But time had passed. And now Brando said, with a snort, “Oh, Sayonara, I love it! This wondrous hearts-and-flowers nonsense that was supposed to be a serious picture about Japan. So what difference does it make? I’m just doing it for the money anyway. Money to put in the kick for my own company.” He pulled at his lip reflectively and snorted again. “Back in California, I sat through twenty-two hours of script conferences. Logan said to me, ‘We welcome any suggestions you have, Marlon.
Any changes you want to make, you just make them. If there’s anything you don’t like—why, rewrite it, Marlon, write it your own way.’ ” Brando’s friends boast that he can imitate anybody after fifteen minutes’ observation; to judge by the eerie excellence with which he mimicked Logan’s vaguely Southern voice, his sad-eyed, beaming, aquiver-with-enthusiasm manner, they are hardly exaggerating. “Rewrite?
Man, I rewrote the whole damn script. And now out of that they’re going to use maybe eight lines.” Another snort. “I give up. I’m going to walk through the part, and that’s that. Sometimes I think nobody knows the difference anyway. For the first few days on the set, I tried to act. But then I made an experiment. In this scene, I tried to do everything wrong I could think of. Grimaced and rolled my eyes, put in all kinds of gestures and expressions that had no relation to the part I’m supposed to be playing. What did Logan say? He just said, ‘It’s wonderful! Print it!’ ”
A phrase that often occurs in Brando’s conversation, “I only mean forty percent of what I say,” is probably applicable here. Logan, a stage and film director of widely recognized and munificently rewarded accomplishments (Mister Roberts, South Pacific, Picnic), is a man balanced on enthusiasm, as a bird is balanced on air. A creative person’s need to believe in the value of what he is creating is axiomatic; Logan’s belief in whatever project he is engaged in approaches euphoric faith, protecting him, as it seems designed to do, from the nibbling nuisance of self-doubt.
The joy he took in everything connected with Sayonara, a film he had been preparing for two years, was so nearly flawless that it did not permit him to conceive that his star’s enthusiasm might not equal his own. Far from it. “Marlon,” he occasionally announced, “says he’s never been as happy with a company as he is with us.” And “I’ve never worked with such an exciting, inventive actor.
So pliable. He takes direction beautifully, and yet he always has something to add. He’s made up this Southern accent for the part; I never would have thought of it myself, but, well, it’s exactly right—it’s perfection.” Nevertheless, by the night I had dinner in Brando’s hotel room Logan had begun to be aware that there was something lacking in his rapport with Brando. He attributed it to the fact that at this juncture, when most of the scenes being filmed concentrated on Japanese background (street crowds, views, spectacles) rather than actors, he had not yet worked with Brando on material that put either of them to much of a test. “That’ll come when we get back to California,” he said. “The interior stuff, the dramatic scenes. Brando’s going to be great—we’ll get along fine.”
There was another reason for Logan’s inability, at that point, to give his principal player the kind of attention that might have established closer harmony: he was in serious disharmony with the very Japanese elements that had contributed most to his decision to make the picture. Long infatuated with the Japanese theater, Logan had counted heavily on interlacing Sayonara with authentic sequences taken from the classic Kabuki theater, the masked N dramas, the Bunraku puppet plays; they were to be, so to say, the highbrow-lights of the film.
And to this end Logan, along with William Goetz, the producer, had been in negotiation for over a year with Shochiku, the gigantic film company that controls a major part of Japan’s live theatrical activities. The ruler of the Shochiku empire is a small, unsmiling eminence in his eighties, known as Mr. Otani; he has a prénom, Takejiro, but there are few men alive on such familiar terms that they would presume to use it.
The son of a butcher (and therefore, in Japan’s Buddhist society, a member of the outcast group), Otani, together with a brother now dead, founded Shochiku and nurtured it to the point where, for the last four years, its payroll has been the biggest of any single company in Japan. A tycoon to rival Kokichi Mikimoto, the late cultured-pearl potentate, Otani casts a cloaklike shadow over the entire Japanese entertainment industry; in addition to having monopolistic control of the classic theater, he owns the country’s most extensive chain of movie houses and music halls, produces many films and has a hand in radio and television.
