The Cheat

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!

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.

A venal, spoiled stockbroker's wife (Fannie Ward) impulsively embezzles $10,000 from the Red Cross charity she chairs and desperately turns to a Burmese ivory trader (Sessue Hayakawa) to replace the stolen money.

So upon release, the lead actor was playing a Japanese man... but this version has since been lost. The change of the character's name and nationality were done because Japan was an American ally at the time. Robert Birchard, author of the book Cecil B. DeMille's Hollywood, surmised that the character's nationality was changed to Burmese because there were "not enough Burmese in the country to raise a credible protest." You might think they would celebrate having an Asian actor, but I guess not.

Allegedly the film cost $16,540 to make, and grossed $137,364. By today's standards, that may not be much. But in those days it was a small fortune. Think of it: it was almost enough to finance ten more films. Sounds like the gift that keeps on giving, and no doubt lead to DeMille getting bigger and bigger.

"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

Given that the film came out in 1915, it's a brilliant film despite its MANY deficiencies. The story was complex, featured excellent (for the time) production values and was quite entertaining---and was a heck of a lot better than the average feature-length film of the day. Unfortunately, it is also filled with stereotypes that would no doubt offend people. While not as bad as his glorification of slavery in BIRTH OF A NATION (also 1915), the image of the Asian in the film is quite vile--though at least DeMille does have an actual Asian actor play the part--something very unusual in Hollywood through the first half of the 20th century.

A well-to-do man is frustrated at his shallow and awful wife, as she spends far in excess of what he earns. She is constantly trying to keep up with her rich society friends and MUST have all the latest fashions. Despite her being told by him that they can't afford it, she spends and spends and the audience no doubt comes to hate the woman. Later, she gets an idea to take money entrusted to her as treasurer of the Red Cross Relief Fund and invest it--thereby getting enough to keep buying herself clothes and returning the money, no one the wiser. Unforuntately for this idiot, her investment tanks and she now owes the fund $10,000!! Not wanting to get caught, she goes to her Asian friend (Sessue Hayakawa) to borrow the money.

Shortly after this, the lady's husband announces that his investments paid off handsomely and they are now rich enough for her to afford all her extravagances. So, she takes $10,000 and tries to pay off Hayakawa--who then tells her he does NOT want the money. Instead he announces that he owns her and is going to brand her to prove she's his property!! This leads to an intense, frightening and violent fight scene where he ultimately brands his mark on her shoulder! In retaliation, she grabs a gun, shoots him (non-fatally) and runs. Her husband then finds the bleeding man and is accused of having tried to kill him. Why Hayakawa doesn't tell the truth is beyond me and the innocent and stupid husband goes on trial. I say "stupid" because he knows his wife did it, but he decides to take the rap instead. Now had she NOT been a selfish fool, I might have understood this, but in this case he just seemed like a chump. I would have let the court hang her had she been my wife!

When the hubby is found guilty by the court, the wife jumps up and announces her own guilt--showing the judge the brand on her shoulder. The judge dismisses the case and the couple is left to live happily ever after. However, at this point, every "decent white man" in the courtroom attempts to kill the evil foreigner and the film ends as a riot ensues!!!

Technically speaking, this is a wonderful and entertaining film. The implication that Asian men are "white slavers", that wives can be shallow idiots and that it's up to decent white men to ignore the law and beat the Asian guy to death is pretty sick--and pretty indicative of the times. That same year brought Griffith's BIRTH OF A NATION, in which the "good white men" in the film can't get justice from the courts so they resort to forming the KKK and teaching the Blacks a lesson, and in this one they don't even bother with the robes--they try to kill the man right in the courtroom!!!

UPDATE: I just watched the 1931 remake of the film and was not the least bit impressed. The silent is clearly a better film--mostly because the crazy plot worked better in the old days. By 1931, it seemed very dated and a lot less scandalous...and a bit silly. So who says that talkies are always better than silents?!