Der Betrug

"East is East and West is West and never the twain shall meet." Fannie Ward (as Edith Hardy) is an extravagant socialite who is told by husband Jack Dean (as Dick Hardy) she must cut down on spending, as he meets with business failures; instead, she takes $10,000 from the Red Cross fund she is entrusted with, and gambles it on a "sure thing" - sure enough, she loses the money. Desperate to replace the money, Ms. Ward turns to wealthy party host Sessue Hayakawa (as Tori aka Arakau), who is secretly attracted to her. Mr. Hayakawa gives Ward the money, but wants a sexual encounter the next night. Then, Mr. Dean makes a Stock Market killing, and is rich again. Ward takes $10,000 to pay off Hayakawa, but he won't bargain...

This is a lurid melodrama, filled with sex, race, and sadism; but, it is redeemed by several factors. Cecil B. DeMille directed artfully; his use of light and shadows is notable. The portrayals of Fannie Ward (as "The Cheat" Edith Hardy) and Sessue Hayakawa (as Tori aka Arakau) are among the finest of the era. You'll want to watch this film with the remote nearby, as there are a few scenes you may want to see re-played immediately.

The Japanese community objected, understandably, to the film's racially prejudicial appeal; so Hayakawa's character was changed from Japanese Hishuru Tori to Burmese Haka Arakau, for a 1918 re-release. Presumably, the Burmese community was not amused.

********* The Cheat (12/13/15) Cecil B. DeMille ~ Fannie Ward, Sessue Hayakawa, Jack Dean, James Neill

Granted I haven't seen too many De Mille silents, but I just watched my new Kino edition of The Cheat, and it has now become my favorite De Mille silent! Very bizarre and dark story that must have had undertones of some hidden fantasies that were going on at the time. I assume this because I have never seen another silent like this one! Sessue Hayakawa was the embodiment of those fantasies, very menacing and naturalistic in his acting style. His every thought played across his face with seemingly minimal effort! He really stole the show from Fannie Ward, whose acting I considered over the top until the last courtroom scene, where it became quite effective in showing her outrage over trying to be possessed like an object by an Asian man. In this scene, she did an excellent job of conveying her affront and humiliation.

The lighting was used to great advantage, immersing the character in a single source of side lighting, which made me think of later movies by some of the German masters. Robert Israel's score was perfect as usual.

A melodrama, but with a twist that makes it fascinating to watch!

It's notable that right away 'The cheat' establishes use of stereotypes to build the foundations of the narrative. Richard (Jack Dean) is obsessed with his work, portrayed as somewhat neglecting his wife in the process, while Edith (Fannie Ward) is a spendthrift insistent on maintaining her status. I understand there was some controversy as well in Sessue Hayakawa, prominent early Japanese-American actor, depicting an antagonistic figure, thus leading to a change of the character's nationality in the interstitial cards - as if that meaningfully alters the criticism.

The story on hand is simple and of a slant not unfamiliar to contemporary audiences, but duly compelling for the intrigue at hand. There is an issue in my mind that the pivotal crux of this tale - the nature of the bargain - is not actively recounted in interstitial cards, or otherwise presented plainly on-screen. It's expressed only through nuance of body language - easy to miss altogether unless one is already familiar with the plot - or discerned by reading between the lines that are between the lines. As a result 'The cheat' feels less cohesive than it is otherwise, and this flaw also gives the writing the appearance of a significant plot hole. This is unfortunate because all that was required to lift this film out of that mire would have been more clarity.

If you can look past its faults, however, 'The cheat' is quite enjoyable. Set design and decoration, and costume design, are commendable, and complete the setting well. More importantly, the film makes use of lighting in ways that seems advanced for cinema in 1915. There's substantial emphasis on shadows, and spotlighting in generally dimly lit scenes, that does much to bolster the film.

And the performances are pretty great. This is true for all the cast, but goes most of all for Hayakawa, whose deft subtlety of facial expression is essential to his character. And Ward, as Edith, showcases a detail of emotional range that defies the presumptive limits of film-making equipment of the time. These two in particular carry the picture, leading into the dramatic and genuinely exciting climax. Putting aside an ineffectively articulated story beat, the narrative writing is broadly capable.

'The cheat' isn't a perfect movie, but its problems don't outweigh its ability to entertain. The technical craft of the film and the performances are most eye-catching of all, and help to paint over the blemishes. I wouldn't necessarily say one should go out of their way to find 'The cheat', but it's a worthwhile view if you come across it.

I think modern audiences tend to be too harsh on some of our earliest films.

We tend to forget that directors, actors, and others were in the process of creating a new art form. As a result, we should look at these films within their own parameters. And as an example of what directors were just learning to do, "The Cheat" is one of the best films of its year. People who rent or view films from this time period should realize that, almost without exception, dramas are going to be Victorian in their plots. They should also expect that the acting will be "acting" (couldn't italicize this word), broad pantomime, and histrionic.

Yes, "The Cheat" is melodramatically Victorian and most of the acting is broad, but it distinguishes itself with some innovation and some subtlety. (I'm assuming that DeMille's use of expressionistic lighting was innovative; he did, indeed, receive flak from the money-men for such techniques.) Here, we see DeMille uses silhouettes and low-key lighting not only to create mood but also to relay certain plot points. The subtlety comes to us from Sessue Hayakawa. His technique contrasts greatly with the other actors and as a result, he stands out. You can't take your eyes off of him. He's still most of the time and his acting could be called zen-acting, much like "the method," which became popular in the 50s. He exudes charisma as the villain, and you certainly see why he was the first Asian star of American films, or one of its first big stars of any background for that matter. (Have there been other Asian box office draws besides Jackie Chan?) I certainly became a fan after seeing this movie on TCM. I immediately ordered the DVD, which contains a fine print, and searched for other silent films he was in. The only one I've been able to find so far is "The Secret Game" from 1917. "The Tong Man" (1919) is supposed to be available, but I've yet to find anyone with it in stock.

In summary, this film is worth catching for Sessue Hayakawa.

What is the message that DeMille id giving to his 1915 audience? Is there a positive female character in the film? And who exactly is the cheat? Hayakawa is said to be the Cheat by many critics but I disagree.

Is it not Edith who cheats on her husband by lying and stealing? Is it not Edith who agrees to become a "whore" by paying off her stolen debts and then backs out on the deal? Who is Edith representing in 1915?

By the end of the movie, Edith is forgiven by the courts, he husband, and society just as long as she stays as the "little girl" who can't act for herself. The Cheat is beautifully filmed, don't get me wrong. But the overall message toward women in this film is down right wrong!