Cecil B. DeMille

To promote his 1956 film 'The Ten Commandments', Cecil B. DeMille had stone tablets bearing the Ten Commandments placed in government buildings across the country. Many of these tablets survive today, and some are now the subject of lawsuits arguing that they violate the First Amendment of the US Constitution (freedom of expression). The episode is an example of DeMille's unusual and memorable promotional methods.

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DeMille is one of Hollywood's most legendary directors. According to a famous story, he was once shooting a film that included a huge and expensive battle scene. While filming in a California valley, he set up multiple cameras to capture the action from every angle. The scene could only be shot once. When DeMille shouted 'Action!', thousands of extras ran across the field firing their weapons, horsemen galloped over the hills, cannons fired and pyrotechnic effects filled the air. The spectacular scene became a symbol of the grandeur and showmanship DeMille brought to cinema.

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According to another famous anecdote, DeMille was preparing to shoot an important scene on set one day and was giving the crowd of extras complicated instructions. Just then he noticed a female extra whispering with someone else. He angrily shouted at her: 'Would you tell me what it is you're talking about that's so important to everyone here?' The woman calmly replied: 'I was just telling my friend that I wondered when this bald-headed bastard was going to call lunch.' DeMille paused for a moment, then burst out laughing and let her keep working instead of throwing her off the set. The incident reveals DeMille's authoritarian yet equally humorous personality.

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Cecil B. DeMille is one of the 36 founding members of the Academy of Motion Picture Arts and Sciences (AMPAS). Founded in 1927, the Academy has become the most prestigious institution in the film world through the Oscars it awards each year. DeMille's role in the organization shows that he was not only a director but also an active leader in shaping the industry.

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At the time of his death, DeMille was working on an epic film about the founding of the Scout movement that was to star James Stewart. A script and extensive research materials for the project were found among his estate papers. Although the project never came to fruition, it shows DeMille's desire to undertake large and ambitious work even in the final period of his film career.

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According to Tim Adler's book on the history of the mafia in Hollywood, DeMille was threatened by the mob while he was hospitalized in the late 1930s. The mob wanted to swindle him. But DeMille sat up in bed and ordered the gangster out of his room, saying he was not afraid of the mafia. The incident lays bare DeMille's bold and daring character; it shows he was a figure who maintained his authority in every setting.

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During the silent film era, DeMille wanted to shoot a romantic scene on a California beach. His plan was for the sun to rise over the ocean behind the hero and heroine as they walked along the beach. He instructed his cameramen to 'film the perfect sunrise'. But the cameramen reminded him that in California the sun does not rise over the ocean, it sets. DeMille's answer was typical: 'Fine, then get me a sunset, we'll use rear projection and run the film backwards.' The incident shows his practical intelligence and his ability to find creative solutions to every problem.

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Charlton Heston, the star of DeMille's 'The Greatest Show on Earth' (1952) and 'The Ten Commandments' (1956), emphasized DeMille's importance to his career in his autobiography, saying 'I owed him my career.' Thanks to DeMille, Heston achieved a major breakthrough and took his place among the unforgettable names of film history. The remark shows DeMille's influence on actors and the value of the opportunities he gave them.

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Cecil B. DeMille and Alfred Hitchcock were two directors whose names appeared on the facades of the cinemas where their films were shown. This privilege shows that they were the most recognized and box-office-guaranteeing directors of their era. Audiences could form an idea of a film's quality by seeing the director's name before going to see it, which proves how high DeMille's brand value was.

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According to Charlton Heston, DeMille was famous for throwing anyone who talked during a take off the set. One day, when he returned to his office earlier than expected, his secretary joked, 'What happened, Mr. DeMille? Did you talk during a take?' The anecdote shows DeMille's understanding of discipline on set and how seriously he took his work. It also reveals that there was a relaxed environment in which those around him could make jokes knowing this trait of his.

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The lifetime achievement award at the Golden Globes, given by the Hollywood Foreign Press Association (HFPA), bears Cecil B. DeMille's name. The award is given to figures who have made extraordinary contributions to the film world. That DeMille's name was given to this prestigious award is an indication of his legendary status in the industry.

