The title originates from a quote from Henry David Thoreau: "Any man more right than his neighbors, constitutes a majority of one already." Thoreau believed that the one person who is on the right side of the question counts for more than do all of the people who are on the wrong side.[2]
Plot
Widow Bertha Jacoby is convinced by her daughter Alice Black to move from Brooklyn, New York to Tokyo to be closer to Alice and her husband Jerry, now stationed at the American embassy in Tokyo. Visiting Bertha with the news of the impending move to Japan, Alice and Jerry, who consider themselves liberal, are condescendingly polite to Bertha’s friend Essie, who is concerned that their neighborhood is being compromised by ethnic minorities. Bertha overlooks Essie’s ideas, which she does not share. Nevertheless, Bertha has difficulty overcoming her resentment toward the Japanese, "the people who killed her son" during World War II, which will loom large if she is to live in Japan.
Aboard the ship to Tokyo, Bertha meets Koichi Asano, an affable millionaire Japanese Buddhist businessman who is important to Jerry’s diplomatic mission. While Asano is gracious to Bertha, Bertha treats him coolly. Asano asks her whether he has offended her or whether she resents the Japanese, and she admits her feelings about her son’s death. Asano informs her that he had lost a son whose ship was destroyed by a dive bomber and a daughter who was a nurse in Hiroshima.
Bertha begins to return Asano’s politeness, forming a connection with him as they have each lost spouses within the past four years. Bertha and her husband ran a small artificial flower business. Jerry is pleased that Bertha is socializing with Asano until he sees them dancing together at a party. Alice warns Bertha to avoid becoming too close to someone who may use her to influence Jerry’s diplomatic role. Asano senses Bertha's renewed distance. On disembarking, he presents Bertha with his card and offers his help in Japan.
The American diplomats make little effort to learn the Japanese language or customs. Jerry inadvertently insults Asano with some culturally inappropriate gestures. Asano ends diplomatic negotiations, citing Jerry’s behavior to the ambassador.
Wishing to reconcile with Asano, Bertha visits his home. Asano showers her with lavish gifts and hospitality. He asks permission to formally court her by taking her to social events. She promises to consider it, as there are many serious factors to consider. When Bertha informs her daughter and son-in-law of Asano's courtship, they object to the idea of an interracial marriage. Bertha reminds them of their criticisms of Essie’s prejudice and accuses them of hypocrisy. When Asano returns her call, Bertha declines his proposal by asserting that it is too soon for courtship; they are both just lonely, still mourning their dead spouses. Bertha intends to return to New York, but they agree to continue to see each other on his frequent trips.
Sometime later in New York, Bertha and Asano reunite and agree that enough time has passed so that they can see each other, as he has accepted a post at the United Nations.
Alec Guinness visited Japan days prior to the start of production to study the culture, people and customs. He wore heavy makeup to play the role. Rosalind Russell was hesitant about her role, believing that Gertrude Berg, who played the role on stage, deserved the part; studio head Jack Warner refused to cast Berg, and Russell agreed to portray the role after learning that she could costar with Guinness.[5]
In his 1994 autobiography, George Takei, a homosexual Japanese-American actor who plays a minor role in A Majority of One, wrote that he had been "shocked" at the "grotesquely offensive" latex makeup applied to Guinness's eyes, and by the "incomprehensible gibberish" of his Japanese lines, producing a disappointing and "disastrous" performance.[4]
Reception
In a contemporary review for The New York Times, critic A. H. Weiler called the film a "truly heartwarming and entertaining affair" and wrote "[T]his comedy blend of specialized, local middle-class mores and humor and Nipponese formality becomes a wholly acceptable, truly heartwarming and entertaining affair despite its exotic ingredients.... Miss Russell... does an amazingly fine job, which has to be seen to be believed."[6]
Variety declared: "Leonard Spigelgass’ brew of schmaltz and sukiyaki is an outstanding film... Russell’s Yiddish hex-cent, though at times it sounds like what it is – a Christian imitating a Jew—is close enough to the genuine article. Guinness becomes Japanese through physical suggestion and masterful elocution."[7]
John L. Scott of the Los Angeles Times called the film "fine entertainment with a broad appeal".[8]
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