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126 Yes, Mr. DeMille ing that understands, my life's work will be complete/' and sat down. Hollywood as a place for DeMille's premieres was done for. Neither hell nor high water and no power, Biblical or lay, could persuade him to stage another opening in the film capi- tal. His resentment grew geographically, spreading from Holly- wood to the entire coastal region, where, he raged, "not people live, only smart alecks." He was especially chary of Pasadena, which in grandiose moments he tagged as a community of "tired rich who turned up their noses at simple human drama," adding, "The only thing that will go in Pasadena is a psycho- logical plot by two youths trying to decide whether they should poison their rich aunt or hang her by her toes from the rafters." He felt kindly toward inland cities, in time developing a fiery affection for the Middle West: "The heart of the nation pump- ing blood to both coasts." He staged his "sneak previews" in Denver, Salt Lake City, Chicago, Omaha. In Kansas City he lashed out against unseen critics who condemn the Middle West as "corny." "Be proud of corn," he told citizens and re- porters. "Corn is soul, corn is that which makes you cry and laugh. Corn is all humanity. Yes, my pictures have corn and I am proud of it." The King of Kings cost $2,265,283. Its profit record was poor, but this was by design. The Cinema Corporation for many years has loaned it to civic, religious and charitable groups, asking only a nominal fee to help replace worn prints. Apart from an occasional percentage check to the DeMille organization, no profit of any size has been made on the 32-year-old silent