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Over the course of his career, DeMille remade four of his own films. These remakes show his attachment to stories and his desire to pass the same tales on to new generations using developments in film technology. 'The Ten Commandments' in particular was shot both in 1923 and in 1956, and the second version became one of the greatest epic films in cinema history.

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A conservative Republican, DeMille actively supported the blacklisting of real or alleged communists, progressives and other 'subversive' elements. In 1952, he tried to have Joseph L. Mankiewicz removed from the presidency of the Directors Guild for not endorsing the loyalty oath DeMille himself had inspired. But the directors George Stevens and John Ford managed to block DeMille's efforts. DeMille also refused to cast the liberal Democrat Burt Lancaster in 'Samson and Delilah' (1949) and 'The Greatest Show on Earth' (1952). These events lay bare how DeMille's political views affected his career and the turbulent atmosphere of the blacklist era in Hollywood.

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From 1940 until the end of his career, every film DeMille produced and directed was in color and was also narrated by him. This shows his desire to follow innovations in film technology and to communicate directly with the audience. DeMille's voice became part of his films and offered audiences an extraordinary narrative experience.

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Among those who have won the Cecil B. DeMille Award and mentioned DeMille in their acceptance speeches are Elizabeth Taylor (1985), Barbara Stanwyck (1986), his son-in-law Anthony Quinn (1987), Sophia Loren (1995), Shirley MacLaine (1998), Steven Spielberg (2008) and Martin Scorsese (2010). These names show DeMille's impact on the film world and that his legacy still lives on. Each of them emphasized DeMille's importance to their own careers.

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According to DeMille, his love of cinema began after he saw 'The Great Train Robbery' (1903) with Jesse L. Lasky in Manhattan. A few days later he met Sam Goldfish (later Samuel Goldwyn) and the lawyer Arthur Friend at lunch, and they founded the Jesse L. Lasky Feature Play Company. The company later became Paramount Pictures, one of Hollywood's biggest studios. The event shows DeMille's important role in the founding of the film industry.

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Although DeMille remained married to his wife Constance for fifty-six years, he had long relationships with two women, Jeanie Macpherson and Julia Faye. He is even known to have sometimes hosted both women at the same time on his yacht or at his ranch. His wife was aware of these relationships but chose to live in the main house with their children. The situation shows the complexity of DeMille's private life and the unconventional lifestyle he maintained despite the social norms of the era.

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Even when DeMille directed a contemporary story, he often added a sequence in which the same stars played earlier incarnations of their modern characters in a previous historical period. Gloria Swanson, an actress who had been a star in DeMille's films, said these scenes stemmed from his genuine belief in reincarnation. This belief added a mystical dimension to DeMille's films and shows the depth of his storytelling.

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DeMille was known for his courage and athleticism, and he despised men who avoided dangerous stunts or had phobias. On the set of 'Samson and Delilah' (1949), he criticized Victor Mature and called him 'a hundred percent yellow'. This attitude reflects DeMille's authoritarian and demanding personality on set; he expected maximum performance from his actors and crew.

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Jack Montgomery, a stuntman who played a Christian cavalryman in DeMille's 'The Crusades' (1935), recalled in an interview the tension between DeMille and the dozens of stuntmen hired for the battle scenes. The stuntmen were angry at DeMille's indifferent attitude toward safety, especially because several stuntmen were injured and several horses died. At one point, while DeMille stood in the castle's trenches shouting through his megaphone, the stuntmen's anger grew even more. The incident shows that DeMille did not shy away from taking risks on large productions and focused on the visual spectacle of the work.

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Cecil B. DeMille was the original host of 'Lux Radio Theater,' which presented one-hour radio adaptations of popular films. The program typically featured the original stars and Hollywood's biggest names. DeMille served as host and director from the show's first broadcast in 1936 until 1944. However, a political dispute with the American Federation of Radio Artists led to his suspension and ultimately his resignation from the program. William Keighley replaced him for the remainder of the show's run. The program demonstrates DeMille's influence in the world of radio and his contribution to popular culture.

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Cecil B. DeMille was honored with two stars on the Hollywood Walk of Fame: one at 1725 Vine Street for his contributions to film and another at 6240 Vine Street for his work in radio. These stars reflect the lasting mark he left on both the film and radio worlds. Appearing twice on Hollywood's most prestigious sidewalk symbolizes DeMille's versatile career and his contributions to the industry.

