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Cecil B. Demille, Classical Hollywood, and Modern American Mass Culture David Blanke Cecil B

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Cecil B. Demille, Classical Hollywood, and Modern American Mass Culture David Blanke Cecil B Cecil B. DeMille, Classical Hollywood, and Modern American Mass Culture David Blanke Cecil B. DeMille, Classical Hollywood, and Modern American Mass Culture 1910–1960 David Blanke Department of History Texas A&M University–Corpus Christi Corpus Christi, TX, USA ISBN 978-3-319-76985-1 ISBN 978-3-319-76986-8 (eBook) https://doi.org/10.1007/978-3-319-76986-8 Library of Congress Control Number: 2018940530 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The pub- lisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Cover credit: Pictorial Press Ltd / Alamy Stock Photo Cover design: by Ran Shauli Printed on acid-free paper This Palgrave Macmillan imprint is published by the registered company Springer International Publishing AG part of Springer Nature. The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland In loving memory of Gloria Alice Blanke and Harriet Marie Moster ACKNOWLEDGMENTS Institutional support from Texas A&M University–Corpus Christi, the College of Liberal Arts, and the Jeff and Mary Bell Library was essential to completing the research and writing of this project. Kelly Quintanilla, Mark Hartlaub, Marti Beck, Zava Kuklinski, Jan Geyer, Lisa Louis, Brenton Day, Denise Landry-Hyde, and Ann Hodges lent their skills and professional assistance to this process. A very special thanks goes to Mrs. Margaret Turnbull, who generously created the Joe B. Frantz Endowment for the History area. Funds allocated while I was the Joe B. Frantz profes- sor of history were particularly important in the earliest stage of this proj- ect. I also acknowledge my debt to the research and archival staffs at the Harold B. Lee Library of Brigham Young University, the Margaret Herrick Library of the Academy of Motion Picture Arts & Sciences, the Library of Congress, the Wisconsin Center for Film and Theater Research of the State Historical Society of Wisconsin, the New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center, and the Harry K. Ransom Center of the University of Texas at Austin. Numerous friends and professional colleagues gave their time, exper- tise, encouragement, and a critical eye when it was needed most. In par- ticular, I thank Lary May, Tino Balio, Dave Steigerwald, Sue Matheson, Matthew Jones, Joan Ormrod, Teresa Cutler-Broyles, Kristian Petersen, Candice Roberts, Myles Ethan Lascity, and Ranjit Arab for their contribu- tions. Comments from participants at conferences hosted by the Film and History Society, the Reception Studies Society, and the Consumer Identities and Digital Culture Symposium at St. Johns University added depth and nuance to many portions of this book. The professionals at vii viii ACKNOWLEDGMENTS Palgrave Macmillan, including Shaun Vigil, Glenn Ramirez, Rachel Taenzler, Tikoji Rao, and Vanipriya Manohar, and their anonymous read- ers helped me to better understand and communicate my ideas. Finally, many friends gave me the benefit of their critical reading to the many— and often quite flawed—early drafts for this book, including Jen Brown, Pat Carroll, Tim Gilfoyle, Lynn and John Gunn, Tom and Judy Koehler, Alan Lessoff, Peter Moore, Tom and Susan Murphy, Harold Platt, Sandrine Sanos, Glenn Tiller, Ceil Venable, Robert Wooster, and the stu- dents in my graduate and upper-division courses on U.S. Modern Popular Culture. As always, my wife Janet and our adult children, Alex and Benjamin, provided the time, patience, and unqualified love that kept me grounded over the many years in which this project took shape. The book is dedi- cated to my late mother, Gloria Alice Blanke, and mother-in-law, Harriet Marie Moster, both movie-lovers, astute critics, and popcorn connoisseurs who my family and I miss dearly. CONTENTS 1 Locating DeMille 1 2 The Brand 45 3 The Wanderer 89 4 A New and Filmable Past 129 5 Greetings from Mr. Hollywood 165 6 Who Is Cecil B. DeMille? 