The Cheat

Funny how one can be transfixed by a shadow made nearly ninety years ago. I found myself watching this for handsome Sessue Hayakawa's character, half all-American young-man-about-town, half exotic (and oh yes, evil) Oriental despot. Fannie Ward's character doesn't look much better, a woman so insecure and vain that when her husband cuts off her clothing allowance (four hundred 1915 dollars for a negligee!!), she embezzles Red Cross funds and takes a flyer on the stock market. Indeed, the only character who comes out looking remotely virtuous is her long-suffering husband, who tries to protect his bubble-headed wife by confessing to a crime she committed. Yes, it's a period piece, but as those go, it's not bad.

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!

Even those who have never seen this rather lurid film will probably be aware of the infamous 'branding' scene. Indeed this particular scene and the shooting that ensues still pack a punch over a century later. This is mainly due to the superlative 'noirish' cinematography of Cecil B DeMille regular Alvin Wyckoff whilst the films distinctly 'modern' look is courtesy of Art Director Wilfred Buckland.

It is alas the far from modern style of acting from leading lady Fannie Ward that weakens the film. This is essentially a vehicle for Miss Ward who has come straight from the stage. Neither she nor the director have made the slightest attempt to adjust her performance for the camera and not only is she too long in the tooth for the part, her histrionics resemble a grotesque parody of Victorian melodrama. This is in stark contrast to the minimalist acting of Sessue Hayakawa as a seedy, sinister ivory trader who literally believes in striking while the iron is hot, originally Japanese but later changed to Burmese after protests from the Japanese community. Hayakawa described his acting style as 'absence of doing' and he is utterly mesmerising in the role. One is hardly surprised that his exotic/erotic persona caused such a fluttering of female hearts. One observer has noted that Miss Ward's acting is of the past whilst Hayakawa's is of the future.

Some forty years later he played Colonel Saito in 'Bridge over the River Kwai'. Despite acting in a bubble, learning his lines phonetically and needing endless retakes he astonished director David Lean by being nominated for a best supporting Oscar. This goes to prove that if you've got it, you've got it.

"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

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.