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After 'The Ten Commandments' (1956), DeMille had made a remake of his earlier 'The Ten Commandments' (1923). Following that project he began work on a film about Lord Robert Baden-Powell and the Scout movement, but ultimately abandoned it and turned to 'The Buccaneer' (1958). The actor he had in mind for the role of Baden-Powell was David Niven. This shows that DeMille constantly pursued new and large projects, though some never came to fruition.

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DeMille published a satirical newspaper article in which he censored Mother Goose nursery rhymes as a jab at film censors. The article criticized the absurdity of censorship in a humorous tone. DeMille's witty approach shows the importance he placed on freedom of expression and his ability to mount a humorous opposition to authority.

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DeMille's father, Henry C. DeMille, was born in Beaufort, North Carolina, and had English, German, Scottish and Dutch ancestry. His mother, Beatrice DeMille, was born in Liverpool, England, to a German Jewish family. This multicultural family background may have shaped DeMille's worldview and artistic sensibility.

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DeMille and his wife Constance adopted nine-year-old Katherine Lester in 1920. Katherine's father had died in World War I and her mother had died of tuberculosis. After the adoption the girl took the name Katherine DeMille and later became a famous actress. This adoption shows DeMille's compassionate side in his family life.

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A photograph of DeMille taken while he was working on the set of 'Cleopatra' (1934) appeared on the right edge of a sheet of ten 37-cent commemorative stamps issued on February 25, 2003, themed 'American Filmmaking: Behind the Scenes'. The stamp honors the labor behind American cinema and DeMille as one of its important figures of that era. The inclusion of DeMille's image on a postage stamp shows how widely his cultural legacy extends.

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Eight of DeMille's films were nominated for the Academy Award for Best Cinematography: 'The Sign of the Cross' (1932), 'Cleopatra' (1934), 'The Crusades' (1935), 'The Buccaneer' (1938), 'North West Mounted Police' (1940), 'Reap the Wild Wind' (1942), 'Samson and Delilah' (1949) and 'The Ten Commandments' (1956). Of these films, only 'Cleopatra' won the award. This shows the importance DeMille placed on visual storytelling and how cinematically ambitious his work was.

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Six of DeMille's films were nominated for the Academy Award for Best Special Effects: 'Union Pacific' (1939), 'Reap the Wild Wind' (1942), 'The Story of Dr. Wassell' (1944), 'Unconquered' (1947), 'Samson and Delilah' (1949) and 'The Ten Commandments' (1956). Of these, 'Reap the Wild Wind' and 'The Ten Commandments' won the award. The importance DeMille gave to special effects in his big-budget productions made him one of the pioneers of visual spectacle in cinema.

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DeMille directed three films nominated for the Academy Award for Best Picture: 'Cleopatra' (1934), 'The Greatest Show on Earth' (1952) and 'The Ten Commandments' (1956). Of these, 'The Greatest Show on Earth' won the award. This achievement shows that DeMille was a director appreciated by both critics and the Academy. The win for 'The Greatest Show on Earth' is regarded as one of the greatest honors of his career.

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DeMille's last three films, 'Samson and Delilah' (1949), 'The Greatest Show on Earth' (1952) and 'The Ten Commandments' (1956), were nominated for the Academy Award for Best Costume Design. Of these films, only 'Samson and Delilah' won the award. The lavish costumes in DeMille's epic films prove that he was one of the directors of his era who offered the greatest visual spectacle.

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Only the eldest of DeMille's and his wife's children, Cecilia de Mille, was their biological child. Their daughter Katherine DeMille and their sons John and Richard de Mille were adopted later. This family structure shows DeMille's desire to build a large family beyond having biological children. The adopted children were raised as part of the DeMille family and became successful in their own fields.

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In December 1942, The Film Daily's national critics' poll named DeMille one of the five best directors of the year for his direction of 'Reap the Wild Wind' (1942). He placed third on the list; first place went to William Wyler with 'Mrs. Miniver' (1942) and second to John Ford with 'How Green Was My Valley' (1941). This poll shows that DeMille was among the most respected directors of his era.

