Marlon Brando is an icon, one of the greatest American actors on film. I fell in love with Brando one lonely Saturday afternoon while watching “On the Waterfront”. This compelled me to seek out his other work, and I quickly became a fan of his Vito Corleone (“The Godfather”) and the rugged, desperate Stanley Kowalski (“A Streetcar Named Desire”).
Then I stumbled upon “The Teahouse of the August Moon”, where Brando plays a jolly countryfied Confuciusian Japanese man by the name of Sakini. To achieve the Asian effect, Brando dons enough tape or playdough on his eyes to lose his epicanthic fold while also reaching for that slanty eyed appearance by giggling and bowing at every opportunity.
The film pokes fun at America’s post-war attempts to change Japan, although its version of Japan is as backwards, goofy and altogether culturally insulting to the people of Okinawa. What other general comedic intentions exist are completely obliterated by Brando, who inserts every wrong and bad stereotype into his portrayal of Sakini. With his eyes and character’s mannerisms, Brando’s Sakini reminds me of comedic genius Cantinflas acting like a goofy, soft-headed Cantinflas-ish character. This is not a good thing. In fact, Brando is so full on insulting that his Sakini is a combo Prissy from “Gone With the Wind” and Cantinflas in every role where he plays the dopey guy.
I never hated Brando for his Sakini, because Hollywood’s interpretation of Asians — meaning some white guy in heavy makeup — has always disappointed me. It still does.
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