The Cheat

United States

1915

59 Min

Black and White

1.33:1

Silent

Currently 3.5/5 Stars.
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SCR Hector Turnbull, Jeanie Macpherson

CAST Fannie Ward, Sessue Hayakawa, Jack Dean, James Neill, Yutaka Abe, Dana Ong, Hazel Childers, Arthur H. Williams

An actor and general manager with his mother’s theatrical troupe since the mid-1900s, Cecil B. DeMille formed a filmmaking partnership in 1913 with vaudeville artist Jesse L. Lasky and businessman Samuel Goldfish (soon to be known as Samuel Goldwyn). Their first venture was The Squaw Man (1914), which DeMille co-directed, co-wrote and co-produced with Oscar Apfel. This successful and elaborate six-reeler launched DeMille on a lifelong career in films. His first solo effort was the Western The Virginian (1914), which he also co-scripted. He edited and wrote (or co-wrote) almost all his successful films, with the notable exception of the popular melodrama The Cheat (1915). Writer Jeanie Macpherson began working for DeMille in 1914 with The Captive (1915), and wrote most of his later silent films: hits that included witty romantic farces (Don’t Change Your Husband); epic morality tales that combined modern dramas with visions of history (Joan the Woman ¹⁹¹⁶) or the Bible (The Ten Commandments ¹⁹²³); and perhaps DeMille’s greatest artistic success, the handsome and moving life of Christ, The King of Kings (1927). Macpherson also wrote the director’s first three talkies, ending their collaboration in 1930 with the bizarre comedy Madam Satan (1930). DeMille continued to score hits in the ‘30s with epics (Sign of the Cross ¹⁹³², Cleopatra ¹⁹³⁴) and Westerns (The Plainsman ¹⁹³⁷, Union Pacific ¹⁹³⁹). His output became more sporadic during the ’40s, but he still pleased the public with his rugged action films Northwest Mounted Police (1940) and Reap the Wild Wind (1942). DeMille’s last three films — Samson and Delilah (1950), The Greatest Show on Earth (1952), and The Ten Commandments (1956), a remake of his 1923 movie of the same name — were the most successful releases of their respective years. DeMille’s final directorial effort, The Ten Commandments was also the decade’s box-office champ. He died in 1959 at the age of 77; his memoir, The Autobiography of Cecil B. DeMille, was published posthumously later that year. —allmovie guide

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Kenji

18Sep12

One of the BFI's 360 Classics selection, regarded by many as De Mille's finest, and it's not hard to see why. By turns light and elegant, dark and suspenseful, then gripping and dynamic, it's a well made film, with inventive lighting. Just a pity the smooth dastardly villain trying to take advantage of a frivolously extravagant married woman has to be Japanese (converted to Burmese in intertitles a few years later)

Blue K, Custodian of the Cinema likes this

Blue K, Custodian of the Cinema

16May13

yes, it is essentially a racist film, but ironically enough, Hayakawa's character in this is also just about the most fully developed East Asian character in Hollywood history. he is at times charming, at others menacing. i'd rather have characters like this than caricatures.