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200 Yes, Mr. DeMille feminine) they subdued the toughest male, it being evident such gals were not to be approached on tiptoe. Moving boldly on the sex front, exposing the feminine calf when the sight of an ankle was considered an orgy, DeMille was drawn to the bathing scene as a reliable piece of glamour. Even though in later years he feigned a horror for the showy exercises, Hollywood wags declared his trademark to be a bath- tub and a halo. To a critic who chided him for his espousal of the tub, DeMille replied, "I am proud of it. My mind is not one that grasps the immorality of the bathroom." He began to re- sent such tags as "the patron saint of plumbers," "the plumber's best friend," and smiled patiently when a plumbing firm dis- played a tub with a poster describing its design as EARLY DEMILLE. As the father of big-time bathing on the screen, DeMille did not, however, hesitate to take credit for popularizing the Saturday-night rite. "I cannot say whether more people have been in DeMille bathtubs than in the Yale Bowl, but at least more celebrated persons have been seen in them under more interesting circumstances." His boudoir tour de force was per- suading Claudette Colbert to take a bath in a black marble pool filled with asses' milk in The Sign of the Cross. His enthusi- asm on that occasion cost the studio $10,000. Back in 1929 he prepared a glass bathtub for Dynamite, his first sound movie, but he could not talk the heroine, Kay John- son, into doing what might have been one of the more pro- vocative sessions of screen bathing in film history. "It would have made any seat in the house a good one," The New Yorfc Times said, recalling the episode a few years ago. His bathtub scenes are always surrounded with a lot of secret business. The sets are locked and guarded, and hands