From Otani’s vantage point, any transactions with the Messrs. Logan and Goetz must have looked like very small sake. However, he was at first in sympathy with their project, largely because he was impressed by the fervor of Logan’s veneration for Kabuki, N and Bunraku, the three unquestionably genuine gems in the old man’s crown, and the ones closest to his heart. (According to some specialists, these ancient arts owe their continued health mainly to his generosity.)
But Otani is not all philanthropist; when Shochiku’s negotiations with the Sayonara management were supposedly concluded, the former had given the latter, for a handsome price, franchise to photograph scenes in Tokyo’s famed Kabuki Theater, and, for a still handsomer honorarium, permission to make free use of the Kabuki troupe, the N plays and players and the Bunraku puppeteers. Shochiku had also agreed to the participation of its own all-girl opera company—a necessary factor in the production of the film since the Takarazuka troupe depicted in the novel had deeply resented Michener’s “libel” and refused any cooperation whatever. Logan, leaving for Japan, was so elated he could have flown there under his own power. “Otani’s given us carte blanche, and this is going to be it, the real thing,” he said.
“None of that fake Kabuki, that second-rate stuff, but the real thing—something that’s never been put in a picture before.” And was not destined to be; for, across the wide Pacific, Logan and his associates had a personal Pearl Harbor awaiting them. Otani is seldom seen; he usually appears in the person of bland assistants, and as Logan and Goetz disembarked from their plane, a group of these informed the film makers that Shochiku had made an error in its financial reckoning; the bill was now much higher than the initial estimate. Producer Goetz objected.
Otani, certain that he held the stronger cards (after all, here were these Hollywood people in Japan, accompanied by an expensive cast, an expensive crew and expensive equipment), replied by raising the tab still more. Whereupon Goetz, himself a businessman as tough as tortoise shell, ended the negotiations and told his director they would have to make up their own Kabuki, N , Bunraku and all-girl opera company from among unattached, freelancing artists.
Meanwhile, the Tokyo press was publicizing the contretemps. Several papers, the Japan Times among them, implied that Shochiku was to be censured for having “acted in bad faith”; others, taking a pro-Shochiku, or perhaps simply an anti-Sayonara, line, expressed themselves as delighted that the Americans would not have the opportunity to “degrade our finest artistic traditions” by representing them in a film version of “a vulgar novel that is in no way a compliment to the Japanese people.”
The papers antagonistic to the Sayonara project especially relished reporting the fact that Logan had cast a Mexican actor, Ricardo Montalban, in the part of a ranking Kabuki performer (Kabuki is traditionally an all-male enterprise; the grander, more difficult roles are those of women, played by female impersonators, and Montalban’s assignment was to portray one such) and then had had the “effrontery” to try and hire a genuine Kabuki star to substitute for Montalban in the dance sequences, which, one Japanese writer remarked, was much the same as “asking Ethel Barrymore to be a stand-in.”
All in all, the local press was touchily interested in what was taking place down in Kyoto—the city, two hundred and thirty miles south of Tokyo, in which, because of its plethora of historic temples, its photogenic blue hills and misty lakes, and its carefully preserved old-Japan atmosphere, with elegant geisha quarter and paper-lantern-lighted streets, the Sayonara staff had decided to take most of their location shots.
And, all in all, down in Kyoto the company was encountering as many difficulties as its ill-wishers could have hoped for. In particular, the Americans were finding it a problem to muster nationals willing to appear in their film—an interesting phenomenon, considering how desirous the average Japanese is of having himself photographed. True, the movie makers had rounded up a ragbag-picking of N players and puppeteers not under contract to Shochiku, but they were having the devil’s own time assembling a presentable all-girl opera company. (These peculiarly Japanese institutions resemble a sort of single-sex, innocent-minded Folies Bergère; oddly, few men attend their performances, the audiences being, on the whole, as all-girl as the cast.) In the hope of bridging this gap, the Sayonara management had distributed posters advertising a contest to select “the one hundred most beautiful girls in Japan.” The affair, for which they expected a big turnout, was scheduled to take place at two o’clock on a Thursday afternoon in the lobby of
