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68 Samson and D~lilah A Paramount Picture, A Cecil B, DeMille Production, Produced and directed by Cecil B, DeMille, Screenplay by jesse L, Lasky jr, and Fredric M, Frank. based on a treatment by Harold Lamb derived from the Book of judges, chapters 13-1 6, and on the novel Judge and Fool by Vladimir jabotinsky (additional, uncredited writing by jeanie Macpherson), Photography: George Barnes, AS,C Photographic effects: Gordon jennings, AS,C Unit directors: Arthur Rosson and Ralph jester, Art direction: Hans Dreier and Walter Tyler, Holy Land photography: Dewey Wrigley, AS,C Process photography: Farciot Edouart, AS,C, and Wallace Kelley, AS,C Music: Victor Young, Choreographer : Theodore Kosloff, Film editor: Anne Bauchens Picture started: October 4, 1948, Picture finished: December 22, 1948, Picture reopened: january 4, 1949, for scenes in plowed field and january 18-21, 1949, for added scenes and close-ups, Cost: $3,097,563.05, Road-show release : December 21, 1949, General release: March 28, 1951, Net profit: $5,564,825,17 (as of December 20, 1969) Cast: Victor Mature (Samson), Hedy Lamarr (Delilah), George Sanders (the Saran of Gaza), Angela Lansbury (Semadar), Henry Wilcoxon (Ahtur), Olive Deering (Miriam), Russ Tamblyn (Saul), Julia Faye, William Farnum, Lane Chandler, Francis McDonald, Victor Varconi, Frank Reicher, and George Reeves Samson and Delilah was along-cherished project for DeMille. He first turned his attention to the story in 1932, but studio reluctance and his string of successes with pictures based on American historical themes conspired to keep Samson and Delilah from being produced. Studio executives in 1947 were no more eager to make Samson and Delilah than their long-departed predecessors had been in 1935, but DeMille dazzled them with conceptual artby Dan Sayre Groesbeck showing amuscular Samson and ascantily clad Delilah and opening their eyes to the box-office possibilities. DeMille had all the instincts of a carnival pitchman in drumming up interest for his projects, and he would prepare a text suitable for public appearances, magazine articles, or special production trailers to promote his films. Such pieces were largely drafted by his office staff, but the consistency in approach through the years attests 334 Samson and D~lilah / 335 to DeMille's involvement in their preparation. Like a Barnum who inspired curiosity with a sign reading This Way to the Egress, DeMille was a spellbinder who made you believe you needed to see his latest offering. And, there was something for everyone. For those anxious that Samson and Delilah might play fast and loose with the Bible, he proclaimed: "In 1932 Harold Lamb wrote the treatment which formed the basis of our screenplay. All during those months of preparation one vital fact was kept in mind: the Bible story must not be changed in any particular. It wasn't."l Well, yes and no. The basic Bible story wasn't altered, but it was slicked up a bit. There simply wasn't enough plot in the Bible story to propel a feature-length film. The idea that Samson was first married to Delilah's sister was a dramatic device taken from Vladimir Jabotinsky's 1930 novel Judge and Fool. For those concerned that Samson and Delilah might lack artistic aspiration and historical grounding, DeMille assured his audience: For inspiration we went to the great painters to see how they visualized certain episodes from the Samson story. Dore [Gustave Dore], Rubens, Solomon, Michelangelo-each had his concept of Samson and Delilah.... We took little pieces from some of these masterpieces; others were brought to life in full on the screen. Two years were spent in research, and more than 2,000 volumes were consulted. For those who suspected that Edith Head and the other members of the costume department were not sufficiently familiar with the particulars of ancient Philistine and Danite clothing, DeMille shared his own astonishment: "There were a number of surprises. We discovered that the Philistines derived their culture largely from the Minoans.... We were amazed to see how closely Minoan dress resembled current styles. Their sandals, for example, are exactly like those being worn by the women oftoday." For those who doubted that Samson could kill an army of a thousand with the jawbone of an ass: My chief concern with episodes of this type is to convince myself that they are possible.... Well, there was a sergeant named York in World War I who, single-handed, brought in a [52.14.0.24] Project MUSE (2024-04-16 09:24 GMT...

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