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It has more of the fireside wonder-spirit and Hallowe'en-witch-spirit than the Cinderella of Mary Pickford. There is a Japanese actor, Sessue Hayakawa, who takes the leading part with Blanche Sweet in The Clew, and is the hero in the film version of The Typhoon. He looks like all the actors in the old Japanese prints.
Farther down the lane of booths was the tent of Hayakawa the Juggler.
Rightly viewed, every Japanese screen or bit of lacquer is from the Ancient Asia Columbus set sail to find. It would be a noble thing if American experts in the Japanese principles of decoration, of the school of Arthur W. Dow, should tell stories of old Japan with the assistance of such men as Sessue Hayakawa. Such things go further than peace treaties. Dooming a talent like that of Mr.
A little boy in primrose-coloured tights turned, on a board outside the tent, round and round and round on his head like a teetotum, and inside, once every half-hour, Hayakawa, in a lovely jacket of gold and silver, gave his entertainment, eating fire, piercing himself with silver swords, finding white mice in his toes, and pulling ribbons of crimson and scarlet out of his ears.
The details of the hero's last quarrel with the heroine and the precise thoughts that went with it are muffled by the inability to speak. The power of the play is in the adequate style the man represents the colony. Sessue Hayakawa should give us Japanese tales more adapted to the films. We should have stories of Iyeyasu and Hideyoshi, written from the ground up for the photoplay theatre.
Hayakawa to the task of interpreting the Japanese spy does not conduce to accord with Japan, however the technique may move us to admiration. Let such of us as are at peace get together, and tell the tales of our happy childhood to one another. This chapter is ended. You will of course expect to be exhorted to visit some photoplay emporium. But you need not look for fairy-tales.
And Anton Varcek, who can be taken as an example of what S. I. Hayakawa was talking about when he spoke of people behaving like scientists inside but not outside their laboratories, saw Lane Fleming dead, with an object labeled 'revolver' in his hand, and, because of his verbal identifications and semantic reactions, immediately included the inference of an accident in his description of what he had seen.
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