<html>
<head>
<style><!--
.hmmessage P
{
margin:0px;
padding:0px
}
body.hmmessage
{
font-size: 10pt;
font-family:Tahoma
}
--></style>
</head>
<body class='hmmessage'>
The book you mention is Sessue Hayakawa: Silent Cinema and Transnational Stardom, written by list member Daisuke Miyao. It's a wonderful piece of scholarship and a fascinating read to boot. <div>I reviewed it for Midnight Eye as while back: http://www.midnighteye.com/books/sessue-hayakawa-silent-cinema-and-transnational-stardom.shtml<div><div><br><br>Jasper Sharp: Writer & Film Curator Homepage<br>http://jaspersharp.com/<br><br>Midnight Eye: The Latest and Best in Japanese Cinema<br>http://www.midnighteye.com<br><br>Zipangu Fest: Japanarchy in the UK<br>http://zipangufest.com/<br><br><br><br><br>> Date: Tue, 18 Jan 2011 14:57:29 -0500<br>> From: mccaskem@georgetown.edu<br>> To: KineJapan@lists.acs.ohio-state.edu<br>> Subject: Hayakawa in Japan the USA, Belgium, France, etc.<br>> <br>> I believe Hayakawa acted in a lot of US silent movies in the 19-teens and 1920s. <br>> A high point was his own US Bond-raising WWI short, Banzai (1918), in which he <br>> played the role of a victorious US General.<br>> <br>> I think Hayakawa's last major prewar US film may have been "Daughter of the <br>> Dragon" (1931). Then he went on to act in a number of Belgian and French films. <br>> He stayed on in France under the Vichy Regime, and made some more pictures. <br>> Then he made a few more in Liberated France.<br>> <br>> He returned to US pictures in "Tokyo Joe" (1949), with Humphrey Bogart, and <br>> after that was generally regarded by everyone in the US as a Japanese actor with <br>> longstanding US roots, due to his much earlier US film career.<br>> <br>> He just really just seems to have pursued his acting career to the best of his <br>> ability, wherever he was, though somehow I can't help being a little reminded of <br>> Peter Ustinov in "Hotel Sahara" (1951).<br>> <br>> A person on this list has written a great, definitive book on Hayakawa, and is the <br>> expert, able to supply much better information and correct errors, I'm sure.<br>> <br>> Best Regards,<br>> <br>> mmcc<br>> <br>> PS<br>> <br>> There are unusual tales about Itami, Hayakawa, et al., trying to make an after-<br>> hours version of the Fanck film, aimed more at an English-speaking market, <br>> with Hayakawa speaking English instead of German, etc. A Japanese blogger <br>> claimed to have seen bits of this once, in some Japanese film museum, so it may <br>> just be totally apocryphal..<br>> <br>> <br></div></div></div> </body>
</html>