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2. THE sex-for-the-masses policy that influenced his early pictures drew DeMille into many conflicts. Some column- ists suggested he was getting rich on nudity, especially where Biblical subjects were involved. "I didn't write the Bible and I didn't create sin," he would reply. What irritated a number of the correspondents who had covered the Hollywood beat for years was their inability to get "the old man to break down just once and confess what he was really up to." They were con- vinced DeMille was playing a game, but it was dangerous to question his sincerity. Try as they might they could not succeed in luring from him an admission that his claims to a unique ministry by way of movies was a brilliant piece of showman- ship. Their sly digs drew from DeMille a pet reply—"If you condemn my Bible pictures, you condemn the Bible." To this there appeared no sufficient answer unless they could prove he was playing fast and loose with Biblical text. On the other hand, he had an incisive faculty for knowing how to "sell" a picture. He set the mood of the promotion and publicity on every one of his pictures; while most producers were happy to rely on the advice of others, DeMille fussed, fretted, probed, experimented, until he came up with an ap- proach. He was jubilant over his analysis of the Samson and Delilah theme—'Well sell it as a story of faith, a story of the power of prayer. That's for the censors and the women's organi- zations. For the public it's the hottest love story of all time," In Samson, he had evolved a striking, climactic tale out of a few episodes from the Book of Judges. He held no doubts about its power, and his confidence in a full public approval 206