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196 Yes, Mr. DeMilk acknowledged the producer s superiority in this field. "The Sennetts and the Sunshine boys may outdo Mr. DeMille as masters of the lower limb display/* Mantle wrote, "but he com- pletely outdistances them in the technique of the torso." DeMille faced a wall of opposition from his own studio asso- ciates when he first brought up his idea for an epic story about Samson and Delilah. The project would cost at least three mil- lion dollars. Their minds were baffled—"A pretty expensive hair- cut/* they said. Most of the great masters, particularly Dore, painted Delilah as a chubby, matronish female and Samson as a thick, hairy giant of a man in the twilight of fifty. Probably the executives were thinking of Dore conceptions. DeMille was not. He set an artist to work painting a sketch, and one day whipped it out before the executives, cackling, "How do you think a movie about two people like that would sell?" Their eyes fell on a young man with slim hips and the chest of an aU-American fullback, with a scantily clad temptress look- ing saucily over her shoulder at the Biblical strong man. The wet-lipped executives nodded approvingly at this up-to- the-minute rendition of Samson and Delilah. DeMille pinned the color sketch on his office walls. On the back was the notation, "This sketch sold Paramount on making Samson and Delilah." He frequently referred visitors to it as an example of how to combat the lack of imagination in Holly- wood* There was exceptional vigor in pictures he conjured up in his own mind. At a luncheon of his staff a few years ago he gave this description of the incident in the Garden of Eden: "There was a man named Adam who looked like Errol Flynn and this Adam was lonely. So he complained and God did some- thing to the man's side. Lo and behold there was a lovely thing lying on a pallet of straw." Constantly battling what he felt was a paucity of imagination