Abnégation

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 Dragon Painter" is an interesting silent film; it's about a painter, his art and, of course for the drama, his love story, which I've found to be a promising setup in various films. Among other silent films, Carl Dreyer's "Michael" (1924) and some of the films by Yevgeni Bauer, mostly "The Dying Swan" (1917), come to mind as other worthwhile explorations of these themes. In being art about art, it naturally lends itself to self-reflexivity. In "The Dragon Painter", we don't actually get to see much of the artist's paintings--besides a couple sketches he tosses over a waterfall and a painting at the exhibition--but that's probably for the best, rather than having imitations shown off instead of art. The art in this film is in the photography of landscapes and nature (waterfalls, horizons overlooking canyons, lush gardens and such), which is pictorially beautiful (inexplicably, this film's cinematographer Frank D. Williams learned his craft at Keystone of all places). For one scene, however, a moonlit sky is actually a painted backdrop, which I think nicely reinforces the narrative's self-reflexivity.

In addition to the art about art, Sessue Hayakawa gives an outstanding performance as the painter. I haven't seen him so lively before, although I've only been privileged to see a couple others of his silent films thus far and "The Bridge on the River Kwai" (1957). He was great in "The Cheat" (1915), but he displayed a different sort of acting, characterization there. Hayakawa in "The Dragon Painter" seems closer to Toshirô Mifune, of Akira Kurosawa's films, than to the Hayakawa of "The Cheat" or "The Bridge on the River Kwai". It's appropriate and displays his versatility well. Sessue's real-life wife, Tsuru Aoki, who steals the other film, "The Wrath of the Gods" (1914) available on the same DVD away from him, is also good. Her role in this one could've been rather thankless, but she makes the most of it. On the other hand, this isn't a perfect gem; too many intertitles and some overly quick shot successions seem to be it's most significant weaknesses. Regardless, I'd recommend this for being one of the better films of its time--or, rather, for being a good movie.

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.

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.

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.