Milestone Films has established itself among the premiere sources for historic restoration and preservation of cinematic gems. Coming off a great year headlined by DVD releases of I Am Cuba and Killer of Sheep, they have plunged into the silent era to restore a long lost print of William Worthington's The Dragon Painter in its original tints. The first film to bring a taste of Japanese culture to western audiences, its claim to fame comes from lead actor Sessue Hayakawa, most recognized from his Academy Award nominated performance in The Bridge on the River Kwai.

A mesmerizing presence on the screen, Hayakawa was like the Asian Valentino of the silent screen as he specialized in romantic heartthrob roles. Hayakawa's popularity allowed him to found Haworth productions and take ownership of his film career. This is the best of from his silent screen period; and Milestone also includes two other obscure Hayakawa films from this period: The Wrath of the Gods and a short subject that includes "Fatty" Arbuckle.

The Dragon Painter fills its 60 minute palate with entertaining melodrama that ranges from poignancy to comedy, highlighted with Hayakawa's engaging performance as "mad man" hermit Tatsu who lives high in Japan's Hanake Mountains. Obsessed with the idea that his princess fiancée has been kidnapped by a dragon a thousand years ago, he continually paints his lost love, demonstrating remarkable artistic genius. It's a case of an absent muse inspiring Tatsu's artistry, as he peers into the valley's picturesque waterfall (courtesy of Yosemite) and imagines the dragon. He swears to continue painting until his princess returns.

A surveyor (Toyo Fujita as Undobuchida) comes across some of Tatsu's discarded artwork, and realizes that he could be the answer to renown artist Kano Indara's dream—to find a suitable heir to his craft. Undobuchida soon recognizes that the crazy hermit will only come down from his mountain retreat if he thinks he'll find his beloved princess, so he assures that Indara (Edward Pell Sr.) knows where to look.

Previously despondent over the lack of artistic talent from applicants, Indara is naturally thrilled by the prospect of mentoring such a talent as Tatsu, but complications soon arise. Humorous pillow tossing scenes and other incidents showcase the difficulties Tatsu will have adjusting to civilized society, and Indara discovers that only the promise of finding his princess fiancée can prevent him from retreating to the mountains.

Enter Indara's daughter Ume-Ko (played by Hayakawa's real life wife Tsuru Aoki), who instantly smites Tatsu; he believes that his long lost fiancée has resurfaced. Indara works a deal with the young artist, but this appears doomed long term with his muse now appearing in physical form.

While interesting as allegory about the relationship between love and artistry, what really makes this silent film stand out is Hayakawa's acting. Silent films naturally rely on graphic visual expression and high melodrama, and Hayakawa employs his craft as well as any silent legend. His gestures are reminiscent of Mifune's comic character in The Seven Samurai, and are well worth viewing in this highly entertaining film.