Editing Cecil B. DeMille (section)

==Biography==

===1881–1899: early years===
[[File:AADA at the Colony Club.jpg|thumb|The American Academy of Dramatic Arts in New York|alt=A multi-leveled brick building with many white-paned windows, with a skyscraper visible in the top right corner]]
Cecil Blount DeMille was of paternal Dutch ancestry. His surname was spelled de Mil{{refn|group=note|There are several variants of DeMille's surname. His family's [[Dutch people|Dutch]] surname, originally spelled '' de Mil''.}} before his grandfather William added an "le" for "visual symmetry".{{sfn|Eyman|2010|p=15}}

As an adult, Cecil De Mille adopted the spelling ''DeMille'' because he believed it would look better on a marquee, but continued to use ''de Mille'' in private life.<ref>{{harvnb|Presley|Vieira|2014|p=18}}; {{harvnb|Eyman|2010|p=15}}</ref> The family name ''de Mille'' was used by his children Cecilia, John, Richard, and Katherine. Cecil's brother, William, and his daughters, Margaret and Agnes, as well as DeMille's granddaughter, Cecilia de Mille Presley, also used the ''de Mille'' spelling.<ref>{{cite book| last= DeMille| first= Cecil B. | url= https://archive.org/stream/autobiographyofc006995mbp/autobiographyofc006995mbp_djvu.txt |title= Autobiography of Cecil B. DeMille| place= New York| publisher= [[Prentice Hall]]| year= 1959| page= | via= archive.org| access-date= }}</ref>

DeMille was born on August 12, 1881, in a [[boarding house]] on Main Street in [[Ashfield, Massachusetts]], where his parents had been vacationing for the summer.{{sfn|Eyman|2010|p=18}} On September 1, 1881, the family returned with the newborn DeMille to their flat in New York.{{sfn|Eyman|2010|p=18}} DeMille was named after his grandmothers Cecelia Wolff and Margarete Blount.{{sfn|Louvish|2007|p=6}} He was the second of three children of [[Henry Churchill de Mille]] (September 4, 1853 – February 10, 1893) and his wife, [[Beatrice deMille|Matilda Beatrice deMille]] (née Samuel; January 30, 1853 – October 8, 1923), known as Beatrice.<ref>{{harvnb|Eyman|2010|pp=15–17, 30, 206}}; {{harvnb|Louvish|2007|p=465}}</ref> His older brother, [[William C. deMille]], was born on July 25, 1878.{{sfn|Eyman|2010|p=17}}

Henry de Mille, whose ancestors were of English and Dutch-Belgian descent, was a [[North Carolina]]-born dramatist, actor, and lay reader in the [[Episcopal Church in the United States of America|Episcopal Church]].{{sfn|Eyman|2010|pp=15-21}} In New York, Henry also taught English at Columbia College (now [[Columbia University]]).{{sfn|Ringgold|Bodeen|1969|p=1}} He worked as a playwright, administrator, and faculty member during the early years of the [[American Academy of Dramatic Arts]], established in New York City in 1884.{{sfn|Eyman|2010|p=23}} Henry de Mille frequently collaborated with [[David Belasco]] in playwriting;{{sfn|Eyman|2010|p=22}} their best-known collaborations included "The Wife", "Lord Chumley", "The Charity Ball", and "Men and Women".{{sfn|Ringgold|Bodeen|1969|p=1}}

Cecil B. DeMille's mother, Beatrice, a literary agent and scriptwriter, was the daughter of [[History of the Jews in Germany|German Jews]].<ref>{{harvnb|Louvish|2007|p=3}};{{harvnb|Presley|Vieira|2014|p=18}}; {{harvnb|Eyman|2010|pp=15–17, 138}}</ref> She had emigrated from England with her parents in 1871 when she was 18; the newly arrived family settled in [[Brooklyn]], New York, where they maintained a middle-class, English-speaking household.<ref name=Easton>{{cite book| last= Easton| first= Carol |year= 1996| title= No Intermissions: The Life of Agnes de Mille| place= New York City| publisher= [[Da Capo Press]]| pages= 6–8 |isbn= 978-0-306-80975-0}}</ref>

