, hornswoggled by the "simple peasants" of the beaten nation. Peter Sellers did this again a few years later in The Mouse That Roared - - let's get the Americans to beat us in a war so they'll make us rich!
But this one is a LOT funnier. ***** out of *****
And by the way, when I sent this tape to my daughter she called me and said she liked the film but I told her Marlon Brando was in it, and he wasn't! Ah, these twentysomethings!
Not Laugh Out Loud Funny But Gentle Satire of American Exceptionalism and Japanese Culture is Worth a Look
Turfseer29 July 2023
Warning: Spoilers
"The Teahouse of the August Moon" may not find its place in today's cinema due to potential accusations of anti-Asian prejudice and political incorrectness. However, it's essential to recognize that this film engages in gentle mockery of both Americans and Okinawans, aiming to present its narrative with a well-intentioned heart despite its relatively weak comedy.
The story commences with US Army Captain Fisby (Glenn Ford), a military misfit of sorts, receiving an assignment to bring 'democracy' to the village of Tobiki in Okinawa under the strict orders of his by-the-book commanding officer, Colonel Wainright Purdy III (Paul Ford), following the end of World War Ii.
Throughout the narrative, Sakini (Marlon Brando) acts as Fisby's English interpreter. Brando, who had witnessed the original play on Broadway, passionately sought the role of the wily and genial interpreter. He dedicated two months to studying local customs and endured extensive makeup sessions to transform into an Asian appearance.
While in modern times, some may object to a Caucasian playing the role of Sakini, it was less of an issue when the film was released. Regarding Brando's performance, one could consider it a reasonable attempt at the part.
A scene that perfectly captures the film's mild and inoffensive humor is when Sakini loads up Fisby's jeep with a family and their goat, much to the chagrin of Fisby and Purdy, who insist on adhering to army protocol. The yokels continuously outwit Fisby despite their lack of sophistication, leading to mildly amusing detours the family insists on.
Upon arriving in Tobiki, Fisby is greeted by villagers who shower him with gifts, even though they harbor low expectations due to their prior negative experience with the Japanese occupiers. These gifts, including a cricket cage, wooden shoes called gata, and a cup, hold symbolic significance, with Sakini explaining that the special August moon fills the cup with wisdom and maturity.
Fisby's ambition to construct a five-cornered schoolhouse shaped like the Pentagon is thwarted when the villagers express their differing priorities.
A less successful scene involves the geisha Lotus Blossom (Machiko Kyo), who has been given to Fisby. Fisby mistakenly believes geishas are prostitutes until Sakini corrects him. Afterward, he acquiesces to the demands of the head of the newly minted Women's League, who ask Lotus Blossom to train them in the art of being a geisha.
In today's context, some might view being a geisha as demeaning to women since they are trained to be subservient to men. Nevertheless, in the setting of the story, local women perceive such training as a step up in their social status. Similarly, the men support the construction of the teahouse over Fisby's school idea because teahouses are a symbol of prosperity not accessible to the poor villagers, who have only seen them in big cities.
The most touching scene in the film occurs when the teahouse comes to represent the prosperity the villagers aspire to achieve.
When Colonel Purdy learns that construction on the school has not begun, he sends the eccentric psychiatrist Captain McLean (Eddie Albert) to investigate. McLean, with his interest in organic farming, proves to be a refreshing character ahead of his time, openly criticizing pesticides, a remarkable stance for a film made in the '50s.
The plot progresses with Fisby authorizing the sale of the villagers' sweet potato brandy, which he sells to other army units at a profit, enabling the construction of the teahouse after his initial idea of selling hand-crafted souvenirs fails.
The film's second act 'dark moment' occurs when Colonel Purdy arrives and orders the destruction of the brandy-making operation along with the teahouse. Critics may view the depiction of the villagers saving the day as stereotypically duplicitous, but in reality, their actions display ingenuity. The restoration of the still and the teahouse evokes a sense of optimism as the forces of negativity are defeated.
The film's ultimate message lies in the lesson the Americans must learn: that American exceptionalism is counterproductive.
The actors in the film portray parts embodying low-level farcical humor. This is particularly evident in Glenn Ford's portrayal of Fisby as a good-natured pushover. On the other hand, Brando and Albert fare better in roles that require more wit.
While "The Teahouse of the August Moon" may not induce laughter out loud, it did play a significant role in restoring the American public's opinion of Japanese culture, which had been severely compromised during the war.
The story commences with US Army Captain Fisby (Glenn Ford), a military misfit of sorts, receiving an assignment to bring 'democracy' to the village of Tobiki in Okinawa under the strict orders of his by-the-book commanding officer, Colonel Wainright Purdy III (Paul Ford), following the end of World War Ii.
