The Dragon Painter

It has taken a long time for THE DRAGON PAINTER to reach home DVD. Announced well over a year ago, it had to wait for Milestone Films to find a new distributor. Now we can finally see this long unavailable title and see how beautiful it is. The slight story is a variation on the woman sacrifices self for man so that he can succeed theme. In this case Hayakawa plays a wild mountain artist who paints dragons while searching for a princess. Once he finds her he loses the ability to paint until she takes matters into her own hands.

The "princess" is played by Tsuru Aoki who was Hayakawa's wife in real life and their affection for each other shows. It's also interesting to see Edward Peil playing another oriental role. The same year (1919) he was in D. W. Griffith's BROKEN BLOSSOMS as Evil Eye. The film was beautifully photographed and looks quite good in this George Eastman House restoration of a French print.

The real treasure here though is the even rarer WRATH OF THE GODS also from George Eastman House. A major American produced film featuring Asian actors (Hayakawa, Aoki and others) in 1914 seems incredibly enlightened when you think of all the "yellow peril" parts that were just a few years down the road. The story borrows elements from MADAME BUTTERFLY and BIRD OF PARADISE and features future director Frank Borzage (SEVENTH HEAVEN) in one of his early acting roles.

WRATH was produced by Thomas Ince who was one of the major players in the movie industry's early days but is remembered today only for his mysterious death involving William Randolph Hearst's yacht in 1924 and for the studio he built which would later become Cecil B. DeMille's and then David O. Selznick's. This is really a shame because as WRATH and an earlier title from 1916 (CIVILIZATION which has yet to make it to DVD) show, Ince's surviving films are very advanced for their time in their realistic portrayal of serious subjects and their no nonsense approach to quality filmmaking. Both films have been properly tinted and have atmospheric new Japanese style scores...For more reviews visit The Capsule Critic.

Dragon Painter, The (1919)

*** 1/2 (out of 4)

At times haunting, at times romantic, this once thought lost silent film turned out to be one of the crowning gems of its era. The film tells the story of Tatsu (Sessue Hayakawa), a madman who has become known as The Dragon Painter. Tatsu believes that a thousand years earlier his one and only love had her spirit taken away by a dragon so all he paints in dragons hoping that one day she will return to him. A master painter (Edward Peil, Sr.) living in Tokyo soon learns of Tatsu's great paintings and brings him in telling Tatsu that he knows where the spirit of his love is. The painter offers up his daughter (Toyo Fujita) in return that Tatsu make great paintings but after Tatsu gets his love back he doesn't feel the need to paint anymore. This film was thought lost for decades until a print turned up in 1977 and thankfully one did because this is a rare case where a lost film turns out to be well worth being found. The movie runs just over 50-minutes and it contains some very strong scenes as well as some great performances. The film was done by Hayakawa's own studio so needless to say the budget isn't the biggest but this works well for the film as it creates a tight and unique atmosphere and really captures the culture of Japan. The set design is also very well done and the new music score serves the film very well. For those of you who only know Hayakawa from his role in The Bridge on the River Kwai then you should certainly seek this film out. The Japanese born actor gives a very strong performance here and his scenes as the madman are right on the mark as are the scenes with him stricken with grief. Peil and Fujita also deliver fine performances. It's also nice seeing a film from this period that show a foreign man doing something other than being a gangster or villain.

A silent film from 1919, this is a story about Tatsu, the Dragon Painter, played by Sessue Hayakawa, who was quite a big star in American silent film ( he won an Oscar for his work decades later in "Bridge Over The River Kwai"). He is seeking an enchanted princess whom the gods took from him. He paints pictures of dragons because of this. An older artist named Indara, seeking to find an heir to his artistry, hears about Tatsu and summons him. He realizes Tatsu is the real thing and lures him by using his daughter Ume-Ko (played by Hayakawa's real life wife, Tsuru Aoki)to act as the princess Tatsu seeks. This film is great. It is a simple story told perfectly, in less than an hour. It was part of a TCM network retrospective on Asian images in cinema. The film is beautifully restored and even has great music, played on instruments from Japan. This is a silent film that you should enjoy, it tells the tale wonderfully. I recommend it.

This is a lyrical, visually arresting Japanese fairy-tale about a mad artist who is under the impression that the princess of his dreams lurks in an enchanted lake which has turned her into a dragon. SESSUE HAYAKAWA is the intense young man who becomes the protégé of a painter who is looking for new talent. When the man threatens to walk away, the painter reveals that he has a daughter whom he passes off as the princess the painter is looking for.

The trick works and before you know it, the two young people fall in love. But the art of painting eludes him once he has found his lost princess and therein lies the crux of the plot. How will he get it back unless she gives up her life so that her loss will be his gain?

It's an intriguing premise and it's artfully crafted from the very opening scene with outdoor backgrounds photographed in Yosemite to give an authentic feel to the settings. The print shown on TCM is in fairly good condition considering the age and the tinted effects for moonlight give it a haunting spell.

SESSUE HAYAKAWA makes a convincing mad genius and TSURU AOKI is fine as the princess of his dreams, in real life, his wife.

Summing up: For silent film fans, well worth watching with an appropriate background score and acting that is more natural than the usual silent screen technique you might expect. The photography throughout is on the artistic side.

Actor Sessue Hayakawa, after his role in 1915's "The Cheat," became extremely upset how Hollywood was portraying Asians in unflattering steorotypical images. Securing start-up funding, the Japanese-born Hayakawa set out to establish the first Asian-owned film production company in the United States, Haworth Pictures Corporation. Its owners set out to portray Asians in their own environment, interacting in their own customs and traditions, a much more realistic portrayal of the millions of people an ocean away from North America than they were being seen on the screen.

The earliest surviving film of Haworth Pictures Corp. Is September 1919's "The Dragon Painter." Adapted from a 1906 novel of the same name, the studio's ninth movie depicted a mad, solitary artist (Hayakawa) who believed his wife of 1,000 years ago was a dragon hidden in the wilds of Japan (the stunning mountains were filmed in Yosemite National Park). A few of his paintings end up in the hands of a famous aging painter who is seeking a protege to take over his mantle once he dies. Trouble is, the nutty painter draws inspiration on his late imaginary 1,000 year-old wife. The master artist sets up his daughter to transform into that dragon wife to encourage him to remain in his household. When the young painter falls in love with the daughter (played by Hayakawa's actual wife, Tsuru Aoki), he loses all inspiration in painting, causing a dilemma in the master's plans.

In its three years of existence, Haworth Pictures was a reasonable success, producing 23 movies and making enough money for Hayakawa to pay off the initial one million dollar loan as well as enjoy a luxurious lifestyle, complete with a gold-plated Pierce-Arrow car. Anticipating Prohibition in 1920, the actor purchased an enormous amount of liquor, allowing him to hold elaborate parties fortified with plenty of booze when a legal drop of alcohol couldn't be bought anywhere.