Picture Play Magazine (Mar-Aug 1927)

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46 Hollywood Moves to the Holy Land Photo by Mortensen The Christ and some of his disciples. B. Warner portrays the central role. H. sacred central role of "The King of Kings." His characterization is achieved almost entirely through the expression of his face, of his eyes, for he has little action in the film. There are no trick-photography miracles. Not even does the Christ walk upon the waters — although that still bay at Catalina must have been a temptation to De Mille, and would no doubt have been the undoing of any director with less clean-cut ideals. No, here is a story rather of the power behind the miracle than of the miracle itself. Meanwhile, the Christ before us was lifting some old carpenter tools from a table, testing them affectionately, trying his skill with them, thoughtfully planing tiny bits from a huge beam of wood, the upper part of which was concealed behind a curtain. He idly lifted the curtain, to reveal that it was a cross that he had been working on. It was just a rehearsal, and Mr. De Mille, a camera man, Jeanie MacPherson, a technicolor man, and Theodore Kosloff were holding a consultation close by, De Mille wearing a picturesque yachting cap. All about, sitting in camp chairs or just strolling, were the figures of disciples, laymen, colorfully garbed women, soldiers in armor — a marvelous and motley gathering. The atmosphere was impressive — almost depressing. And yet the picture is not without its touches of humor. It took this century, which is pretty clear-sighted about things, to discover that it is likely that Christ, with his infinite human understanding, must surely have had a sense of humor. It was a very gentle, kindly sense of humor, no doubt, yet what painful depths of ironical insight must have gone with it ! Presently the cameras began to grind, and the voice of De Mille came through the megaphone. The above scene taken, he turned to another — this one of the little boy Mark, who is played by Micky Moore. Another little boy had been brought in to fight with him. But he couldn't be persuaded to hit Micky. Maybe he felt Micky's superior majesty as a real member of the cast ; maybe, being dressed up, he didn't want to spoil his clothes. Anyway, it was only after much persuasion that he could be won over to fistic action. Then the small Mark was admonished by the Christ to turn the other cheek, whereat there followed a most touching bit of action. Then, having complied, the small Mark looks up pathetically at the Master, and says, "Can't I too be a disciple now?" There had been much humor in that fight, which could not have escaped the Christ, but there was deep compassion in His eyes as He said that He had not seen such faith anywhere. I looked about me for the accustomed cigarette. Nobody was smoking ! "No," explained Edna May Cooper, "it was Mr. De Mille's request that nobody in costume smoke." Robert Edeson came over to chat with us. He plays Matthci<\ and was wearing gorgeous garments of red velvet trimmed with gold. "No wonder," exclaimed my friend, "that women were the slaves of men in those olden days, when they wore such gorgeous clothes !" Soon the light began to fade. "It is a good thing," some one remarked, "that Mr. De Mille hasn't the Joshua power of making the sun stand still. Wouldn't it be terrible for these actors? He would never stop working !" "And there isn't," one actor said joyously, "any electric system over here by which he can work at night !" But despite the light banter, there. was a spirit of wondrous cooperation and fine reverence displayed by everybody working in the picture. Just let some question of loyalty to Mr. De Mille's ideas and ideals arise, and you quickly found out how the company felt about it. It seems that Mr. De Mille had placed twelve men and twelve women players in stock. All are earnest, nearly all are noted. Some Mark's first appearance is as a boy, played by Micky Moore.