Throughout the narrative, Sakini (Marlon Brando) acts as Fisby's English interpreter. Brando, who had witnessed the original play on Broadway, passionately sought the role of the wily and genial interpreter. He dedicated two months to studying local customs and endured extensive makeup sessions to transform into an Asian appearance.
While in modern times, some may object to a Caucasian playing the role of Sakini, it was less of an issue when the film was released. Regarding Brando's performance, one could consider it a reasonable attempt at the part.
A scene that perfectly captures the film's mild and inoffensive humor is when Sakini loads up Fisby's jeep with a family and their goat, much to the chagrin of Fisby and Purdy, who insist on adhering to army protocol. The yokels continuously outwit Fisby despite their lack of sophistication, leading to mildly amusing detours the family insists on.
Upon arriving in Tobiki, Fisby is greeted by villagers who shower him with gifts, even though they harbor low expectations due to their prior negative experience with the Japanese occupiers. These gifts, including a cricket cage, wooden shoes called gata, and a cup, hold symbolic significance, with Sakini explaining that the special August moon fills the cup with wisdom and maturity.
Fisby's ambition to construct a five-cornered schoolhouse shaped like the Pentagon is thwarted when the villagers express their differing priorities.
A less successful scene involves the geisha Lotus Blossom (Machiko Kyo), who has been given to Fisby. Fisby mistakenly believes geishas are prostitutes until Sakini corrects him. Afterward, he acquiesces to the demands of the head of the newly minted Women's League, who ask Lotus Blossom to train them in the art of being a geisha.
In today's context, some might view being a geisha as demeaning to women since they are trained to be subservient to men. Nevertheless, in the setting of the story, local women perceive such training as a step up in their social status. Similarly, the men support the construction of the teahouse over Fisby's school idea because teahouses are a symbol of prosperity not accessible to the poor villagers, who have only seen them in big cities.
The most touching scene in the film occurs when the teahouse comes to represent the prosperity the villagers aspire to achieve.
When Colonel Purdy learns that construction on the school has not begun, he sends the eccentric psychiatrist Captain McLean (Eddie Albert) to investigate. McLean, with his interest in organic farming, proves to be a refreshing character ahead of his time, openly criticizing pesticides, a remarkable stance for a film made in the '50s.
The plot progresses with Fisby authorizing the sale of the villagers' sweet potato brandy, which he sells to other army units at a profit, enabling the construction of the teahouse after his initial idea of selling hand-crafted souvenirs fails.
The film's second act 'dark moment' occurs when Colonel Purdy arrives and orders the destruction of the brandy-making operation along with the teahouse. Critics may view the depiction of the villagers saving the day as stereotypically duplicitous, but in reality, their actions display ingenuity. The restoration of the still and the teahouse evokes a sense of optimism as the forces of negativity are defeated.
The film's ultimate message lies in the lesson the Americans must learn: that American exceptionalism is counterproductive.
The actors in the film portray parts embodying low-level farcical humor. This is particularly evident in Glenn Ford's portrayal of Fisby as a good-natured pushover. On the other hand, Brando and Albert fare better in roles that require more wit.
While "The Teahouse of the August Moon" may not induce laughter out loud, it did play a significant role in restoring the American public's opinion of Japanese culture, which had been severely compromised during the war.
It just gets better at every screening!
yvesrodier-12 December 2003
This movie is soooooo funny!
For those who think it is racist, wake-up!!! The Americans are the ones being made fun of! And Brando as a Japanese? Just hilarious!!! Who would have thought?!
I can't believe that some people are saying Glenn Ford stumbles while tying to ad-lib his lines... IT IS CALLED ACTING!!! And he does a wonderful job at it!!!
See this movie, and judge by yourself! 4 1/2 * out of 5
For those who think it is racist, wake-up!!! The Americans are the ones being made fun of! And Brando as a Japanese? Just hilarious!!! Who would have thought?!
I can't believe that some people are saying Glenn Ford stumbles while tying to ad-lib his lines... IT IS CALLED ACTING!!! And he does a wonderful job at it!!!
See this movie, and judge by yourself! 4 1/2 * out of 5
Brando as a Japanese William Shatner
TheFearmakers13 August 2022
Brando played a Mexican very well. His acting was good, intense, natural in Zapata. But this... is just insanely awful. He looks like an Asian William Shatner and he mumbles more than his mumbling style because of all the caked-on makeup to transition his race. Awful. Just awful.
Some People Just Don't Get It
peggyz-118 September 2005
I am amazed about some of the other comments here. This is a hilarious movie!!
