Sessue Hayakawa - The man who introduced Asia to Hollywood

Sessue Hayakawa is the first Asian american actor that started performing in Hollywood during the silent movie era. He was not only talented but also the highest paid actor during in the early 20's. Hayakawa was one of the biggest stars in Hollywood during the silent era of the 1910s and 1920s. He acted in movies till late 60's. Sessue Hayakawa was born in Chiba, Japan. His father was the provincial governor and his mother a member of an aristocratic family of the "samurai" class. The young Hayakawa wanted to follow in his father's footsteps and become a career officer in the Japanese navy, but he was turned down due to problems with his hearing.

Humble Beginnings

The disappointed Hayakawa decided to make his career on the stage. He joined a Japanese theatrical company that eventually toured the United States in 1913. Pioneering film producer Thomas H. Ince spotted him and offered him a movie contract. Roles in The Wrath of the Gods (1914) and The Typhoon (1914) turned Hayakawa into an overnight success. The first Asian-American star of the American screen was born. Hayakawa became a regular player at the Japanese Playhouse in Little Tokyo, where he was discovered by Hollywood film producer Thomas H. Ince. Against all odds, Ince agreed to pay him the extraordinary sum of $500 per week to star in the silent film adaption of a stage play called “The Typhoon” in 1914.

“The Typhoon” starred Hayakawa as a Japanese diplomat to France who, after having an affair with a chorus girl, strangles her to death in a fit of passion. Despite the negative stereotyping of his character, Hayakawa’s brooding good looks made him an undeniable sex symbol amongst white women across America.

He married actress Tsuru Aoki on May 1, 1914. The next year his appearance in Cecil B. DeMille's sexploitation picture The Cheat (1915) made Hayakawa a silent-screen superstar. He played an ivory merchant who has an affair with the Caucasian Fannie Ward, and audiences were "scandalized" when he branded her as a symbol of her submission to their passion. The movie was a blockbuster for Famous Players-Lasky (later Paramount), turning Hayakawa into a romantic idol for millions of American women, regardless of their race. However, there were objections and outrage from racists of all stripes, especially those who were opposed to miscegenation (sexual contact between those of different races). Also outraged was the Japanese-American community, which was dismayed by DeMille's unsympathetic portrayal of a member of their race. The Japanese-American community protested the film and attempted to have it banned when it was re-released in 1918.

The popularity of Hayakawa rivaled that of Caucasian male movie stars in the decade of the 1910s, and he became one of the highest-paid actors in Hollywood. He made his career in melodramas, playing romantic heroes and charismatic heavies. He co-starred with the biggest female stars in Hollywood, all of whom were, of course, Caucasian. His pictures often co-starred Jack Holt as his Caucasian rival for the love of the white heroine (Holt would later become a top action star in the 1920s),

Hayakawa left Famous Players-Lasky to go independent, setting up his own production company, Haworth Pictures Corp. Through the end of the decade Haworth produced Asian-themed films starring Hayakawa and wife Tsuru Aoki that proved very popular. These movies elucidated the immigrant's desire to "cross over" or assimilate into society at large and pursue the "American Dream" in a society free of racial intolerance. Sadly, most of these films are now lost.


With the dawn of a new decade came a rise in anti-Asian sentiment, particularly over the issue of immigration due to the post-World War I economic slump. Hayakawa's films began to perform poorly at the box office, bringing his first American movie career to an end in 1922. He moved to Japan but was unable to get a career going. Relocating to France, he starred in La bataille (1923), a popular melodrama spiced with martial arts. He made Sen Yan's Devotion (1924) and The Great Prince Shan (1924) in the UK.

In 1931 Hayakawa returned to Hollywood to make his talking-picture debut in support of Anna May Wong in Daughter of the Dragon (1931). Sound revealed that he had a heavy accent, and his acting got poor reviews. He returned to Japan before once again going to France, where he made the geisha melodrama Jošivara (1937) for director Max Ophüls. He also appeared in a remake of "The Cheat" called Forfaiture (1937), playing the same role that over 20 year earlier had made him one of the biggest stars in the world. Hayakawa’s return to Hollywood coincided with the rise of another Asian American star — Anna May Wong, who coincidentally had a starring role in Hayakawa’s 1931 sound debut “Daughter of the Dragon.”

After Second World War

After the Second World War he took a third stab at Hollywood. In 1949 he relaunched g himself as a character actor with Tokyo Joe (1949) in support of Humphrey Bogart, and Three Came Home (1950) with Claudette Colbert. Hayakawa reached the apex of this, his third career, with his role as the martinet POW camp commandant in The bridge on the river Kway (1957), which brought him an Academy Award nomination for Best Suporting Actor. His performance as Col. Saito was essential to the success of David Lean's film, built as it was around the battle of wills between Hayakawa's commandant and Alec Guinness' Col. Nicholson, head of the Allied POWs. The film won the Best Picture Academy Award, while Lean and Guiness also were rewarded with Oscars.

Hayakawa's Return to Japan

Hayakawa continued to act in movies regularly until his retirement in 1966. He returned to Japan, becoming a Zen Buddhist priest while remaining involved in his craft by giving private acting lessons. Before returning to Japan, Hayakawa wrote an interesting book called ''Zen showed me the way'' in the book Hayakawa explains motives and reveals an interesting glimpse of his life.

