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The Dragon Painter by Daisuke Miyao

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The Dragon Painter by Daisuke Miyao The Dragon Painter By Daisuke Miyao “The Dragon Painter” (William Worthington, 1919) was the first of Robertson-Cole Distributing Corporation’s new series of “Hayakawa Superior Pictures.” In 1919, Sessue Hayakawa, a Japanese-born ac- tor, was at the peak of his superstardom, after the sensation success with the role of a sexy but villainous Japanese art dealer in “The Cheat” (Cecil B. DeMille, 1915). In March 1918, after two years of stardom at the Jesse L. Lasky Feature Play Company, Hayakawa established his own film production company, Ha- worth Pictures Corporation. Despite his popularity, Hayakawa was not fully satis- The “Dragon Painter” (Sessue Hayakawa) studies his model (Tsuru fied with his star image that was created Aoki). Courtesy Library of Congress Collection. at Lasky. Lasky took a double-barreled strate- gy that would make Hayakawa heroic, sympathetic, reactions from Japanese spectators made Hayakawa and assimilated enough to become a star but keep realize the need to at least adjust his star image by his non-white persona safely distanced from white balancing his already established star image for middle-class Americans. Lasky made clear the as- American audiences with his reputation among pect of refinement in Hayakawa’s image, especially Japanese spectators. his embodying of exotic Japaneseness, typified by his acting skill manifested in his performances. Sim- “The Dragon Painter” was an example of such a bal- ultaneously, Lasky emphasized the Americanized ancing act. While Hayakawa was gearing towards characteristics of Hayakawa’s personas (obedience authentic Japaneseness, Robertson-Cole, which to American laws, assimilation to the American way was expanding its influence in the distributing busi- of life, etc.). ness, pressured on Haworth, an independent com- pany, to produce films that would appeal to the pop- Hayakawa’s dissatisfaction was caused by the ular American audience. “The Dragon Painter” was Japanese-American communities’ unfavorable publicized as if it showed authentic Japan. The reactions. Right after the release of “The Cheat,” “Moving Picture World” reported in September 1919, the “Rafu Shimpo,” a Japanese-American newspa- “In this setting the village of Hakone, Japan, was du- per, severely criticized Hayakawa’s character in the plicated even to its famous Shintu [sic] gates. Each film. Hayakawa became anxious about his reputa- setting is so naturally beautiful that it is hard to real- tion among Japanese people in the U.S. and tried to ize the perfection of the interior detail. The pictur- get along with Japanese-American communities. At esqueness of ‘The Land of the Rising Sun’ has been the launching of Haworth, Hayakawa declared that fully retained in ‘The Dragon Painter.’” Contrary to he would introduce authentic Japanese characters in this report, “Kinema Junpo,” a Japanese film magazine, his films. “The Moving Picture World” reported in pointed out in April 1922, “[“The Dragon Painter”] did July 1918, “Hayakawa sent several of his company to not show either contemporary or actual Japan.” “The Japan … to film scenes for the initial production. They Dragon Painter” craftily displayed the exotic and pictur- have just returned, bringing with them about four thou- esque Japan that many American audiences had been sand feet of film taken in Tokio and Yokohama and in accustomed to. the wonderfully beautiful Mt. Fujiyama region.” “The Dragon Painter” was based on a story written Nevertheless, it is doubtful that Hayakawa seriously by Mary McNeil Fenollosa. Her husband Ernest was wanted to portray authentic Japan. The method that a famous Japanologist, whose collection became the Hayakawa took was hardly original. Many early trav- basis of the Japanese art collection of the Boston elogue filmmakers had been sent to Japan to obtain Museum of Fine Arts, and the trendsetter of images that would look authentic to foreign audienc- Japonisme in the U.S. First, the imaginary Orientalist es, such as Mt. Fuji or geisha dances. Unfavorable aspect of “The Dragon Painter” is indicated by its choice of strange Japanesque names: Undobuchida; flowers arranged in a Japanese style, while her Kano Indara, which may be a mixture of a Japanese housemaid plays the samisen, a Japanese banjo-like painter Kano and a fourteenth-century Chinese paint- musical instrument, and Japanese drums. She sits er Indara, etc. In the only surviving print, the hero’s beside a shoji window under the beautiful moon. name is not Tatsu, which is more suitable for a Even after the wedding, Umeko keeps wearing her Japanese name, but Ten-Tsuou. long-sleeved kimono, which married women tradi- tionally do not wear, and her shimada hairstyle, Second, “The Dragon Painter” utilizes the Eurocen- which should have changed to the less showy tric archetypal dichotomy between wilderness and marumage of married women. Umeko even shows civilization. The opening shot, an extreme long shot her extremely obedient and self-sacrificial nature as of Hanake, artificially combines the actual location of a stereotypical Japanese woman by committing sui- Yosemite Valley and Japanesque objects, such as a cide as Cio-Cio-San does in “Madame Butterfly.” torii, and establishes Japan as a wild and pictur- esque place. The mountains, waterfalls, and rocks of Thus, “The Dragon Painter” rearticulated the Yosemite are displayed in the background, signifying Japanese aspect of Hayakawa’s star image in the nature and wilderness. Clouds move fast, as if they context of popular Orientalism in the U.S. The result were shown in fast motion and thus enhance the fan- was very favorable. A reviewer in the “Exhibitors’ tastic atmosphere. Throughout the film, Tatsu Herald” claimed in October 1919, “Optically this is (played by Hayakawa), a creator of sophisticated one of Sessue Hayakawa’s best offerings. In pictorial Japanese ink paintings, a signature artifact of appeal it is the strongest thing the Haworth Company Japonisme, moves back and forth between savage- has ever done.” The “New York Times” also selected ry/wilderness and refinement/civilization. this film as one of “The Year’s Best” in 1919. Umeko (played by Hayakawa’s real life wife, Tsuru The views expressed in this essay are those of the author and do not Aoki) embodies the Orientalist image of Japan more necessarily represent the views of the Library of Congress. clearly than Tatsu. Umeko’s room is filled with typical signifiers of Japonisme: a Japanese garden with a gate, a stream, a small bridge, stone lanterns, and a Daisuke Miyao is Professor and the Hajime Mori Chair in peacock in front of a small shrine; a room with tatami Japanese Language and Literature at the University of mats, fusuma, Japanese sliding doors, and shoji; California, San Diego. He is the author of The Aesthetics paintings of Mt. Fuji and a dragon; paper lanterns. of Shadow: Lighting and Japanese Cinema, (Duke She wears a luxurious kimono and the beautiful hair- University Press, 2013) and Sessue Hayakawa: Silent style of an unmarried woman, shimada. After making Cinema and Transnational Stardom (Duke University up in front of a Japanese-style mirror table, she Press, 2007). Miyao is also the editor of Oxford Handbook dances a Japanese dance with a silver fan in front of of Japanese Cinema (Oxford University Press, 2014). .
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