Category Archives: D – VIEWING


(Flo­rey 1932) Mur­ders in the Rue Morgue
(Yarbrough 1946) The She-Wolf of Lon­don
(Donen 1967) Bedaz­zled
(Davies 1976) Chil­dren
(Lot­terby 1986) Yes, Prime Min­is­ter: Ep.3 ― The Smoke Screen
(Lot­terby 1986) Yes, Prime Min­is­ter: Ep.4 ― The Key
(Mar­tino 1978) Moun­tain of the Can­ni­bal God Read more »


(Singer 2000) X-Men [Riff­Trax ver­sion]
(Barry 1975) Poldark: Ep.2
(Barry 1975) Poldark: Ep.3
(Sagal 1971) The Omega Man
(Slatzer 1968) The Hell­cats [Mys­tery Sci­ence The­atre ver­sion] Read more »


(Stephani 1936) Flash Gor­don [aka Space Sol­diers]: Ep.4 ― Bat­tling the Sea Beast
(Stephani 1936) Flash Gor­don [aka Space Sol­diers]: Ep.5 ― The Destroy­ing Ray
(Stephani 1936) Flash Gor­don [aka Space Sol­diers]: Ep.6 ― Flam­ing Tor­ture
(Stephani 1936) Flash Gor­don [aka Space Sol­diers]: Ep.7 ― Shat­ter­ing Doom
(Stephani 1936) Flash Gor­don [aka Space Sol­diers]: Ep.8 ― Tour­na­ment of Death
(Scardino 2013) The Incred­i­ble Burt Won­der­stone
(Stern 2013) jOBS Read more »


(Wol­cott 1958) The Wild Women of Wongo
(Archer 2007) Why Be Good? Sex­u­al­ity & Cen­sor­ship in Early Cin­ema
(Copes­take 2004) Britain A.D. [minis­eries]
(Carstairs 1953) Trou­ble in Store
(Newmeyer & Tay­lor 1923) Safety Last!
(Wal­ter 2014) Helium Read more »


(Win­ner 1972) Death Wish
(Rush­ton 2013) Time Team: Ep.271 ― Spe­cial: Twenty Years of Time Team
(Dis­ney & Iwerks 1928) The Gal­lopin’ Gau­cho [Mickey Mouse #2]
(St. Clair & Tut­tle 1929) The Canary Mur­der Case
(Nichols 1913) Fatty Joins the Force
(Cas­tle 1959) The Tin­gler Read more »


(Ray 1991) Agan­tuk [আগন্তুক; Agontuk; The Stranger]
(Thomas 1962) Carry On Cruis­ing
(Branagh 2011) Thor
(Johansen & Nielsen 1975) La’ os være [Leave Us Alone]
(Méri­enne & Wilner 2010) La Bre­tagne au coeur [Des racines et des ailes series]
(Mega­hey 1993) Hour of the Pig [aka The Advo­cate] Read more »


(Hitch­cock 1942) Sabo­teur
(Becker 1988) Star Trek, the Next Gen­er­a­tion: Ep.30 ― The Out­ra­geous Okona
(Landin & Sigfús­son 2010) Ice­land Vol­cano: The After­math
(Hughes & Duguid 1985) Chocky’s Chil­dren, Part 1 Read more »


(Parker 2013) South Park: Ep.240 — World War Zim­mer­man
(Stan­ton 2012) John Carter
(Pink 1962) Jour­ney To The Sev­enth Planet
(Clark 1979) Angels’ Revenge [aka Angels’ Brigade] [Mys­tery Sci­ence The­atre ver­sion]
(Sil­ber­ston 1998) Mid­Somer Mur­ders: Ep.2 — Writ­ten In Blood
(Clax­ton 1979) Night of the Lepus
(Hawks 1949) I Was a Male War Bride Read more »


(Gor­don 1955) It Came From Beneath the Sea
(Der­tano 1951) Racket Girls [Mys­tery Sci­ence The­atre ver­sion]
(Madern & Chap­lin 1914) Twenty Min­utes of Love
(Sen­nett 1914) The Fatal Mal­let
(Stevens 1956) Alfred Hitch­cock Presents: Ep.39 — Momen­tum
(Rawl­ins 1942) Sher­lock Holmes and the Voice of Ter­ror Read more »

(Barker 1914) The Wrath of the Gods

The Wrath of the Gods (1914)While he is best known for his role as the Japan­ese camp com­man­der in The Bridge on the River Kwai, and other films of the 1950s, Ses­sue Hayakawa was a super­star in the silent era. Among Hollywood’s high­est payed stars, he was in the same league with Fair­banks, Chap­lin and Valentino. He founded his own pro­duc­tion com­pany because he resented the mis­rep­re­sen­ta­tion of Asians in Hol­ly­wood films. A metic­u­lous actor, he was highly influ­en­tial in trans­form­ing film act­ing meth­ods from the broad ges­tures inher­ited from stage act­ing to the more restrained tech­niques appro­pri­ate to film. This film, the sec­ond one in which he appeared, was a story with a Japan­ese set­ting. A cast­away sailor courts a young girl who has been for­bid­den to marry by a tem­ple prophecy. Hayakawa was a young man, hav­ing just dropped out of the Uni­ver­sity of Chicago, where he stud­ied eco­nom­ics, but he appears in heavy makeup as the heroine’s elderly father. The film dis­plays the older, melo­dra­matic style of act­ing that Hayakawa was soon to change. The lead­ing female role was played by Tsuru Aoki, whom Hayakawa fell in love with and mar­ried dur­ing the pro­duc­tion. Despite the dated act­ing tech­niques, the film holds up well, with some excit­ing action scenes at sea, and some mov­ing moments.

Hayakawa in 1918, four years after this film was made.

Hayakawa led an inter­est­ing life. As a teenager in Japan, he attempted sep­puku after fail­ing to qual­ify for the naval career his upper class fam­ily had planned for him. He played quar­ter­back in Amer­i­can col­lege foot­ball. He stum­bled into act­ing by acci­dent while wait­ing for a ship home, rock­et­ing to star­dom with his good looks. He made for­tunes and lost them gam­bling, lived extrav­a­gantly, and became a social lion by buy­ing up a huge stock of liquor just before Pro­hi­bi­tion was enacted. He wrote sev­eral plays and a novel. He pro­duced a ver­sion of The Three Mus­ke­teers in Japan. For awhile, broke and out of work, he sup­ported him­self by paint­ing water­colours. He moved to France to make films in which he would not be racially stereo­typed — and ended up fight­ing in the French Resis­tance. As an middle-aged man, he was able to take on a crowd of young Mex­i­can toughs in a brawl and defeat them hand­ily. He retired to become a Zen mas­ter and tutor. Some of his roles won him acco­lades as a mature actor, but he was never pop­u­lar in Japan, where he was con­sid­ered “too American.”


Asian actors in Hol­ly­wood faced com­plex chal­lenges, per­form­ing in the lime­light of a soci­ety that held bizarre and some­times dis­gust­ing atti­tudes about race and eth­nic­ity. In the 1920’s, America’s anti-miscegenation laws influ­enced all cast­ing, script-writing and per­for­mance. In the 1930’s the rise of anti-Japanese sen­ti­ments and the per­va­sive cen­sor­ship of films did fur­ther dam­age. To weave their way through these obsta­cles, Asians had to be resource­ful and strong. Their achieve­ments should not be forgotten.