Brando was great . . . no doubt. Some people say that this was an example of awful casting but I read somewhere that Brando saw the play and just loved it. He pushed for the movie to be made and insisted that he be given the role of "Sakini" so it was Brando himself who did that casting!
I just laughed out loud at many scenes in this movie. The initial meeting of Capt. Fisby (the amazing Glenn Ford) and Col. Purdy (the perfect Paul Ford) is GREAT! Also, the "wrestling match" between the Captain and his geisha is hysterical. This movie IS a classic! It is one of my favorites because of the great writing and the wonderful acting.
Glenn Ford is ALWAYS good and this one is no different. He IS Capt. Fisby and he is hilarious!! I've seen this movie many times and I know I will still watch it any time that it is on.
Enjoy!
Brando was great . . . no doubt. Some people say that this was an example of awful casting but I read somewhere that Brando saw the play and just loved it. He pushed for the movie to be made and insisted that he be given the role of "Sakini" so it was Brando himself who did that casting!
I just laughed out loud at many scenes in this movie. The initial meeting of Capt. Fisby (the amazing Glenn Ford) and Col. Purdy (the perfect Paul Ford) is GREAT! Also, the "wrestling match" between the Captain and his geisha is hysterical. This movie IS a classic! It is one of my favorites because of the great writing and the wonderful acting.
Glenn Ford is ALWAYS good and this one is no different. He IS Capt. Fisby and he is hilarious!! I've seen this movie many times and I know I will still watch it any time that it is on.
Enjoy!
Creepy and unfunny
robertharveylaw9 July 2013
This is a creepy and unfunny movie. Marlon Brando is at his hammy worst. Paul Ford barely bothers to make facial expressions. Glenn Ford is game, and Eddie Albert does what he can. But mostly I spent the movie cringing at the horrible script and Brando's repulsive yellow-face performance.
I wonder what this movie looked like back in the 1950's when it was made. It was shortly after the end of World War II. Perhaps it was intended as a way to humanize the Japanese (by having a non-Japanese give a clichéd and hackneyed performance in bad makeup). Maybe this movie wasn't as creepy back then. I'm at a loss as to why anyone would consider it to be tolerable now.
I wonder what this movie looked like back in the 1950's when it was made. It was shortly after the end of World War II. Perhaps it was intended as a way to humanize the Japanese (by having a non-Japanese give a clichéd and hackneyed performance in bad makeup). Maybe this movie wasn't as creepy back then. I'm at a loss as to why anyone would consider it to be tolerable now.
August Moon
EdgarST4 August 2017
I saw «The Teahouse of the August Moon» today for the third time. The first time I watched it I was a small boy and it remained in my mind as something very pleasant. Then, a few years ago, I saw it again and thought that it had "graciously passed the test of time". Today I made an introduction about it for the personnel of the Electoral Court of Panama, as «The Teahouse
» started a series of film projections with later discussions about themes, subjects, situations, concepts contained in cinema. Movies like this one raise questions about democracy, military occupation, the meeting of cultures, the oppression of one culture over people from a different place with a different worldview, imperialism and so on. It is still an enchanting comedy with bright touches of satire, a few old- fashioned jokes and moving realizations by ordinary people –both American and Japanese-, which compensate for its artificiality, verbosity and Marlon Brando's forced characterization of the Japanese narrator. It does so with film editing that gives good rhythm to the plot (which has by itself a lot of vitality in the way it was directed); fine and fluid camera-work and funny performances by Glenn Ford and Machiko Kyo (who also dances a beautiful choreography). The third part is excessively formulaic in order to reach a cheerful conclusion, but it is after all a product of a time of world tension and political struggle, and in those situations, people ask for happy endings. Those were the days of the Cold War after World War II, with the anti-communist witch-hunting still fresh in everybody's minds, and the Hays Code still ruling the representation of life in all its manifestation, most notable eroticism, which is a strong element in the story. Watch it, it is very good.
great film
kyle_furr9 March 2004
Marlon Brando stars as a Japanese interpreter and Glenn Ford plays a captain who has been in almost every branch in the military. Ford is ordered to go to a Japanese village to teach the people about democracy and to build a schoolhouse in the shape of the pentagon. The Japanese are only interested in building a teahouse and their isn't enough money to build both. The Japanese try to sell some homemade stuff but it won't sell until Ford finds out that they also make brandy. The military can't get enough brandy, so they build a teahouse instead of a schoolhouse. The military don't like what Ford is doing so they send a psychiatrist but he ends up helping them out instead. I thought Glenn Ford was great here and Brando also did a good job.
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