DeMille's parents met as members of a music and literary society in New York. Henry was a tall, red-headed student. Beatrice was intelligent, educated, forthright, and strong-willed.<ref name="Louvish 2007 4">{{harvnb|Louvish|2007|p=4}}; {{harvnb|Eyman|2010|pp=16–17, 23}}</ref> They married on July 1, 1876, despite Beatrice's parents' objections because of the young couple's differing religions; Beatrice converted to [[Episcopalianism]].<ref name="Louvish 2007 4"/>

DeMille was a brave and confident child.{{sfn|Eyman|2010|p=24}} He gained his love of theater while watching his father and Belasco rehearse their plays. A lasting memory for DeMille was a lunch with his father and actor [[Edwin Booth]].{{sfn|Eyman|2010|pp=26-27}} As a child, DeMille created an alter ego, Champion Driver, a [[Robin Hood]]-like character, evidence of his creativity and imagination.{{sfn|Presley|Vieira|2014|p=18}}

His father and his family had lived in [[Washington, North Carolina]],<ref>{{cite book |editor1-last=Powell |editor1-first=William S. |title=Dictionary of North Carolina Biography| department= Vol. 2 |date=1986 |publisher=University of North Carolina Press |location=Chapel Hill, North Carolina |isbn= 080781329X |page=51 |url=https://books.google.com/books?id=BdAGnn0SZX0C&q=washington,+north+carolina+cecil+b+demille&pg=PA51 |access-date=July 2, 2019}}</ref> until Henry built a three-story [[Victorian architecture|Victorian]]-style house for his family in [[Pompton Lakes, New Jersey]]<!-- When was this? -->; they named this estate "Pamlico".<ref>{{harvnb|Louvish|2007|p=13}}; {{harvnb|Eyman|2010|p=28}}</ref> [[John Philip Sousa]] was a friend of the family, and DeMille recalled throwing mud balls in the air so neighbor [[Annie Oakley]] <!-- North Carolina or New Jersey? -->could practice her shooting.{{sfn|Eyman|2010|p=28}} DeMille's sister, Agnes, was born on April 23, 1891; his mother nearly did not survive the birth.{{sfn|Eyman|2010|p=29}} Agnes died on February 11, 1894, from [[spinal meningitis]].<ref>{{harvnb|Presley|Vieira|2014|p=20}}; {{harvnb|Highman|1973|p=8}}; {{harvnb|Eyman|2010|pp=30–31}}</ref>{{refn|group=note|DeMille's niece and William deMille's daughter [[Agnes de Mille]] was a famed dancer-choreographer.<ref>{{cite magazine |last= Acocella |first=Joan |title=Agnes DeMille's Artistic Justice |url=https://www.newyorker.com/books/page-turner/agnes-de-milles-artistic-justice |access-date=May 23, 2019 |magazine=The New Yorker |date=November 5, 2015}}</ref>}}

DeMille's parents operated a private school in Pompton Lakes and attended Christ Episcopal Church. DeMille recalled that this church was the place where he visualized the story of his 1923 version of ''The Ten Commandments''.<ref>{{cite web |last=LaPlaca |first=Bryan |date=September 19, 2011 |url= http://www.northjersey.com/community/history/back_in_the_day/130098403_Sept__18__1991_De_Mille_s_Pompton_Lakes_roots_recalled.html |title=Back in the Day - Sept. 18, 1991: De Mille's Pompton Lakes roots recalled |work=NorthJersey.com | publisher= |access-date=April 21, 2014}}</ref>

[[File:Young Cecil B. DeMille.jpg|left|thumb|upright|alt=Head shot of a young-looking DeMille|DeMille as a young man, c. 1904]]

On January 8, 1893, at age 40, Henry de Mille died suddenly from [[typhoid fever]], leaving Beatrice with three children. To provide for her family, she opened the Henry C. de Mille School for Girls in her home in February 1893.<ref>{{harvnb|Highman|1973|p=8}}; {{harvnb|Ringgold|Bodeen|1969|p=1}}</ref> The aim of the school was to teach young women to properly understand and fulfill the women's duty to themselves, their home, and their country.{{sfn|Louvish|2007|p=14}} Beatrice had "enthusiastically supported" Henry's theatrical aspirations. She later became the second female play broker on [[Broadway theatre|Broadway]].{{sfn|Presley|Vieira|2014|p=47}} On Henry's deathbed, he told his wife that he did not want his sons to become playwrights. DeMille's mother sent him to [[Widener University|Pennsylvania Military College]] (now Widener University) in [[Chester, Pennsylvania]], at age 15.<ref>{{harvnb|Louvish|2007|p=14}}; {{harvnb|Highman|1973|p=9}}</ref> He fled the school to join the [[Spanish–American War]], but failed to meet the age requirement.{{sfn|Ringgold|Bodeen|1969|p=1}} At the military college, even though his grades were average, he reportedly excelled in personal conduct.{{sfn|Louvish|2007|p=17}}

