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24 Jes> Mr. DeMille several false charges at the startled beasts, who looked at DeMille as if to say, 'Where are the trainers? Why don't they protect us from this man?" With DeMille's antics rising to a fearsome crescendo, they scampered up the steps, casting fright- ened glances behind them. Peter Calvin, one of DeMille's grandsons, having seen the picture a number of times through the years, contends the lion prodding was picked up by the soundtrack. "If you listen closely you can hear Grandfather in the background yelling, 'Goddamn it, get going!' * The Sign of the Cross era was a natural for DeMille. The filmland Savonarola, approaching it with a fervor bordering on orgiastic joy, depicted quite a number of Nero's cruelties and sinful indulgences. Indeed, the great malefactor would have been proud of DeMille's re-enactment of Christian martyrdom in the arena. To handle the lions DeMille hired a lad named Melvin Koontz, then a raw youth of twenty, but who since has become a prominent supplier of Hollywood wild life. DeMille needed thirty lions for the several arena sequences in order to show just how perilous life was for Christians who clung to the faith. A lion trainer will shy away from putting males and females together, particularly when they are not used to each other. Koontz was not able to find thirty of one sex. An enter- prising youth, eager for a DeMille credit on his record, he commingled hostile males and high-spirited females, with inter- esting results. There were several bloody border scraps among the herd, including an assault by a mean lioness. She reached out of a chute and clawed Koontz severely. Another critter, a male, was moved to ignore the DeMille script. In one of the scenes, three lions are cajoled into supping on a Christian (a dummy with pockets stuffed with savory meat chunks dipped in fresh blood). Suddenly the bold male takes out after Koontz and with one swipe bats him off a wire en-