The Cheat | |
---|---|
Directed by | Cecil B. DeMille (uncredited) |
Written by | Hector Turnbull Jeanie MacPherson |
Produced by | Cecil B. DeMille Jesse L. Lasky |
Starring | Sessue Hayakawa Fannie Ward Jack Dean |
Cinematography | Alvin Wyckoff |
Edited by | Cecil B. DeMille |
Music by | Robert Israel (1994) |
Production company | Jesse Lasky Feature Plays |
Distributed by | Paramount Pictures |
Release dates |
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Running time | 59 minutes |
Country | United States |
Languages | Silent English intertitles |
Budget | $17,311 [1] |
Box office | $96,389 (domestic) [1] $40,975 (foreign) [1] |
The Cheat is a 1915 American silent drama film directed by Cecil B. DeMille, starring Fannie Ward, Sessue Hayakawa, and Jack Dean, Ward's real-life husband. [2]
Edith Hardy is a spoiled society woman who continues to buy expensive clothes even when her husband, Richard, tells her all his money is sunk into a stock speculation and he can't pay her bills until the stock goes up. She even delays paying her maid her wages, and the embarrassed Richard must do so. Edith is also the treasurer of the local Red Cross fund drive for Belgian refugees, which holds a gala dance at the home of Hishuru Tori, a rich Japanese ivory merchant (or, in the 1918 re-release, Haka Arakau, a rich Burmese ivory merchant). He is an elegant and dangerously sexy man, to whom Edith seems somewhat drawn; he shows her his roomful of treasures, and stamps one of them with a heated brand to show that it belongs to him.
A society friend of the Hardys tells Edith that Richard's speculation will not be profitable and he knows a better one; he then offers to double her money in one day if she gives it to him to invest in the suggested enterprise. Edith, wanting to live lavishly and unwilling to wait for Richard to realize his speculation, takes the $10,000 the Red Cross has raised from her bedroom safe and gives it to the society friend.
The next day, however, her horrified friend tells her his tip was worthless and her money is completely lost. The Red Cross ladies have scheduled the handover of the money to the refugee fund for the day after that. Edith goes to Tori/Arakau to beg for a loan of the money, and he agrees to write her a check in return for her sexual favours the next day. She reluctantly agrees to this, takes his check and is able to give the money to the Red Cross. Then Richard announces elatedly that his investments have paid off and they are very rich. Edith asks him for $10,000, saying it is for a bridge debt, and he writes her a check for the amount with no reproof.
She takes it to Tori/Arakau, but he says she cannot buy her way out of their bargain. When she struggles against his advances, he takes his heated brand used to mark his possessions and brands her with it on the shoulder. In their struggle after that, she finds a gun on the floor and shoots him. She runs away just as Richard, hearing the struggle, bursts into the house. He finds the check he wrote to his wife there. Tori/Arakau is only wounded in the shoulder, not killed; when his servants call the police, Richard declares that he shot him, and Tori/Arakau does not dispute this.
Edith pleads with Tori/Arakau not to press charges, but he refuses to spare Richard. She visits Richard in his jail cell and confesses everything, and he orders her not to tell anyone else and let him take the blame. At the crowded trial, both he and Tori/Arakau, his arm in a sling, testify that he was the shooter but will not say why. The jury finds Richard guilty.
This is too much for Edith, and she rushes to the witness stand and shouts that she shot Tori/Arakau "and this is my defense". She bares her shoulder and shows everyone in the courtroom the brand on her shoulder. The male spectators are infuriated and rush to the front, clearly intending to lynch Tori/Arakau. The judge protects him and manages to hold them off. He then sets aside the verdict, and the prosecutor withdraws the charges. Richard lovingly and protectively leads the chastened Edith from the courtroom.
The Cheat featured art direction by Wilfred Buckland. [2]
Upon its release, The Cheat was both a critical and commercial success. The film's budget was $17,311. It grossed $96,389 domestically and $40,975 in the overseas market. According to Scott Eyman's Empire of Dreams: The Epic Life of Cecil B. DeMille, the film cost $16,540 to make, and grossed $137,364. [1]
Upon its release, the character of Hishuru Tori was described as a Japanese ivory merchant. Japanese Americans protested against the film for portraying a Japanese person as sinister. In particular, a Japanese newspaper in Los Angeles, Rafu Shimpo , waged a campaign against the film and heavily criticized Hayakawa's appearance. When the film was re-released in 1918, the character of Hishuru was renamed "Haka Arakau" and described in the title cards as a "Burmese ivory king". 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." [3] Despite the changes, the film was banned in the United Kingdom and was never released in Japan. [4]
The film inspired French film critics to coin the term photogenie to specify cinema's medium-specific qualities and was filmed with innovative usage of lighting that helped raise awareness of film as a serious art form.