DeMille attended the American Academy of Dramatic Arts (tuition-free due to his father's service to the academy). He graduated in 1900, and for graduation, his performance was the play ''The Arcady Trail''. In the audience was [[Charles Frohman]], who cast DeMille in his play ''Hearts are Trumps'', DeMille's [[Broadway theatre|Broadway]] debut.

===1900–1912: theater===

====Charles Frohman, Constance Adams, and David Belasco====
Cecil B. DeMille began his career as an actor on stage in 1900 in the theatrical company of [[Charles Frohman]]. He debuted on February 21, 1900, in the play ''Hearts Are Trumps'' at New York's [[Garden Theater]].<ref>{{harvnb|Louvish|2007|p=20}}; {{harvnb|Ringgold|Bodeen|1969|p=2}}</ref> In 1901, DeMille starred in productions of ''A Repentance'', ''To Have and to Hold'', and ''Are You a Mason?''{{sfn|Louvish|2007|p=20}} At age 21, he married [[Constance Adams DeMille|Constance Adams]] on August 16, 1902, at Adams's father's home in East Orange, New Jersey. The wedding party was small. Beatrice DeMille's family did not attend. [[Simon Louvish]] suggests that this was to conceal DeMille's partial Jewish heritage. Adams was 29 years old at the time of the marriage.{{sfn|Louvish|2007|pp=20–21}} They had met in a theater in Washington D.C. while they were both acting in ''Hearts Are Trumps''.{{sfn|Presley|Vieira|2014|p=21}}

They were sexually incompatible; according to DeMille, Adams was too "pure" to "feel such violent and evil passions" as he.{{sfn|Louvish|2007|pp=30–31}} DeMille had more violent sexual preferences and fetishes than his wife. Adams allowed DeMille to have several long-term mistresses during their marriage as an outlet while maintaining an appearance of a faithful marriage.{{sfn|Louvish|2007|p=90}} One of DeMille's affairs was with his screenwriter Jeanie MacPherson.{{sfn|Eyman|2010|p=80}} Despite his reputation for extramarital affairs, DeMille did not like to have affairs with his stars, as he believed it would cause him to lose control as a director. He once said he maintained his self-control when [[Gloria Swanson]] sat on his lap, and refused to touch her.{{sfn|Eyman|2010|pp=167–168}}

In 1902, he played a small part in ''[[Hamlet]]''.{{sfn|Louvish|2007|p=20}} Publicists wrote that he became an actor in order to learn how to direct and produce, but DeMille admitted that he became an actor in order to pay the bills.{{Sfn|Louvish|2007|p=20}} From 1904 to 1905, he attempted to make a living as a stock theater actor with his wife, Constance. DeMille made a 1905 reprise in ''Hamlet'' as Osric.{{sfn|Louvish|2007|p=24}} In the summer of 1905, DeMille joined the stock cast at the [[Elitch Theatre]] in Denver, Colorado. He appeared in 11 of the 15 plays presented that season, all in minor roles. [[Maude Fealy]] was the featured actress in several productions that summer and developed a lasting friendship with DeMille. (He later cast her in ''The Ten Commandments''.)<ref>{{Cite book |last= Borrillo |first= Theodore A. |url= http://worldcat.org/oclc/823177622|title=Denver's historic Elitch Theatre : a nostalgic journey (a history of its times)|date=2012|publisher= Theodore Borrillo|isbn=978-0-9744331-4-1|pages=64–65| oclc= 823177622}}</ref>

His brother, William, was establishing himself as a playwright and sometimes invited DeMille to collaborate.{{sfn|Presley|Vieira|2014|p=18}} DeMille and William collaborated on ''The Genius'', ''The Royal Mounted'', and ''After Five''.{{sfn|Ringgold|Bodeen|1969|p=2}} None of these was very successful. William de Mille was most successful when he worked alone.{{sfn|Ringgold|Bodeen|1969|p=2}}