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Five of DeMille's films were nominated for the Academy Award for Best Art Direction: 'Dynamite' (1929), 'North West Mounted Police' (1940), 'Reap the Wild Wind' (1942), 'Samson and Delilah' (1949) and 'The Ten Commandments' (1956). Of these films, only 'Samson and Delilah' won the award. The enormous sets and detailed art direction in DeMille's films are an indication of the importance he placed on visual storytelling in cinema.

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Among all of DeMille's American historical epics, his favorite film was 'Union Pacific' (1939). The film dealt with the construction of the transcontinental railroad and reflected DeMille's passion for large productions. DeMille's fondness for this film shows his interest in American history and in its grand cinematic telling.

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For the male lead in 'Samson and Delilah' (1949), DeMille's first choice was Burt Lancaster, but Lancaster turned the role down because of back pain. DeMille then considered Steve Reeves, a then-unknown bodybuilder. DeMille found Reeves perfect for the role, but a dispute between Reeves and the studio over his physique eliminated that possibility. Nearly a decade later Reeves gained fame by starring in 'Hercules' (1958) and other Italian productions. This episode shows DeMille's foresight in casting and the opportunities he missed in his career.

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According to DeMille's casting agency, DeMille spent a great deal of time casting the female roles in his films because he always sought actresses who were not only beautiful and talented but also professional and easy to work with. This meticulous casting process shows his desire to create a harmonious atmosphere on set and to get the best performance. The importance DeMille gave to actresses helped many female stars shine in his career.

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Throughout his life DeMille planned four Biblical epics that never came to be: 'The Flood' (1927), about Noah's ark; 'Esther' (1939), telling the story of the Persian queen Esther; 'Queen of Queens' (1940), about Mary, the mother of Jesus; and 'Thou Art the Man' (1945), about the Israelite King David. These projects show DeMille's interest in religious themes and his passion for large-scale stories. None of these projects, however, was ever realized.

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DeMille directed two films selected for the National Film Registry by the Library of Congress as being 'culturally, historically, or aesthetically' significant: 'The Cheat' (1915) and 'The Ten Commandments' (1956). He also appeared in 'Sunset Boulevard' (1950), which is likewise on the registry. These selections show the lasting impact and importance of DeMille's films in American cinema history.

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DeMille was president of the DeMille Pictures Corporation, founded in 1925. The company was an important step in his independent producing career and showed his desire to control his own projects. Through this company DeMille produced and directed many films, becoming one of the most powerful names in Hollywood.

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At the 15th Foreign Language Press Film Critics Association Awards in 1957, DeMille won in two categories: Best Film ('in terms of content') for 'The Ten Commandments' (1956) and Best Director. These awards show how much his epic film was appreciated for both its content and its direction. 'The Ten Commandments' is regarded as the peak of DeMille's career.

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DeMille remained married to the same woman for more than fifty years. His wife Constance was a few years older than him and suffered from increasingly severe Alzheimer's disease in the later years of their marriage. Despite all these difficulties, Constance outlived DeMille. This long marriage reflects DeMille's fidelity in his private life and his effort to preserve family ties despite hardships.

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DeMille directed four films based on stories from both the Old and New Testaments of the Bible: 'The Ten Commandments' (1923), 'The King of Kings' (1927), 'Samson and Delilah' (1949) and 'The Ten Commandments' (1956). The first two were silent films shot in two-strip Technicolor, while the other two were sound films in full Technicolor. These films reflect DeMille's interest in religious themes and his desire to tell these stories as visually impressively as possible using advances in film technology.

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Mary Pickford disliked DeMille and blamed him for the 'failure' of the two silent films they made together, even though those films were in fact major box-office successes. Although Pickford always appeared very cordial with the producer-director, she spoke badly of him in a 1974 interview. In his autobiography, DeMille took an understanding stance toward Pickford, saying, 'If she was ever angry that she did not always get her own way, she did not show it. Mary is a fine actress.' This episode demonstrates DeMille's ability to handle personal conflicts professionally.