Moving Picture World gave it a glowing review:
Space bids me be brief. I cannot, however, omit words of unqualified praise for Fanny Ward, whose impersonation of the social butterfly with the singed wings was a masterly performance. The lighting effects must be mentioned, too. They are beyond all praise in their art, their daring and their originality. There are those deft and subtle touches that we find all the Lasky pictures possess--only here they crowd upon one another. What a delicate but powerful effect was the omission of the bars in the prison scene. The shadow of the bars, the sombre light, the bent head of the prisoner silhouetted against the bare wall--this is but one of the numerous happy touches. The Cheat is worth advertising to the limit. It is one feature in a hundred. [5]
The film was nominated for the American Film Institute's 2001 list AFI's 100 Years...100 Thrills. [6] It was also nominated in the 2007 AFI's 100 Years...100 Movies (10th Anniversary Edition) list.
The film was remade in 1923, with George Fitzmaurice as director and Pola Negri and Jack Holt starring. In 1931, Paramount again remade The Cheat, with Broadway mogul George Abbott as director and starring Tallulah Bankhead. [4]
The Cheat was also remade in France as Forfaiture (1937) directed by Marcel L'Herbier. This version, however, makes significant changes to the original story, even though Hayakawa was cast once again as the sexually predatory Asian man. [3]
An operatic adaptation of the story, La Forfaiture, with music by Camille Erlanger and a libretto by André de Lorde and Paul Milliet, premiered at the Opéra-Comique in 1921. The first opera to be based on a film scenario, it was not a success, playing only three times. [7]
In 1993, the film was selected for preservation in the United States National Film Registry. [4] [8] [9]
Copies of The Cheat are held by:
The Cheat, which is now in public domain, was released on DVD in 2002 with another DeMille film Manslaughter (1922) by Kino International. [12] [13]
Kintarō Hayakawa, known professionally as Sessue Hayakawa, was a Japanese actor and a matinée idol. He was a popular star in Hollywood during the silent film era of the 1910s and early 1920s. Hayakawa was the first actor of Asian descent to achieve stardom as a leading man in the United States and Europe. His "broodingly handsome" good looks and typecasting as a sexually dominant villain made him a heartthrob among American women during a time of racial discrimination, and he became one of the first male sex symbols of Hollywood.
Fannie Ward, also credited as Fanny Ward, was an American actress of stage and screen. Known for performing in both comedic and dramatic roles, she was cast in The Cheat, a sexually-charged 1915 silent film directed by Cecil B. DeMille. Reportedly, Ward's ageless appearance helped her to achieve and maintain her celebrity. In its obituary for her, The New York Times describes her as "an actress who never quite reached the top in her profession ... [and who] tirelessly devoted herself to appearing perpetually youthful, an act that made her famous".
Anne Bauchens, born Roseanne Bauchens, was an American film editor who is remembered for her collaboration over 40 years with the director Cecil B. DeMille. In 1940, she won the Academy Award for film editing.
Abbie Jean MacPherson was an American silent actress, writer and director. She is known for her collaborations with directors D. W. Griffith and Cecil B. DeMille, and was a founding member of the Academy of Motion Picture Arts and Sciences.
The Squaw Man is a 1931 American pre-Code Western film directed by Cecil B. DeMille. It was his third time filming the same play but the first in sound. It stars Warner Baxter in the leading role.
After Five is a 1915 American silent thriller comedy film directed by Cecil B. DeMille and Oscar Apfel. Based on the play of the same name by DeMille and his brother William, the film stars Edward Abeles.
