Word: machiko
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Captain Fisby tries desperately to Get Down to Business, but Sakini keeps slyly bringing him pleasure in the form of the local geisha girl, name of Lotus Blossom (Machiko Kyo). He pleads eloquently for the erection of a pentagon-shaped schoolhouse, but Tobiki has suddenly worked up a democratic impulse to build a teahouse for its geisha girl to work in. In the end, when Colonel Purdy drops in for a surprise inspection, he sees before him a peculiar democratic vista. Captain Fisby, wandering around town in sandals and kimono, is directing the operations of the Tobiki Brewing...
...short, the only important difference between the play and the picture is its cast. Paul Ford, as the colonel, is the only carryover, and in closeup he seems even more a master of the cruder kinds of deadpantomime. Glenn Ford is amiable as young Captain Fisby; Machiko Kyo, one of the most gifted of Japanese cinemac tresses, is pleasantly giggly in a part that scarcely taxes her abilities. As Sakini, Marlon Brando seems to proclaim with every gesture that his talent is too big for his coolie britches...
...goers, the reading of such symbolic language is apt to be as tiresome as the study of Chinese script; but fortunately, Director Kenji Mizoguchi (who also made Ugetsu) has provided the picture with physical as well as spiritual beauties. It has colors that are often exquisite; and it has Machiko Kyo, the heroine of almost every important Japanese film of recent years, who is surely one of the loveliest women ever seen on the screen...
Japan's No. 1 cinemactress, dove-necked Machiko Kyo, the rape victim of Rashomon and mincing dispenser of love in Ugetsu, arrived in Manhattan for her first trip outside Japan, was given such a whirl of interviews, screenings, photographic sessions, business appointments and kimono changes (she was equipped with ten sets) that she had little time even for window shopping. At week's end she left for Hollywood to discuss MGM's prize offer: that she play the role of Lotus Blossom opposite Marlon Brando in the film version of Broadway's Teahouse of the August...
...story, which might well have served as the vehicle for a thriller full of blood and thunder but empty of any artistic value, is never exploited deeply for purely emotional impact. Much of the film's restraint springs from the acting of Kazuo Hasegawa as Moritoh and Machiko Kyo, already known to American audiences for her part in Rashomon, as Lady Kesa. They are content merely to suggest love by the slow movement of a hand, and desire by a grimace that lasts only for second. Where a Western actor would shriek, they merely tremble...