DeMille and his brother at times worked with the legendary impresario [[David Belasco]], who had been a friend and collaborator of their father.{{sfn|Presley|Vieira|2014|p=20}} DeMille later adapted Belasco's ''[[The Girl of the Golden West (play)|The Girl of the Golden West]]'', ''Rose of the Rancho'', and ''[[The Warrens of Virginia (play)|The Warrens of Virginia]]'' into films.{{sfn|Louvish|2007|pp=32–33}} He was credited with the conception of Belasco's ''The Return of Peter Grimm''.{{sfn|Ringgold|Bodeen|1969|p=2}} ''The Return of Peter Grimm'' sparked controversy, because Belasco had taken DeMille's unnamed screenplay, changed the characters, and named it ''The Return of Peter Grimm'', producing and presenting it as his own work. DeMille was credited in small print as "based on an idea by Cecil DeMille". The play was successful, and DeMille was distraught that his childhood idol had plagiarized his work.{{sfn|Louvish|2007|p=37}}

====Losing interest in theater====
DeMille performed on stage with actors he later directed in films: [[Charlotte Walker (actress)|Charlotte Walker]], [[Mary Pickford]], and [[Pedro de Cordoba (actor)|Pedro de Cordoba]]. He also produced and directed plays.<ref>[http://ibdb.com/person.php?id=4709 "Cecil B. DeMille plays"]. ''Internet Broadway Database''. Retrieved: December 8, 2011.</ref> His 1905 performance in ''The Prince Chap'' as the Earl of Huntington was well received by audiences.{{sfn|Louvish|2007|p=24}}

DeMille wrote a few of his own plays in between stage performances, but his playwriting was less successful.{{sfn|Ringgold|Bodeen|1969|p=2}} His first play was ''The Pretender-A Play in a Prologue and 4 Acts'' set in 17th-century Russia.{{sfn|Louvish|2007|p=24}} Another unperformed play he wrote was ''Son of the Winds'', a mythological Native American story.{{sfn|Louvish|2007|p=26}} Life was difficult for DeMille and his wife as traveling actors, but travel allowed him to experience parts of the United States he had not yet seen.{{sfn|Louvish|2007|p=27}} DeMille sometimes worked with the director [[E. H. Sothern]], who influenced DeMille's later perfectionism.{{sfn|Louvish|2007|p=27}} In 1907, due to a scandal with one of Beatrice's students, [[Evelyn Nesbit]], the Henry de Mille School lost students. The school closed, and Beatrice filed for bankruptcy.{{sfn|Louvish|2007|p=29}} DeMille wrote another play originally called ''Sergeant Devil May Care'' and renamed ''The Royal Mounted''. He also toured with the Standard Opera Company, but there are few records of his singing ability.{{sfn|Louvish|2007|p=31}}

On November 5, 1908, Constance and DeMille had a daughter, Cecilia, their only biological child.{{sfn|Louvish|2007|p=31}} In the 1910s, DeMille began directing and producing other writers' plays.{{sfn|Louvish|2007|p=38}}

DeMille was poor and struggled to find work. Consequently, his mother hired him for her agency, The DeMille Play Company, and taught him how to be an agent and a playwright. He became the agency's manager and later a junior partner with his mother.<ref>{{harvnb|Ringgold|Bodeen|1969|p=1}}; {{harvnb|Presley|Vieira|2014|pp=20–21}}</ref> In 1911, DeMille became acquainted with vaudeville producer Jesse Lasky when Lasky was searching for a writer for his new musical. He initially sought out William deMille. William had been a successful playwright, but DeMille was suffering from the failure of his plays ''The Royal Mounted'' and ''The Genius''.

