Inspired by the belief that his fiancée, a princess, was captured by a dragon, Japanese mountain hermit Tatsu (Sessue Hayakawa) produces incredible works of art. Upon discovering this mad genius’s work, Kano, a famous artist (Edward Peil Sr.
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As short and insignificant as it may be, shows well the difference between art as hopeful invocation and sigh of incompleteness, as functional prayer and finite, goal-oriented action vs. art as an act of civilization, precious in itself, a-teleologic yet lucrative, tamed and trained to express a general rather than narrowly specific longing, an individual utterance for the comfort of many – social, connective, manda-