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When she takes the money but reneges on her end of the bargain, Hayakawa brands her flesh with a heated iron—one of the most startling scenes of this or any other era.
Like Francesca Bertini, however, Hayakawa elevated this potentially trashy material with a terrific performance.
At a time when The Birth of a Nation could play on Americans' fears of interracial sex to sell $16 million worth of tickets, DeMille no doubt intended the explicit attraction between Hayakawa and Ward as a means to provoke the xenophobic passions of his audience. But Hayakawa brings such elegance and subtlety to the role that, prior to his brutal act of violence, a modern audience is likely to find him the only sympathetic character on the screen.
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Rising anti-Asian sentiment in the early 1920s, however, put an end to Hayakawa's Hollywood career. After failing to find work in his native Japan, Hayakawa moved to France and launched a second film career. After World War II, he returned to Hollywood and earned an Oscar nomination for his supporting performance in The Bridge on the River Kwai.
Let's celebrate by watching his performance in The Cheat, which is available for a limited time thanks to the Internet Movie Database:
2 comments:
Wow. He was quite the cad. That scene and the end scene are pretty amazing.
Thanks for posting the movie. : )
I just saw The Cheat not too long ago and thought Hayakawa deserved the accolades he got; he made that role sexy, threatening, and enigmatic. Hayakawa's deliberately understated performance has also aged way better than Ward's fussy, hysterical playing.
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