The cheat is a magnificent exercise in the power of movies to subconsciously alter the perceptions and beliefs of the audience. Not only does the plot reflect the anti-Japanese bias of the movie, but the acting styles do much to strengthen the notions that people of Japanese origin, particularly males, are sly, cunning, evil individuals who will do anything to bed a white woman, even blackmail and rape.

Throughout the film, characters of Japanese origin, namely Hayakawas character through cunning and false facades lure the protagonist into situations in which her moral character is challenged. Hayakawa establishes the shady characteristics of his persona by maintaining a shifty gaze, looking away from characters and the camera regularly, which also happens to be a stereotype about Asian Americans, including those of Japanese national origin. In this way the movie plays upon the existing biases of viewers for a political point.

Hayakawa also maintains an air of separation between himself and the other characters. He never quite opens up and always remains mysterious, praying to foreign gods and speaking a language that was unfamiliar to the majority of Americans. He is also the polar opposite to the husband of the main character, who is a flighty, yet committed husband and hard worker. His only sin is some neglect, but the sins of Hayakawas character are greater. The foreigner not only takes women as conquests, he has no problem using physical force or other illegal coercion in order to have intercourse with a woman.

The female lead, played by Fannie Ward is portrayed as a flighty woman, concerned only with her social appearance. Her gestures and facial expressions show this when she is speaking with someone she is close to, her husband, and the way she speaks with others, mainly those who are also involved in her charity work, i.e Hayakawa. At first, the viewer may find disdain or disgust with her actions, but she eventually becomes a sympathetic character due to the fact that she has misplaced priorities, and not necessarily malice. Also, the fact that she is a victim being pursued by an evil Japanese businessman speaks to the audience and garners their support, even though she has committed a number of capital crimes.

Fannie Ward's husband is the third of the three main characters. He brings many “American” values to the screen in stark contrast to Hayakawa. He is straight faced, and forward, while Hayakawa is creeping in the shadows. Her husband always sacrifices for his wife, even if it means his murder, and he is always either smiling or serious, never brooding or angry. The acting styles of all three characters are carefully drawn together to paint a picture of an interloper coming into American society and using the weakness of a woman to gain his desire. Of course he is rebuffed, and when this finally occurs, his true nature comes out and his sinister appearance becomes fully illuminated. Hayakawas actions and demeanor speak to the audience by playing on their worst fears. It is ironic that one of the first major Japanese roles was one of racism, but at least it was screen time.

The various acting styles in the cheat are absolutely necessary for this movie to work. Without the sharp contrasts between the three main characters, no emotion would be appealing enough in this film, it would merely be a bad propaganda film.