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270 ¥es, Mr. DeMille taining a batch of multimillionaires who are just a little multier than the last, Critic Sherwood wrote in the first review for the new Silent Drama department, sounding an anti-DeMille note which he replayed down through the years, until it was picked up with orchestral fervor by the New Yorker magazine. If only Sherwood and the New Yorker had been for DeMille; there were moments when the boss seemed to admire the beauty and volume of their literary assaults. It was not to be. A few years before his death the New Yorker plunged another rhetorical dagger into DeMille in its Samson and Delilah re- view: Perhaps DeMille's survival is due to the fact that he decided in his movie nonage to ally himself with God as his co-maker and to get his major scripts from the Bible, which he has always handled with the proprietary air of a gentleman fondling old love letters... he has never taken a step backward... he has never taken a step forward, either— The seeds which Top Publicity was attempting to sow on behalf of Time fell on spectacularly barren ground— Mr. DeMille feels that in his opinion Time is bent on being destruc- tive, and he cannot believe it now wants to be constructive. He is willing to let Time treat G.S.O.E. in its regular Cinema column The conference is not going well at this point. Mention is made of a Hollywood premiere for G.S.O.E., at which Mr. DeMille begins biting his finger tips again. "Well premiere in the Chinese Theater on the very day the theater opened twenty-five years ago with The King of Kings. The stars are all in Hollywood and they re easy to get. We have 400 correspondents around, too, and the cost certainly would not be excessive. We are very enthusiastic about doing this/'