Q&A: Film and Television Archive highlights Cecil B. DeMille’s works
American director Cecil B. DeMille, who directed films such as the 1934 “Cleopatra,” is being honored by the UCLA Film and Television Archive with a two month-long series of DeMille’s work at the Billy Wilder Theater.
(Courtesy of UCLA Film and Television Archive)
By Samantha Mannis
Jan. 12, 2015 12:10 a.m.
Epic stories of religious and historical significance such as Cleopatra and the Ten Commandments stand the test of time, documented in novels and history books, and flew off the pages and onto the the big screen in the early 20th century under the direction of Cecil B. DeMille. DeMille is one of the many filmmakers whose works have been restored and screened by the UCLA Film and Television Archive.
This year marks the Archive’s 50th anniversary. To kick off the celebration, the Archive will feature a series of DeMille’s work titled “The Greatest Showman: Cecil B. DeMille,” which runs from Jan. 9 to Feb. 28 at the Billy Wilder Theater. Tickets are free for all UCLA students.
The Daily Bruin’s Samantha Mannis spoke with series curator Shannon Kelley about DeMille, the series and the Archive’s 50th anniversary.
Daily Bruin: Can you describe, in your opinion, the legacy of Cecil B. DeMille?
Shannon Kelley: DeMille was a larger-than-life figure who was interested in telling larger-than-life stories. He had been an actor, but when he became a film director, he was in the position to see the potential for motion pictures on a very grand scale. In a way he became synonymous with films that told Bible stories and historical stories, but also his work was rousing entertainment. In addition to finding a social message within the stories he undertook, he was also finding the opportunities to look at the total red-blooded side of humanity.
DB: What comprises this series?
SK: This series contains 10 feature restorations of the works of DeMille from the UCLA Film and Television Archive. Some of them are very well known films – such as “The Sign of the Cross” and “Cleopatra.” In addition to the restorations that we are showing, we have included a variety of films in order to flesh out a more total picture of his career.
DB: Why did you choose to showcase Cecil B. DeMille in this series?
SK: DeMille is someone you would want to showcase any time – his films are so entertaining and so exciting – but this was an especially good time for us due to our 50th anniversary. DeMille tracks a career over 40 years, and over the Archive’s 50 years, we have been involved in restoring his work. (DeMille) is one of the most important and decisive American moving-image legacies. To strike a note at the beginning of our 50th anniversary, we thought this was the perfect way to set out.
DB: What are some of your favorite DeMille moments presented in the series?
SK: One iconic moment comes in the center of “Cleopatra,” when the title character is scheming to seduce Mark Antony as a means of creating a political alliance. The way this seduction is staged is one of the most jaw-dropping spectacles of design and production in American film of the period. It’s completely over the top, and something everybody should witness at least once. The parting of the Red Sea in “The Ten Commandments” is quite a thing to behold, especially if you have never seen it on the big screen.
DB: What do you think this series will reveal to audiences about Cecil B. DeMille?
SK: (DeMille) was one of those people who impressed upon the world that one of the things that American film was going to do was move. His screen was always extremely alive and very diverting to the eye, full of a lot of beauty, and sometimes a lot of ridiculous overproduction. He was a guy who provided value on the screen and made it clear that the cinema was going to strike a very important place on the world stage for culture and entertainment.
DB: This series is part of the celebration of the Archive’s 50th anniversary – what does the Archive hope to achieve in the next 50 years?
SK: The Archive will remain active and committed to preserving our motion picture heritage, and it will also remain committed in activating these works while they are preserved so that audiences can enjoy them. The point is to engage in rich history and to enjoy them on the screen. It can be a very exciting adventure and an adventure to share together.
Compiled by Samantha Mannis, A&E; contributor.