Beatrice introduced Lasky to Cecil DeMille instead.<ref>{{harvnb|Louvish|2007|p=45}};{{harvnb|Presley|Vieira|2014|p=21}}</ref> The collaboration of DeMille and Lasky produced a successful musical, ''California'', which opened in New York in January 1912.<ref>{{harvnb|Louvish|2007|pp=46–47}}; {{harvnb|Dick|2001|p=7}}</ref> Another DeMille-Lasky production that opened in January 1912 was ''The Antique Girl''.{{sfn|Louvish|2007|p=47}} In the spring of 1913, DeMille found success producing ''Reckless Age'' by Lee Wilson, a play about a high-society girl wrongly accused of manslaughter, starring [[Frederick Burton (actor)|Frederick Burton]] and [[Sydney Shields]].<ref>{{cite web| url= http://fultonhistory.com/Newspaper%2010/New%20York%20NY%20Dramatic%20Mirror/New%20York%20NY%20Dramatic%20Mirror%201913%20Mar-Apr%201914%20Grayscale/New%20York%20NY%20Dramatic%20Mirror%201913%20Mar-Apr%201914%20Grayscale%20-%200391.pdf |title= News of Other Cities, Atlantic City| work= [[New York Dramatic Mirror]]| date= May 14, 1913| via= fultonhistory.com| access-date= }}</ref>{{sfn|Birchard|2004|p=2}} But changes in the theater rendered DeMille's [[melodrama]]s obsolete before they were produced, and true theatrical success eluded him. He produced many flops.{{sfn|Presley|Vieira|2014|p=22}} Having become uninterested in working in theater, DeMille became ignited by passion for film when he watched the 1912 French film ''[[Les Amours de la reine Élisabeth]]''.{{sfn|Dick|2001|p=7}}

===1913–1914: entering films===
[[File:The Squaw Man (1914).webm|thumb|''[[The Squaw Man (1914 film)|The Squaw Man]]'' (1914) full film]]
Desiring a change of scene, DeMille, Lasky, Sam Goldfish (later [[Samuel Goldwyn]]), and a group of East Coast businessmen created the [[Jesse L. Lasky Feature Play Company]] in 1913, of which DeMille became director-general.<ref>{{harvnb|Abel|2005|p=229}}; {{harvnb|Dick|2001|p=7}}; {{harvnb|Presley|Vieira|2014|p=18}}</ref> Lasky and DeMille were said to have sketched out the organization of the company on the back of a restaurant menu.{{sfn|Edmonds|Mimura|1980|p=38}} As director-general, DeMille's job was to make the films.{{sfn|Edmonds|Mimura|1980|p=38}} In addition to directing, he was the supervisor and consultant for the first year of films the company made.{{sfn|Ringgold|Bodeen|1969|p=9}} Sometimes, he directed scenes for other directors at the company in order to release films on time.{{sfn|Ringgold|Bodeen|1969|p=9}} Moreover, he co-authored other Lasky Company scripts and created screen adaptations that others directed.{{sfn|Ringgold|Bodeen|1969|p=9}}

The Lasky Play Company tried to recruit William de Mille, but he rejected the offer because he did not believe there was any promise in a film career.{{sfn|Ringgold|Bodeen|1969|p=3}} When William found out that DeMille had begun working in the motion picture industry, he wrote his brother a letter, saying that he was disappointed that Cecil was willing "to throw away [his] future" when he was "born and raised in the finest traditions of the theater".{{sfn|Louvish|2007|p=66}}

The Lasky Company wanted to attract high-class audiences to their films, so it began producing films from literary works.{{sfn|Higashi|1994|p=1}} The company bought the rights to [[Edwin Milton Royle]]'s play ''[[The Squaw Man (play)|The Squaw Man]]'' and cast [[Dustin Farnum]] in the lead role.{{sfn|Ringgold|Bodeen|1969|p=3}} It offered Farnum a choice between a quarter stock in the company or $250 in weekly salary. Farnum chose the salary.{{sfn|Louvish|2007|p=58}} Already $15,000 in debt to Royle for the screenplay of ''[[The Squaw Man (1914 film)|The Squaw Man]]'', Lasky's relatives bought the $5,000 stock to save the Lasky Company from bankruptcy.{{sfn|Eames|1985|pp=9–10}} With no knowledge of filmmaking, DeMille was introduced to observe the process at film studios. He was eventually introduced to [[Oscar Apfel]], a stage director who had been a director with the [[Edison Company]].{{sfn|Edmonds|Mimura|1980|p=40}}

