Abnégation

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.

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.

The film produced by Hayakawa's own production company Hayworth indeed has a different "look" from the contemporaneous Orientalist productions of Hollywood. Although it does fulfill the almost obligatory casting of Caucasian actors playing yellowface, Edward Peil Sr.'s Japanese art master Kano Indara doesn't seem at all attempt to be "authentic" oriental, not to mention to compete with his Japanese/Asian co-actors as one would find with Warner Oland in films such as The Daughter of Dragon and Shanghai Express. Sessue Hayakawa and Tsuru Aoki are without the doubt the focus of this film. The scenic design also avoids the extravagant Orientalist/art deco ornaments popular at that time, opting for a simple interior design, while lavishing on the natural landscapes framed as quintessential Japanese (despite the fact that they were shot in California). Moreover, the Japaneseness of this film has something to do with the occasional violation of the classical Hollywood editing rules; for instance, the eye-line match in the scene in which the surveyor finds out the talent of the dragon painter by the waterfall is completely off, creating a sense of spatial disorientation that predates Ozu.

As a sidenote, Hayakawa's madman also foresees the famous acting of Toshiro Mifune.

A mentally disturbed artist (Sessue Hayakawa), from the mountains of Japan, is convinced that his fiancee, a beautiful princess, has been captured and turned into a dragon. His obsession with his fictitious loss, leads to his artistic inspiration.

It isn't until a young surveyor, (Toyo Fujita) comes across some of Tatsu's artwork, that his genius is discovered. The surveyor then informs the famous artist, Kano Indara about his discovery, who immediately agrees to meet Tatsu.

Indara, his daughter Ume-Ko, and Undobuchida soon realise that they cannot persuade Tetsu to come down from the mountains to further his talent as an artist, without a ploy.

Ume-Ko consequently dresses up as a Princess, and the promise of Tatsu being re-united with his long lost love, lures him into Kano Indara's house. Of course, the family realises that Tatsu has a lot of uncivilized and crazy habits which he needs to get rid of, if he is going to fit into civilized Japanese society.

Overall, the movie is a very sweet and interesting piece. There is great use of color-tinting throughout the film, which perfectly reflects the mood and theme. Hayakawa does an awesome job at playing a madman- a good combination of dramatic and comical acting.

Although it is not the best silent movie I've ever seen, it is definitely worth watching. It's a lovely little fairy tale which puts a smile on your face!

Seeing a young Sessue Hayakawa (well, actually 33 years old) is the highlight of this film, as he really inhabits the character of this youthful and uncouth artist, and has striking good looks besides. He's paired with his real-life wife (Tsuru Aoki), the film was produced by the company he co-founded with director William Worthington, and a part of his aim was to break down racial stereotypes, so there is something personal and intimate about seeing it over a century later. The film touches on the interesting idea that an artist must be longing for something in order to feel inspiration, and if his desires are fulfilled it may kill the creative process, but it was a little simple and drawn out, even in the 53 minute run time. You can read what happens as a ruse or as a magical bit of mythology, but I favor the latter interpretation, as that bookends the "enchanted princess whom the spirits took from him" from the beginning rather nicely. As a little extra bonus, you may recognize Yosemite Valley substituting for a mountainous region of Japan, and the film has some pretty good cinematography in it as well. Overall the film isn't outstanding but it has a certain loveliness to it, and it's worth checking out.