Motion Picture News (Nov-Dec 1922)

December 30, 1922 3443 O'' CECIL DeMILLE ECIL B. DEMILLE’S name immediately conjures up a very definite and distinctive type of screen entertainment — lavish, intimate, satiric, daring, broad in scope and fine in detail, artistic in execution yet with strong boxoffice appeal and exploitation angles. No other producer, perhaps, has created great boxoffice pictures and retained so many artistic elements, time after time. Consequently, it was to be expected that his name would be found among the twelve selected for the Hall of Fame by the jury choosing this group. The release of a Cecil B. DeMille production is always something of an event in the industry. Stars have come and gone, new directors have arisen and old ones have disappeared, but the place which DeMille has carved out for himself seems secure. Yet, while DeMille productions have a certain definite personality which has remained much the same throughout, a gradual evolution has come about in his work which is interesting to trace. The first which comes to mind is “Joan the Woman,” in which he showed the feeling for realistic detail gained, perhaps, from his association with Belasco, and also his flair for the spectacular. It was with this picture in mind that Arthur S. Friend, in serving on the jury, chose DeMille. Mr. Friend says, in explaining his choice: “I pick Cecil B. DeMille for his neverto-be-forgotten production of ‘Joan the Woman’.” A. G. Stolte, in telling why he picked Cecil B. DeMille, says: “For direction, his capability of massive productions, combined with a modern story, the selecting of characters and bringing out in his motion pictures selective stars.” The name of DeMille soon became identified rather closely with society drama, but in “Something to Think About” and “Forbidden Fruit” he showed that his genius was by no means confined to one strata of society. The list is by no means complete, but it serves to illustrate how prolific DeMille has been in turning out productions which have been outstanding, and how wide has been the range which he has covered. The reasons assigned by some of the other jurors for voting for Mr. DeMille are as follows: Theodore L. Hays: “Cecil B. DeMille, Creator of Artistic Productions Env bodying High Box-Office Value. whose selections of casts, grasp of detail and masterly direction have given the screen some of its most notable productions.” J. D. Williams: “Because of his creation of romantic splendor in pictures that has done a great deal to keep certain classes interested.” Lem Stewart: “He probably appre ciates the fact that it is ‘art to conceal art,’ but practices the policy of creating with a lavishness that attracts attention to itself * * * and by winning the crowds through an appeal of the fantastic is thereby cultivating a taste for artistic elements of less general appeal but a great deal more merit.” Herschel Stuart: “Because of his vi sion towards a box-office angle which makes the exhibitor money; also as maker of stars, which also means money for exhibitors.” M. H. Field: “For being the foremost creator of ‘ audience ’ pictures.” Fred J. Beecroft: “Cecil B. DeMille, whose influence for good, consistent pictures is greater than Griffith’s.” E. Y. Richards: “I pick Cecil B. De Mille for his ability to create uniformly successful box-office pictures, artistically done.” Prominent in many of these has been that feature most closely associated with DeMille in the fan mind — the historical vision sequence, staged in spectacular fashion. In “Manslaughter,” for instance, there was the Roman vision sequence, paralleling the modern story and showing the similarity of the decadence of the Romans, in the latter days of the empire, to conditions existing at present in certain quarters. DeMille’s associate and coworker, Jesse L. Lasky, in speaking of this, says: “ Because of his remarkable creative work; his achievements in the realms of pure artistry coupled with practical 4 box-office values’; his grasp on the public ideals and demands in photodramas; his use in a magnificent manner of the vision effect, which has virtually developed a new phase in motion pictures.” He has been criticized at various times for these vision scenes, at times seemingly introduced without adequate reason, but it must be remembered that the public has been extremely slow to accept the costume picture, and that such visions, inserted in modern dramas have been the one way of gradually “selling” the fans on the desirability of the historical drama. It is only recently, generally speaking, that great success has been achieved by costume dramas, and who shall say what part Cecil B. DeMille’s historical visions played in educating the fans to appreciate these? W. G. Mitchell: “Whose directing is unsurpassed. His spectacular and luxurious scenes satisfy the public’s craving to indulge in extravagance.” C. C. Burr: “Cecil B. DeMille, for his work in educating the public to appreciate the finer elements in pictures.” E. R. Rogers: “His productions are the acme of artistry plus entertainment. Which proves he puts more into the business of making pictures than just working hours.” Julian Johnson: “Because he is the best optical reporter of our time, chronicling the follies of the hour with an unerring camera, and sometimes with a spirit of satire which is far from superficial.” H. C. Horater: “Because he is a master in luxurious productions.” Sid Grauman: “Has raised the direc torial art to its present height, and many of his productions will take their place among the screen classics.”