Daisuke Miyao wrote a recent book on Sessue Hayakawa in the silent era. Daisuke reconstructs the Japanese actor’s remarkable career, from the films that preceded his meteoric rise to fame as the star of Cecil B. DeMille’s The Cheat (1915) through his reign as a matinee idol and the subsequent decline and resurrection of his Hollywood fortunes.

Sessue Hayakawa with his wife

Hayakawa's Home in California

Sessue Hayakawa lived in Los Angeles till the mid 60's. This is probably the home were Sessue Hayakawa wrote his book ''Zen showed me the way''. After Tsuru Aoki, with whom he adopted three children, died in 1961, Hayakawa returned to Japan, wrote his autobiography as already mentioned before “Zen Showed Me the Way: To Peace, Happiness and Tranquility,” and became a Zen monk.

He died in Tokyo on Nov. 23, 1973, and his star is now set on Vine St. in the Hollywood Walk of Fame.

Though Sessue’s star does not shine all the way to his native country, it is worth recalling, on the anniversary of his birth, how very brightly it once shone elsewhere.

Life’s work of Pat Morita

As we remember him, he will always be our Mr. Miyagi that we miss seeing on-screen for many years. I do really miss Pat Morita, he was a great actor that inspired countless martial artists around the world. In an article titled “Goodbye to Pat Morita, Best Supporting Asian,” Lawrence Downes of the New York Times said, “The movie and TV industry has never had many roles for Asian-American men, and it seemed for a while that they all went to Mr. Morita. Whenever a script called for a little Asian guy to drive a taxi, serve drinks or utter wise aphorisms in amusingly broken English, you could count on Mr. Morita to be there.

Born in Isleton, California, Morita was sent to a Japanese-American internment camp as a child. After a long bout with spinal tuberculosis and a stint as a computer programmer, Morita became a popular stand-up comic, which led to his role on TV's '70s hit Happy Days as Arnold, the malt shop owner. That in turn led to The Karate Kid.

To me, Mr. Morita was more than just a small actor. His star was shining brightly over Hollywood and people tend to recognize Mr. Morita's efforts in performing trues martial arts (e.g. The Karate Kid) many years after he departed. 

Already an experienced actor and stand-up comic (sometimes billed as Noriyuki "Pat" Morita, usually as Pat Morita), he was particularly known for his portrayal of the excitable Arnold, owner of the drive-in malt shop in the television series Happy Days (1975-76 and 1982-83), and he was the first Japanese American to star in a television series (Mr T and Tina, 1976). But it was as the diminutive "Miyagi sensei" to Ralph Macchio's "Daniel-san" that he achieved international fame - the film was a huge box-office success and Morita starred in three sequels, two with Macchio and the last with a female pupil played by Hilary Swank.

A small glimpse in Pat Morita's life

When he left the hospital at the age of 11, it was after Pearl Harbor, and he was sent to join his family who, along with 110,000 other Americans of Japanese ancestry, had been put in an internment camp:

I was picked up at the hospital by an FBI agent wearing dark glasses and carrying a gun. I think back to the ludicrous nature of it all: an FBI man escorting a recently able-to-walk 11-year-old to a place behind barbed wire in the middle of nothing!

After the Second World War, his family eventually settled in Sacramento and opened a restaurant serving Chinese food (because of lingering Japanese prejudice). After graduation, he joined an aerospace company, but at the age of 30 decided to pursue a career in comedy. Billed as "The Hip Nip", he gained a reputation in clubs, then was asked to fill in for an ailing headliner at a Hawaiian theatre. Finding an audience of war veterans, many disabled, observing the 25th anniversary of Pearl Harbor, he began by telling them he wanted to apologize, on behalf of his people, for screwing up their harbor. The audience roared with laughter and cemented the comic's reputation.

Miyagi-Do Karate Kid T-shirt

Morita made his screen début in the pastiche of Twenties musicals Thoroughly Modern Millie (1967), playing (with Jack Soo) one of two Orientals assisting Beatrice Lillie (as a white slave trader) in her nefarious activities. More than 20 other films preceded his casting in The Karate Kid, including Midway (1976), in which he played a Rear-Admiral indecisive about whether to arm his planes with bombs or torpedoes. He auditioned five times for his star-making role, which he won despite the producers' wanting a Japanese rather than Japanese American actor - they were considering Toshiro Mifune. To make him sound more ethnic on the credits, they asked Morita to use his given name, Noriyuki, rather than his stage name of Pat.

He proved perfect casting, catching the enigmatic character's endearing quirkiness (in one scene he teaches Macchio how to catch flies with chopsticks) and vulnerability (in a memorable drunk scene - partially written by Morita - he confesses his enduring sorrow that his wife and child both died during the child's birth at an ill-equipped internment camp). Morita lost the Oscar to the Cambodian actor Haing S. Ngor (for The Killing Fields).

Morita, who earned an Oscar nomination for “The Karate Kid,” died Nov. 24 at his Los Angeles home of natural causes. He was 73. We truly miss him!