Each to His Kind (1917)
58 mins | Melodrama | 5 February 1917
Cast:
Sessue Hayakawa, Tsuru Aoki, Vola Vale [ More ]Director:
Edward J. Le SaintWriters:
George Du Bois Proctor , Paul WestProducer:
Edward J. Le SaintProduction Company:
Jesse L. Lasky Feature Play Co.The 28 October 1916 Motion Picture News announced that Each to His Kind went into production that week at the Lasky studios at 6284 Selma Avenue (at Vine Street) in Hollywood, CA. Edward J. Le Saint as the film's director.
Interviewed in the February 1917 Photo-Play Journal, Sessue Hayakawa discussed his difficulty portraying an East Indian in Each to His Kind. Japanese, he said, "are taught from childhood to show no emotion in times of stress. The East Indian, you know, is quite the opposite. So I must, as an East Indian, forget something I have been taught from infancy....Instead of the stolid Japanese, I must be animated. I must remember everything I have to do in the scene and still remember to forget that I am a Japanese."
A list of upcoming Paramount films in the 25 November 1916 Motography, and in other trade magazines, cited an 8 February 1917 release. However, the date was moved up three days to 5 February, according to the 3 February 1917 issue of the same magazine. Each to His Kind opened on Broadway at the Strand Theater on 4 February 1917, according to the 17 February 1917 Moving Picture World.
In the 7 February 1917 Moving Picture World, reviewer Hanford C. Judson wrote: "The picture is full of beautiful backgrounds, has many finely acted passages, a few unnecessary scenes, and a few that fall flat. The story interests, but should have been shorter." Wid's called it "just an ordinary melo[drama] without anything unusual, original or truly convincing."
The studio sent a press ...
The 28 October 1916 Motion Picture News announced that Each to His Kind went into production that week at the Lasky studios at 6284 Selma Avenue (at Vine Street) in Hollywood, CA. Edward J. Le Saint as the film's director.
Interviewed in the February 1917 Photo-Play Journal, Sessue Hayakawa discussed his difficulty portraying an East Indian in Each to His Kind. Japanese, he said, "are taught from childhood to show no emotion in times of stress. The East Indian, you know, is quite the opposite. So I must, as an East Indian, forget something I have been taught from infancy....Instead of the stolid Japanese, I must be animated. I must remember everything I have to do in the scene and still remember to forget that I am a Japanese."
A list of upcoming Paramount films in the 25 November 1916 Motography, and in other trade magazines, cited an 8 February 1917 release. However, the date was moved up three days to 5 February, according to the 3 February 1917 issue of the same magazine. Each to His Kind opened on Broadway at the Strand Theater on 4 February 1917, according to the 17 February 1917 Moving Picture World.
In the 7 February 1917 Moving Picture World, reviewer Hanford C. Judson wrote: "The picture is full of beautiful backgrounds, has many finely acted passages, a few unnecessary scenes, and a few that fall flat. The story interests, but should have been shorter." Wid's called it "just an ordinary melo[drama] without anything unusual, original or truly convincing."
The studio sent a press release for the late January 1917 trades that director Marshall Neilan and Sessue Hayakaya were sailing to Hawaii to film Each to His Kind. It was an error; they were going to Hawaii to film The Bottle Imp (1917, see entry).
Sessue Hayakawa and Tsuru Aoki were married.
The National Film Preservation Board (NFPB) included this film on its list of Lost U.S. Silent Feature Films as of February 2021
Before Rhandah, the heir to the Maharajah of Dharpuli, leaves for college in England, he pledges his love to the Princess Nada and she, as a token of love and betrothal, gives him an amulet that will insure his safe return to her. In England, Rhandah tries to adapt to local society, but avoids invitations to social functions because he is forbidden to touch white women. He meets Amy Dawe, who flirts with him to obtain the amulet and thus win a bet. When Amy's fiancÃĐ Dick Larimer observes Rhandah attempting to embrace the girl, he reproaches the Prince by reminding him that he is a Hindu. Rhandah's English tutor takes a snapshot of the two talking, and it makes its way back to India and into the hands of the princes. At the death of his father, Rhandah returns to India, embittered and swearing revenge, but his wounds are deepened by Nada's refusal to believe his innocence. The Prince's opportunity for vengeance quickly arises when Amy and Dick come to India and are captured during an uprising. Rhandah relents however, when Nada, finally realizing that Amy is no threat to her, pleads for the English couple's ...
Before Rhandah, the heir to the Maharajah of Dharpuli, leaves for college in England, he pledges his love to the Princess Nada and she, as a token of love and betrothal, gives him an amulet that will insure his safe return to her. In England, Rhandah tries to adapt to local society, but avoids invitations to social functions because he is forbidden to touch white women. He meets Amy Dawe, who flirts with him to obtain the amulet and thus win a bet. When Amy's fiancÃĐ Dick Larimer observes Rhandah attempting to embrace the girl, he reproaches the Prince by reminding him that he is a Hindu. Rhandah's English tutor takes a snapshot of the two talking, and it makes its way back to India and into the hands of the princes. At the death of his father, Rhandah returns to India, embittered and swearing revenge, but his wounds are deepened by Nada's refusal to believe his innocence. The Prince's opportunity for vengeance quickly arises when Amy and Dick come to India and are captured during an uprising. Rhandah relents however, when Nada, finally realizing that Amy is no threat to her, pleads for the English couple's release.
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