The Captive is an American silent-era film released on April 22, 1915. It was released on five reels. The film was written, directed, edited, and produced by Cecil B. DeMille. Jesse L. Lasky was another producer and Jeanie MacPherson worked with DeMille to write the screenplay. The film is based on a play written by Cecil B. DeMille and Jeanie MacPherson. The Captive grossed over $56,000 on a budget of $12,154. Blanche Sweet stars as Sonia Martinovich, alongside House Peters who stars as Mahmud Hassan. The film details the romantic war-era plight of Sonia and her lover Mahmud.
Carmen is a 1915 American silent drama film directed by Cecil B. DeMille. The film is based on the novella Carmen by Prosper Mérimée. The existing versions of this film appear to be from the re-edited 1918 re-release.
Temptation is a 1915 American silent romantic drama film directed and produced by Cecil B. DeMille. The film starred Geraldine Farrar and Theodore Roberts and was written by and based on an original story by Hector Turnbull. Additional writing was done by DeMille and Jeanie MacPherson, who did not receive screen credit.
The Devil-Stone is a 1917 American silent romance film directed by Cecil B. DeMille, co-written by his mother Beatrice deMille and Jeanie MacPherson, and starring Geraldine Farrar.
The Affairs of Anatol is a 1921 American silent comedy-drama film directed by Cecil B. DeMille, starring Wallace Reid and Gloria Swanson. The film is based on the 1893 play Anatol by Arthur Schnitzler. It was adapted by Jeanie MacPherson for the screen with assistance from Beulah Marie Dix and Elmer Harris. Art direction for the film was done by Paul Iribe.
Saturday Night is a 1922 American silent romantic comedy film directed by Cecil B. DeMille and starring Leatrice Joy, Conrad Nagel, and Edith Roberts. It was Leatrice Joy's first film with DeMille.
The Dragon Painter is a 1919 English language silent romance drama film. It is based on the novel of the same name, written by Mary McNeil Fenollosa. It stars Sessue Hayakawa as a young painter who believes that his fiancée, is a princess who has been captured and turned into a dragon. It was directed by William Worthington and filmed in Yosemite Valley, Yosemite National Park, and in the Japanese Tea Garden in Coronado, California.
The Cheat is a 1931 American pre-Code drama film directed by George Abbott and starring Tallulah Bankhead and Harvey Stephens. The film is a remake of the 1915 silent film of the same title, directed by Cecil B. DeMille.
The Secret Sin is a surviving 1915 silent film drama produced by Jesse Lasky and distributed by Paramount Pictures. It was directed by Frank Reicher and starred Blanche Sweet, Thomas Meighan and Sessue Hayakawa. This film often thought lost actually survives at the Library of Congress and along with a few other surviving Lasky features from 1915-17 allows viewing of Blanche Sweet during her Paramount period immediately after she left D. W. Griffith's employ. In this film Sweet has a rare chance to act in a double exposure scene playing two different characters.
The Clue is a lost 1915 American drama silent film directed by James Neill and Frank Reicher and written by Margaret Turnbull. The film stars Blanche Sweet, Gertrude Kellar, Edward MacKay, Sessue Hayakawa, Page Peters and Ernest Joy. The film was released on July 8, 1915, by Paramount Pictures.
Hashimura Togo is a 1917 American silent comedy film directed by William C. deMille and written by Marion Fairfax and Wallace Irwin. The film stars Sessue Hayakawa, Florence Vidor, Mabel Van Buren, Walter Long, Tom Forman, and Raymond Hatton. The film was released on August 19, 1917, by Paramount Pictures.
The Call of the East is a 1917 American silent drama film directed by George Melford and written by Beulah Marie Dix. The film stars Sessue Hayakawa, Tsuru Aoki, Jack Holt, Margaret Loomis, James Cruze, and Ernest Joy. The film was released on October 15, 1917, by Paramount Pictures.
The Honor of His House is a 1918 American silent drama film directed by William C. deMille and written by Marion Fairfax. The film stars Sessue Hayakawa, Florence Vidor, Jack Holt, Mayme Kelso, Kisaburo Kurihara, and Forrest Seabury. The film was released on 1 April 1918, by Paramount Pictures.
The Bravest Way is a 1918 American silent drama film directed by George Melford and written by Edith M. Kennedy. The film stars Sessue Hayakawa, Florence Vidor, Tsuru Aoki, Yukio Aoyama, Jane Wolfe, and Winter Hall. The film was released on June 16, 1918, by Paramount Pictures.