On December 12, 1913, DeMille, his cast, and crew boarded a Southern Pacific train bound for [[Flagstaff, Arizona|Flagstaff]] via [[New Orleans]]. His tentative plan was to shoot a film in [[Arizona]], but he felt that Arizona lacked the Western look they were searching for. They also learned that other filmmakers were successfully shooting in Los Angeles, even in winter.<ref>{{harvnb|Ringgold|Bodeen|1969|p=3}};{{harvnb|Presley|Vieira|2014|p=29}}</ref> He continued to Los Angeles. Once there, he chose not to shoot in [[Edendale, Los Angeles|Edendale]], where many studios were, but in Hollywood.{{sfn|Dick|2001|p=8}} DeMille rented a barn to function as their film studio.{{sfn|Ringgold|Bodeen|1969|p=4}} Filming began on December 29, 1913, and lasted three weeks.{{sfn|Louvish|2007|p=59}} Apfel filmed most of ''The Squaw Man'' due to DeMille's inexperience, but DeMille learned quickly and was particularly adept at impromptu screenwriting as necessary.{{sfn|Eames|1985|p=10}} He made his first film run 60 minutes, as long as a short play. ''The Squaw Man'' (1914), co-directed by Apfel, was a sensation, and it established the Lasky Company. It was the first feature-length film made in Hollywood.{{sfn|Presley|Vieira|2014|p=8}} There were problems with the perforation of the film stock, and it was discovered the DeMille had brought a cheap British film perforator that had punched in 65 holes per foot instead of the industry standard of 64. Lasky and DeMille convinced film pioneer [[Siegmund Lubin]] of the [[Lubin Manufacturing Company]] to have his experienced technicians reperforate the film.{{sfn|Louvish|2007|p=65}}

This was the first American feature film, according to its release date. [[D.&nbsp;W. Griffith]]'s ''[[Judith of Bethulia]]'' was filmed earlier than ''The Squaw Man'', but released later.{{sfn|Louvish|2007|p=60}} This as the only film in which DeMille shared director's credit with Apfel.{{sfn|Ringgold|Bodeen|1969|p=9}}

''The Squaw Man'' was a success, which led to the eventual founding of Paramount Pictures and Hollywood becoming the "film capital of the world".<ref name="DeMille At 75 Still Creating">{{cite news|last=Lowe|first=Walter|title=DeMille at 75 Still Creating|url=https://news.google.com/newspapers?nid=266&dat=19561022&id=0KY0AAAAIBAJ&pg=1290,1458005|access-date=April 29, 2014|newspaper=[[Kentucky New Era]]|date=October 22, 1956}}</ref><ref>{{harvnb|Presley|Vieira|2014|p=12}}</ref> The film grossed more than ten times its budget after its New York premiere in February 1914.{{sfn|Eames|1985|p=10}} DeMille's next project was to aid Apfel in directing ''[[Brewster's Millions (1914 film)|Brewster's Millions]]'', which was wildly successful.{{sfn|Louvish|2007|pp=69–70}} In December 1914, Constance Adams brought home John DeMille, a 15-month-old boy, whom the couple legally adopted three years later. Biographer Scott Eyman suggested that she may have decided to adopt after recently having had a miscarriage.{{sfn|Eyman|2010|p=99}}{{refn|group=note|Unlike the other children that the DeMilles adopted, they never told John about his birth parents.{{sfn|Eyman|2010|p=99}}}}

===1915–1928: silent era===

====Westerns, Paradise, and World War I====
[[File:FamousPlayers-Lasky-partners, 1916.jpg|thumb|Famous Players–Lasky Corporation – DeMille is seated, second from the right.|alt=Five well-dressed men seated or standing at various levels]]
Cecil B. DeMille's second film, credited exclusively to him, was ''[[The Virginian (1914 film)|The Virginian]]''. It is the earliest of DeMille's films available in a quality, color-tinted video format, but that version is actually a 1918 rerelease.{{sfn|Louvish|2007|p=71}} The Lasky Company's first few years were spent making films nonstop. DeMille directed 20 films by 1915.{{sfn|Louvish|2007|p=75}} The most successful films during this period were ''Brewster's Millions'' (co-directed by DeMille), ''[[Rose of the Rancho (1914 film)|Rose of the Rancho]]'', and ''[[The Ghost Breaker (1914 film)|The Ghost Breaker]]''.{{sfn|Eames|1985|p=10}} DeMille adapted Belasco's dramatic lighting techniques to film technology, mimicking moonlight with U.S. cinema's first attempts at "motivated lighting" in ''[[The Warrens of Virginia (1915 film)|The Warrens of Virginia]]''.{{sfn|Presley|Vieira|2014|p=47}} This was the first of a few film collaborations with his brother William. They struggled to adapt the play from the stage to the set. After the film was shown, viewers complained that the shadows and lighting prevented the audience from seeing the actors' full faces and said they would pay only half price. Sam Goldwyn suggested that if they called it "Rembrandt" lighting, the audience would pay double the price.{{sfn|Louvish|2007|p=84}} Additionally, because of DeMille's cordiality after the ''Peter Grimm'' incident, DeMille was able to rekindle his partnership with Belasco. He adapted several of Belasco's screenplays into film.{{sfn|Louvish|2007|pp=76–77}}