211 7 Behold Their Mighty Hands 253 8 Re-Locating DeMille 305 Index 315 ix LIST OF FIGURES Fig. 2.1 Tori Arakau (Hayakawa) branding his possessions in the extended opening shot of The Cheat (Jesse L. Lasky Feature Play Company, 1915) 58 Fig. 2.2 Edith Hardy (Ward), the “Social Butterfly.”The Cheat (Jesse L. Lasky Feature Play Company, 1915) 59 Fig. 2.3 Edith Hardy (Ward) displays her physical branding. The Cheat (Jesse L. Lasky Feature Play Company, 1915) 59 Fig. 2.4 Unnamed extras battle in the muddy moat of a French castle. Joan the Woman (Cardinal Film Corporation, An Artcraft Picture, Distributed by Paramount Pictures, 1917) 61 Fig. 2.5 Priggish Beth Gordon (Swanson) interrupts her husband, Robert (Meighan), during his private morning consumption of the simple pleasures offered by modernity. Why Change Your Wife? (A Paramount-Artcraft Picture, 1920) 69 Fig. 3.1 Mercea (Landi) refuses to submit to the sexual advances of either Marcus (Fredric March, standing at right) or Ancaria (Joyzelle Joyner) before the jeering of the debauched pagans. The Sign of the Cross (A Cecil B. DeMille Production, Paramount Publix Corporation, 1932) 103 Fig. 3.2 An unnamed Christian woman is tethered to a pole on the floor of the coliseum to await her gruesome fate.The Sign of the Cross (A Cecil B. DeMille Production, Paramount Publix Corporation, 1932) 106 Fig. 3.3 As Moses receives the Ten Commandments, the former slaves are encouraged to embrace their basest hedonistic pleasures and worship the Golden Calf at the foot of Mt. Sinai. The Ten Commandments (A Famous Players-Lasky Production, A Paramount Picture, 1923) 107 xii List of Figures Fig. 3.4 The suffering of young Stephan (Conlon) is presented through several emotionally wrenching scenes revealing the boy’s own doubts and fears. Here his is to be lowered into a hidden torture chamber where he is forced to disclose the secret location of the Christians’ meeting. The Sign of the Cross (A Cecil B. DeMille Production, Paramount Publix Corporation, 1932) 109 Fig. 4.1 DeMille’s non-Western histories offered the opportunity to direct the same hedonistic gaze at exotic sets, props, and costumes that he once accentuated in his consumer films. Cleopatra (A Cecil B. DeMille Production, Paramount Pictures, 1934) 143 Fig. 4.2 The “business” of villain Sid Campeau (Donlevy) provided DeMille opportunities to present the psychological motivations of his characters through visuals without relying on his poor construction of dialog. Union Pacific (A Cecil B. DeMille Production, Paramount Pictures, 1939) 149 Fig. 4.3 DeMille’s cinematic histories stressed the populist origins of American expansion and economic growth, particularly the perseverance of women in the face of hardship. Union Pacific (A Cecil B. DeMille Production, Paramount Pictures, 1939) 151 Fig. 4.4 The spectacle of authenticity: a busy river port. The Plainsman (A Cecil B. DeMille Production, Paramount Pictures, 1937) 153 Fig. 4.5 The spectacle of authenticity: a railroad town. Union Pacific (A Cecil B. DeMille Production, Paramount Pictures, 1939) 153 Fig. 7.1 DeMille worried over the many technical problems arising from his location shots, particularly lighting and camera placement. Here the chiaroscuro effect hints at DeMille’s recognized style from his earliest films.The Greatest Show on Earth (A Cecil B. DeMille Production, Paramount Pictures, 1952) 269 Fig.7.2 DeMille understood the perverse consumption of cinematic spectacle, where the spectator is free to take the pleasures that are most meaningful to them (shot 1 of 2). The Greatest Show on Earth (A Cecil B. DeMille Production, Paramount Pictures, 1952) 273 Fig. 7.3 Perverse spectators (shot 2 of 2). The Greatest Show on Earth (A Cecil B. DeMille Production, Paramount Pictures, 1952) 274 Fig. 7.4 Miriam’s (Taylor) lamentation after the death of a slave. The indifference of the crowd stands in stark contrast to the ensuing title card, where God decides to act through Moses. The Ten Commandments (A Famous Players-Lasky Production, A Paramount Picture, 1923) 282 List of Figures xiii Fig. 7.5 Quoting the indifference of the crowd from his earlier work, here DeMille shows Yochabel’s (Scott) suffering as a narrative device that spurs Moses to embrace his destiny. The Ten Commandments (A Cecil B. DeMille Production, Paramount Pictures, 1956) 283 Fig. 7.6 Spectacle of large crowds at Per Rameses gate. These scenes appear more prominently in the first sequence (showing the suffering of the slaves) which served as the first major passage of the film.The Ten Commandments (A Famous Players-Lasky Production, A Paramount Picture, 1923) 286 Fig. 7.7 Spectacle of large crowds constructing the city of Goshen. One of the first composition shots of the film, it does not appear until after nearly a half-hour of run time.
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