We agreed with alacrity, he plunged ahead, a behemoth but amiable, and we followed to be packed into cars and delivered at the theater. It was a huge place, and when I was led to a seat in a box, the last and only seat in the enormous theater and reserved, of course, for the production manager himself, I was simply stunned by what I saw. All the teen-agers in Japan were assembled there, or so it seemed, certainly thousands and thousands of them.
I sat and stared at stage and audience alike. This was indeed a Japan new to me, rock-and-roll, dancing girls and singing boys, American songs, western songs sung in English, and only a very few Japanese songs. The girls screamed just as they do in my own country, and they sounded just as silly. What is this affliction of the young, spreading from land to land? Thousands upon thousands of young Japanese — oh, very young — the performers are in their teens or barely out of them, and very young girls in skirts and blouses ran out from the audience to hang wreaths of paper flowers and paper streamers on their male favorites. Only one girl sang, a handsome girl of eighteen with an excellent voice.
“What do the parents think of this?” I asked the production manager.
“It disgusts them,” he said, “but what can they do?” What can they do indeed, here or anywhere! Our business, however, was to find actors. After the grand finale we went downstairs into a small hot room and interviewed three or four young men viewed on the stage through opera glasses as possibilities. We were hopeful, for they sang in English so well that we were led to think they might speak English. Such was not the case. The only sentence they spoke well was the same one. “I cannot speak English,” and they had each studied English six years in school. Then we found one bright exception, a gentle-faced boy who is called the Eddie Fisher of Japan. He spoke beautiful English. The explanation was that his mother was half-English and he had learned at home. We asked him to come the next morning for an audition.
While all this was going on, I observed a change in the production manager. He was softening. He saw our problem of the six-year English and he felt concern. He invited us to have dinner with him, and asked if we wanted to go where he always goes, or to some more elaborate place. We accepted with grateful surprise, saying that we wanted to go where he went. We climbed in cars, again pushing through oceans of young people waiting for their favorite singers to emerge from the stage door, and soon we drew up before a restaurant which was not like any I had seen before. Obviously it was not a tourist resort nor perhaps a place for women. I was not daunted, however, and the production manager evidently reigned here as everywhere. It was a fascinating place, small but clean as only Japanese know cleanliness, the rough wooden tables and counters made of six-inch-thick unpainted log slabs scrubbed to snow whiteness. The production manager gave orders in the manner of one always obeyed but he was obeyed, two slabs were put end to end and he assigned our seats. Mine faced him, and so I had full opportunity to observe this extraordinary man.
For now a new man appeared. He even announced that he was not the same man we had seen heretofore, and proceeded to explain himself and his life. He was not married, he told us, and he insisted that he was the loneliest man in Tokyo. He lived with his mother, a wonderful woman whom he adored, but he was fifty years old. He did not look that age. He looked a somewhat battered thirty-nine. Meanwhile he continued to tell us about his wretched life. All day long he went from one conference to another, preparing the weekly film picture he was compelled to produce. He woke early every morning in spite of late nights, and in the cold chill of dawn he read.
“What do you read?” I inquired with interest. Perhaps he read poetry or Zen Buddhism. He answered between clenched teeth.
“I read screen play only — hundred — hundred — hundred — pouring on me every day. … Always I am depressed afterward. So every night I am here, drinking.”
The more he drank the better English he could speak. It was never perfect but it was expressive — and explosive. He did not cease also to speak Japanese. Indeed, he carried on an extraordinary bilingual monologue with the Japanese around us. He joked and when he saw that I was not drinking sake he ordered a wine jug filled with water and then announced loudly that I was drinking outrageously and he bellowed laughter at his own wit. Suddenly he poured advice on the American director. A director, he said, cannot be a pure artist — not pure, not pure! He must have evil in him — outside nice, inside evil, evil, otherwise people will not be afraid of him. The American listened without reply, smiling. Suddenly the production manager struck his own head with clenched fists. He had an idea again, a glorious idea!
“Drinking, I am fountainhead for idea,” he declared, enraptured with himself.
His idea concerned my friend’s son-in-law, a young actor of promise. His wife was proficient in English and could be very useful to everybody. If we would place them in our cast, all feelings could be saved and all hearts assuaged. He reminded us that he had suffered much pain when he had to tell great Japanese director he was not to work on the film with us. He had to assume full responsibility himself for a sad mistake and he had to bow to the lowest level and this hurt. But he could forgive us if—
We replied that of course we would like to see the two young people but the picture must be considered before feelings. He was already on the telephone, however, and after an outburst in Japanese returned to us, all good cheer and satisfaction.
“Now,” he exclaimed. “We must be happy. Bar or geisha house?”
We asked him to decide for us. “Bar, of course,” he declared. “Geisha is too old-fashion. In bar, relaxation. Top class bar. I go every night there.”
We took cabs again and rocked through crowded streets. Japanese taxi drivers are described in agitated detail by every American tourist, and I need not add to these descriptions except to say that everything said about them is true. They are zealously kind, emotionally involved with every passenger, and utterly careless about life, limb or property of anyone, including themselves.
The bar, as we entered, seemed to be a number of small comfortable rooms clustered around a bar. The production manager began relaxing immediately by loosening his belt and taking off his tie. The bar was small and crowded with business men and with pretty girls, of whom there were many. I was introduced to a slender handsome woman of young middle age, whom the production manager declared was best madame in Tokyo. She looked competent and modest and upon hearing my name fell into a state of emotion, declaring that she had read all my books. I had been her idol, et cetera. I was touched but slightly embarrassed. She introduced her girls to me after we were seated, very crowded, into a circular bench against the bar itself; these girls sat by me, one by one, and through one of them who spoke English, I became somewhat acquainted with them. Most of them were married and had children. No, they did not enjoy bar work, they said, but their husbands had poor jobs, or no jobs and this was easy work. I detected or imagined a certain patient sadness in their eyes and was reminded of a visit I made once in Paris, many years ago, to the Folies Bergère. I was humanly curious then as now, and after the show I left my escort and went backstage to get acquainted with the show girls. They too were not girls. They were women, most of them married, with home problems of deserting husbands, sick husbands, poverty, illness — and most of them were not young.