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By Robert S. Birchard

" ""Far and away the simplest movie publication released thus far this year.""--National Board of assessment Cecil B. DeMille was once the main profitable filmmaker in early Hollywood historical past. Cecil B. DeMille's Hollywood is a close and definitive chronicle of the reveal paintings that modified the process movie background and a desirable examine how video clips have been really made in Hollywood's Golden Age. Drawing greatly on DeMille's own information and different fundamental resources, Robert S. Birchard bargains a revealing portrait of DeMille the filmmaker that is going in the back of studio gates and past DeMille's mythical personality. In his forty-five-year occupation DeMille's box-office list used to be unsurpassed, and his swaggering variety tested the general public photo for motion picture administrators. DeMille had a profound influence at the manner videos inform tales and taken better cognizance to the weather of decor, lights, and cinematography. most sensible remembered this day for display spectacles reminiscent of the 10 Commandments and Samson and Delilah, DeMille additionally created Westerns, life like "chamber dramas," and a sequence of bold and hugely influential social comedies. He set the normal for Hollywood filmmakers and demanded absolute devotion to his artistic imaginative and prescient from his writers, artists, actors, and technicians.

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To DeMille's credit, What's-His-Name is sympathetic to both husband and wife and never descends to the level of caricature evident in so many "today's woman" films of the period. The stars, Max Figman and Lolita Robertson, were husband and 23 24 / Cecil B. DeMille's Hollywood wife offscreen. Both had distinguished stage careers, but their success in films was limited. The bulk of their movie work was in a series of singlereel domestic comedies produced for Metro Pictures between 1915 and 1917. What's-His-Name offers ample evidence that DeMille still had much to learn about narrative technique in motion pictures.

He almost never succumbed to the manipulation of Griffith's last-minute rescues, nor did he paint his villains only in shades of black. Griffith, in contrast, was not bound by DeMille's devotion to narrative logic. Whatever their differences in approach, DeMille's Civil War picture simply could not compete with Griffith's. The Birth of a Nation was a cultural sensation, and in a very real sense it became the Civil War picture to end all Civil War pictures. Released at virtually the same time as Griffith's picture, The Warrens ofVirginia was everyone's second choice.

The only point in this picture which I believe might be opened to criticism is, that the piece of plug tobacco used in the second reel is wrapped in a piece of paper, and paper was a rare article on Dog River; but Stewart Edward White, the author, sportsman, explorer, informs me that it is not at all impossible ... "3 Although The Virginian and The Call of the North were produced several months before Paramount took over distribution of Lasky films, they were held for release through the new company.

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