Volume II: Filmography

THE EAST AND THE WEST

October 6, 1911 (Friday)

Length: 950 feet

Character: Drama

Cast: C. Taka (as O San, the dancer), with a contingent of Japanese players

Note: The title was given as East and West in the title to a review in The Morning Telegraph, October 8, 1911.

ADVERTISEMENT, The Moving Picture World, September 30, 1911:

"This is a quaint story of Japanese and American life and deals with unrequited love a dainty Japanese dancer has for a strong and forceful American, who in spite of Japanese wiles and seductiveness is true to the 'girl he left behind.' This release is a distinct novelty and introduces an atmosphere entirely new to motion pictures."

SYNOPSIS, The Moving Picture World, September 20, 1911:

"The spirit of democracy prevalent at some of our large American colleges makes possible the association of students of different nationalities and religions. Although there is still a degree of snobbishness traceable in the social life of some colleges, the college at which the hero of The East and the West attended is one of the most democratic. It was therefore natural that our hero should chum with a Japanese student, who worshipped Buddha. Both boys found each other's company congenial and interchanged considerable information during their close association as roommates. The strong friendship formed at college, the boys continued after graduation. The Japanese spent a part of his time before sailing back to the 'Flowery Kingdom,' at the home of his friend. Before sailing, he invites his chum to be his guest on the trip east. Of course, the American accepted the invitation, and his father, who is a theatrical producer, was happy to have his son go and polish his education by traveling through foreign lands.

"When the Westerner arrives in the sunny East, he is much interested and impressed by the Eastern customs, and the character of the people. He is introduced to a relative of his host - a pretty Japanese girl. She attracts his disinterested admiration by her graceful dancing and petite chic appearance. He does nothing that would convey the impression to the girl that he is in love with her, because he remembers 'the girl he left behind.' The impressionable Japanese damsel is carried away, however, by the force of the American's manners, and loses her heart to him. Poor, suffering girl, her love is not returned. The American was much impressed by the girl's skill as a dancer. So, when he decides to go back to God's country, and not conceited enough to imagine that the girl would fall in love with him, he tells her that if she would like to try to win glory on the American stage, he would tell his father to give her a chance. He sails back to America and his sweetheart. In the course of time he makes good his promise to the girl of the East. She comes to America, and when she makes her debut on the stage here as a dancer, she wins considerable applause and is momentarily happy. But when she hears of the engagement of her idol to an American girl, her hopes are shattered, and no longer desirous of fame or glory, she decides to sail east. Her plans are expedited by the arrival of a letter from her father, commanding her to return and marry the chum of the American - who is secretly in love with her. Obedient to her father's commands, and happy to fill the vacuum created by an unrequited love, she sails home."

REVIEW, The Morning Telegraph, October 8, 1911: This review is reprinted in the narrative section of the present work.

REVIEW, The Moving Picture World, October 14, 1911:

"O San, the little Japanese girl, was a dancer. She was attracted by the West, and came to New York, where her art made her successful. She thought she was in love with the New York man. He married an American girl. The hour seems gloomy, but the mist is swept away from her heart by a love letter from Japan. She returns to her home, and we see a wedding ceremony as it is performed in Japan. For the most part (not wholly) this situation is handled in a dainty way, quite fresh and sweet. It seems a pity, though, to have the Japanese girl dance in costume like a New York ballet dancer. It is a very interesting picture."

REVIEW, The New York Dramatic Mirror, October 11, 1911:

"One finds this an exceptionally unique and pleasing little picture introducing Japanese life and costume in an interesting way. The Japanese involved, especially the dainty little lady, give a very natural and entertaining performance. After finishing his college course, Jack, who is the son of a theatrical manager, goes to Japan with his roommate of that nationality. Here he meets his roommate's sister, and after seeing her dance advises her to come to America and to go on the stage. She does this in a year's time, and under the management of Jack's father makes a success. It would perhaps have been more effective had she presented her dance in the costume of her country. When she learns, however, that Jack is engaged to another she decides to return to Japan upon receiving the forgiveness of her father for coming to America. The love of the girl for Jack in the former scenes was not fully realized. Also this reviewer confesses ignorance as to whether or not a Japanese girl of the class represented would be seen dancing at all. Is not that sort of thing confined to the Geisha girls?"

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