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DeMille died on the same day as Carl 'Alfalfa' Switzer and was buried at Hollywood Memorial Cemetery (now Hollywood Forever Cemetery) in Los Angeles, California. He was buried alongside his brother William C. de Mille. Among the pallbearers at his funeral were such important figures of the film world as Adolph Zukor, Samuel Goldwyn and Henry Wilcoxon. This reflects DeMille's standing in the industry and his wide circle of connections.

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Cecil B. DeMille was the son of businessman and Georgist Henry C. DeMille and of Beatrice DeMille (née Matilda Beatrice Samuel), a play broker, screenwriter, playwright, stage actress and entrepreneur. He was the brother of director William C. de Mille. He was also the uncle of Agnes de Mille and Peggy George, the brother-in-law of B.P. Fineman, and the grandfather of Cecilia DeMille Presley and Valentina Quinn. His father was born in North Carolina into a Protestant family, while his mother was born in England to German Jewish parents. These extensive family ties reflect DeMille's influence in both the arts and the business world.

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DeMille was profiled in John C. Tibbets and James M. Welch's book 'American Classic Screen Profiles' (2010). The book examines important figures who left their mark on the classic era of American cinema. DeMille's inclusion in this book is an indication of his lasting impact on film history and of academic interest in his work.

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By 1956, DeMille's 69 films before 'The Ten Commandments' were estimated to have earned a total of 630 million dollars at the box office and to have been seen by 3.5 billion people. These figures show that DeMille was one of the most commercially successful directors in cinema history. His films reached broad audiences and deeply influenced popular culture.

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DeMille cast Gary Cooper in four of his films: 'The Plainsman' (1936), 'North West Mounted Police' (1940), 'The Story of Dr. Wassell' (1944) and 'Unconquered' (1947). Cooper was an important actor who frequently took leading roles in DeMille's epic films. This collaboration reflects DeMille's sound choices in casting and the significant productions in Cooper's career.

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DeMille cast Gloria Swanson in six of his films: 'Don't Change Your Husband' (1919), 'For Better, for Worse' (1919), 'Male and Female' (1919), 'Why Change Your Wife?' (1920), 'Something to Think About' (1920) and 'The Affairs of Anatol' (1921). Swanson was an important actress who became a star thanks to DeMille. These films represent DeMille's successful collaborations during the silent era and turning points in Swanson's career.

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DeMille's biography appears on pages 207-222 of the book 'World Film Directors, Volume One, 1890-1945', edited by John Wakeman. The book was published in 1987 in New York by The H.W. Wilson Company. DeMille's inclusion in this comprehensive reference work reflects his important place in film history and his status as a figure studied academically.

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DeMille cast Claudette Colbert in three of his films: 'The Sign of the Cross' (1932), 'Four Frightened People' (1934) and 'Cleopatra' (1934). Colbert was a successful actress who took on important roles in DeMille's epic films. These collaborations demonstrate DeMille's ability to bring the most talented actors of the era into his casts.

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DeMille cast Fredric March in two of his films: 'The Sign of the Cross' (1932) and 'The Buccaneer' (1938). March was an important actor who gave successful performances in DeMille's historical and epic films. These collaborations reflect DeMille's sound choices in casting and the significant productions in March's career.

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DeMille graduated from the American Academy of Dramatic Arts (AADA) in 1900. This training formed the foundation of his work in acting and theatre and later provided an important advantage in his film career. The AADA was one of the most prestigious drama schools of the era, and DeMille's graduation from it reflects the importance he placed on artistic training.

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During World War II, DeMille served as an air raid warden in Hollywood and took part in civil defence work. This duty reflects his patriotism and his desire to serve the community. During the war, DeMille made efforts to support his country alongside his film career.

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DeMille directed four Laurel Award-winning performances: Betty Hutton (Special Award) in 'The Greatest Show on Earth' (1952) and Charlton Heston (Best Actor), Anne Baxter (Best Actress) and Yvonne De Carlo (Best Supporting Actress) in 'The Ten Commandments' (1956). These awards demonstrate DeMille's ability to draw the best performances from his actors and his contribution to their careers.

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One of DeMille's lifelong dream projects was a film adaptation of the biblical Book of Esther. His favourite casting choice for the project was Hedy Lamarr. The film, however, was never made. This project reflects DeMille's interest in religious themes and his passion for large-scale stories, while also revealing that he had projects that never came to fruition.

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