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"HIT SEX HARD!" 197 in the contemporary world, he advanced upon James Barriers The Admirable Crichton, turning the old classic of the heiress who gravitated to the butler into a highly successful movie (the first of his pictures to reach a million-dollar gross). It was not done as The Admirable Crichton. That title disturbed DeMille; it lacked color and could be confusing. "People might think it's a story about a naval officer." He changed it to Mate and Female, thus removing every possible inference of anything nautical. The "sex-a-la-mode" period was set off by such sparkling accessories as vaporish lingerie, luxurious baths and fantastic boudoirs. "He could make a screen version of Uncle Toms Cabin and yet manage to edge in a boudoir and a bath," the New York City Mirror chuckled editorially in 1925. In decking out his actresses suitably, DeMille felt that much was to be said for feminine charm that was not unduly con- cealed. "Cassocks are for altar boys, who have nothing engag- ing to exhibit, but not for women.'* Like the Brothers Minsky, DeMille rarely permitted his heroines to suffer from too much coverage. A favorite outfit was the bra and skirt, often got up with an artistry that made the costume seem appropriate for other than bathing. DeMille's conscience as a historian may have hurt a little when he suited Hedy Lamarr as Delilah in a bra, then vigor- ously backing it up as an accepted item of apparel in Old Testament times. He was not alone among producers of the midge's to recog- nize the power of the barren midriff, a development logically brought on by Mack Sennett's bathing girls, who ably demon- strated its box-office value. Producers vied with one another in out-exposing their heroines; it soon was not enough to show them merely bathing, Claudette Colbert was bathing in a