You don't see movies like this anymore. For better or worse, A Majority of One is a time capsule of a very specific, very awkward era in Hollywood history. Released in 1961 and directed by Mervyn LeRoy, it’s a film that tries to be incredibly progressive while simultaneously leaning into casting choices that make modern audiences cringe. It’s based on the hit Broadway play by Leonard Spigelgass, and honestly, the DNA of the stage production is visible in every single frame.
It’s a story about a Jewish widow from Brooklyn and a Japanese businessman. They meet on a ship. They bond over shared grief. It’s sweet, right?
Well, here is the kicker: the Japanese lead, Mr. Asano, is played by Alec Guinness. Yes, the man who would eventually become Obi-Wan Kenobi. He's in full "yellowface" makeup. Opposite him is Rosalind Russell, playing Mrs. Jacoby, a woman who is supposed to be the quintessential Yiddish-speaking mother from the Bronx, despite Russell being about as WASP-y as they come.
The Weird Paradox of A Majority of One
When people talk about this movie today, they usually get stuck on the casting. It's hard not to. But if you look past the prosthetic eyelids and the forced accents, the script is actually doing something surprisingly radical for the early sixties.
Basically, the plot follows Bertha Jacoby as she travels to Japan with her daughter and son-in-law. Her son was killed by the Japanese in World War II, so she’s carrying a massive amount of prejudice. She doesn't want to be there. She doesn't want to meet the people. Then she meets Koichi Asano.
They are both lonely. They have both lost children to the war. The movie argues that a "majority of one"—standing by your own principles even when the world tells you otherwise—is the only way to find peace. It’s a message of tolerance wrapped in a package that, by today's standards, feels profoundly intolerant.
The film was a big deal at the time. It snagged a Golden Globe for Best Motion Picture – Comedy or Musical. Rosalind Russell won Best Actress. It was nominated for an Oscar for Best Cinematography. People loved it. Today? It’s a footnote often used to teach film students about the history of racial representation in cinema.
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Why Rosalind Russell and Alec Guinness?
You have to wonder why they didn't just cast Japanese actors. Or Jewish actors.
In 1961, the "star system" was still the law of the land. The studio, Warner Bros., didn't think a movie could make money without "bankable" names. Gertrude Berg had played the role on Broadway to massive acclaim—she was the character—but the studio passed her over for Russell because Russell was a movie star.
Guinness was coming off the massive success of The Bridge on the River Kwai. He was considered a chameleon. He’s a great actor, honestly. He plays Asano with a quiet, dignified restraint that avoids the buck-toothed caricatures seen in films like Breakfast at Tiffany's (released the same year, featuring Mickey Rooney's disastrous performance). But it’s still Alec Guinness in makeup. There’s a scene where he wears a kimono and performs a tea ceremony, and the artifice is so thick you can almost smell the spirit gum.
A Script That Was Ahead of Its Time (Mostly)
Leonard Spigelgass wasn't just writing a romance. He was writing a plea for internationalism.
The dialogue between Mrs. Jacoby and Mr. Asano is actually quite sophisticated. They discuss the nuances of their respective faiths. They find common ground in the way they honor their ancestors. Mrs. Jacoby realizes that her grief isn't exclusive. The "enemy" cried just as hard for their sons as she did for hers.
- The Shipboard Romance: Much of the first half takes place on a luxury liner. It feels claustrophobic, which works for the tension.
- Cultural Clashes: There’s a lot of humor derived from Mrs. Jacoby’s refusal to eat Japanese food or follow local customs, which eventually melts into genuine curiosity.
- The Diplomacy Subplot: The son-in-law, Jerome Black (played by Ray Danton), is a diplomat. He’s the one who is supposed to be "enlightened," yet he’s the most horrified by his mother-in-law’s friendship with a Japanese man. It’s a great bit of irony.
The Visuals and the "Stagey" Feel
Mervyn LeRoy was a veteran director. He knew how to make a movie look expensive. A Majority of One features some incredibly lush Technicolor cinematography by Harry Stradling Sr. The sets representing Tokyo are grand and stylized.
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However, the movie never quite escapes the fact that it was a play.
Characters enter and exit rooms like they’re hitting marks on a stage. The monologues are long. The pacing is deliberate—some might say slow. At over two hours, it’s a long sit for a romantic comedy. But the chemistry between Russell and Guinness, as bizarre as their casting is, actually kind of works. They play off each other with a gentle, platonic affection that feels earned.
Where to Find A Majority of One Today
If you’re looking to watch it, it’s not always on the major streaming platforms like Netflix or Max. It pops up on Turner Classic Movies (TCM) fairly often. You can usually rent it on Amazon or Apple.
Is it worth watching?
Honestly, yes. But you have to watch it as a historical document. It is a bridge between the old Hollywood of the 40s and the more cynical, realistic Hollywood that would emerge in the late 60s. It’s a movie that tries to say "we are all the same" while the casting says "but we’re still not ready to let you tell your own story."
Key Details for Film Buffs
- Release Date: December 27, 1961.
- Budget: Roughly $2 million, which was significant at the time.
- The Play: The original Broadway production ran for 556 performances.
- Madelyn Pugh and Bob Carroll Jr.: While not the writers of this film, the style of humor heavily influenced the "culture clash" sitcoms of the era.
The Lingering Legacy
The film’s legacy is complicated. On one hand, it’s a sensitive portrayal of an inter-cultural relationship at a time when that was still a taboo subject in many parts of America. On the other, it represents the systemic exclusion of minority actors.
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Interestingly, the film was a massive hit in Japan. Audiences there reportedly appreciated the respectful tone of the script, even if the "Japanese" lead was a British man in a wig. It goes to show that the intent of a piece of art can sometimes transcend its execution, even if the execution is deeply flawed.
Moving Forward: How to Approach This Film
If you're a cinephile looking to broaden your 1960s horizons, don't just skip this because of the casting. Watch it alongside Sayonara (1957) or Guess Who's Coming to Dinner (1967).
See how Hollywood struggled to talk about race. Notice the way the script treats Bertha’s Jewish identity—it’s actually quite bold for 1961 to have a main character whose Jewishness isn't a punchline but the core of her moral compass.
Next Steps for the Interested Viewer:
- Compare the mediums: Seek out the original play script by Leonard Spigelgass. It often provides more internal monologue for Mrs. Jacoby that didn't make it to the screen.
- Contextualize the era: Read up on the 1960 Academy Awards and Golden Globes to see what else was competing with this film. It helps explain why the studio made the "safe" casting choices they did.
- Analyze the performance: Watch Alec Guinness in The Horse's Mouth or Kind Hearts and Coronets right after this. It highlights his technical skill, regardless of the problematic nature of the role in A Majority of One.
This movie isn't just a rom-com. It's a snapshot of a world trying to heal from a world war while still being trapped in its own cultural biases. It's messy, it's beautiful, it's uncomfortable, and it's absolutely worth a look.