DeMille's most successful film was ''[[The Cheat (1915 film)|The Cheat]]''; his direction in the film was acclaimed.{{sfn|Eames|1985|p=11}} In 1916, exhausted from three years of nonstop filmmaking, DeMille purchased land in the [[Angeles National Forest]] for a ranch that would become his getaway. He called this place "Paradise", declaring it a wildlife sanctuary; no shooting of animals besides snakes was allowed. His wife did not like Paradise, so DeMille often brought his mistresses there with him, including actress [[Julia Faye]].<ref>{{harvnb|Eyman|2010|p=131}}</ref><ref name="paradise">{{cite news |last=Rasmussen |first=Cecilia |title=Echoes of Epics in DeMille's Paradise |url=https://www.latimes.com/archives/la-xpm-1997-sep-21-me-34726-story.html |access-date=July 17, 2019 |work=[[Los Angeles Times]] |date=September 21, 1997}}</ref> In 1921, DeMille purchased a yacht he called ''The Seaward''.{{refn|group=note|DeMille liked to sail and dive; he had several boats throughout his lifetime. He donated ''The Seaward'', his most cherished boat, to the merchant marine for service during World War II. The boat was returned to him destroyed. DeMille gave up the boat and never bought another one.{{sfn|Eyman|2010|p=370}}}}

While filming ''[[The Captive (1915 film)|The Captive]]'' in 1915, an extra, Charles Chandler, died on set when another extra failed to heed DeMille's orders to unload all guns for rehearsal. DeMille instructed the guilty man to leave town and never revealed his name. Lasky and DeMille maintained Chandler's widow on the payroll and, according to leading actor [[House Peters Sr.]], DeMille refused to stop production for Chandler's funeral. Peters said that he encouraged the cast to attend the funeral with him anyway since DeMille would not be able to shoot the film without him.{{sfn|Louvish|2007|p=95}} On July 19, 1916, the Jesse Lasky Feature Play Company merged with Adolph Zukor's [[Famous Players Film Company]], becoming [[Famous Players–Lasky]]. Zukor became president, Lasky vice president,{{sfn|Dick|2001|p=11}} DeMille director-general, and Goldwyn chairman of the board.{{sfn|Eames|1985|p=11}} Famous Players–Lasky later fired Goldwyn for frequent clashes with Lasky, DeMille, and Zukor.{{sfn|Eames|1985|p=11}} While on a European vacation in 1921, DeMille contracted rheumatic fever in Paris. He was confined to bed and unable to eat. His poor physical condition upon his return home affected the production of his 1922 film ''[[Manslaughter (1922 film)|Manslaughter]]''. According to Richard Birchard, DeMille's weakened state during production may have led to the film being received as uncharacteristically substandard.{{sfn|Birchard|2004|pp=172–173}}

During World War I, the Famous Players–Lasky organized a military company underneath the National Guard, the Home Guard, made up of film studio employees, with DeMille as captain. Eventually, the Guard was enlarged to a battalion and recruited soldiers from other film studios. They took time off weekly to practice military drills. Additionally, during the war, DeMille volunteered for the Justice Department's Intelligence Office, investigating friends, neighbors, and others he came in contact with in connection with the Famous Players–Lasky. He also volunteered for the Intelligence Office during World War II.{{sfn|Eyman|2010|pp=140–141}} DeMille considered enlisting in World War I, but stayed in the U.S. and made films. He did take a few months to set up a movie theater for the French front. Famous Players–Lasky donated the films.{{sfn|Eyman|2010|p=141}} DeMille and Adams adopted [[Katherine DeMille|Katherine Lester]] in 1920, whom Adams had found in the orphanage she directed.{{sfn|Eyman|2010|p=162}}{{Refn|group=note|Katherine's father had been killed in [[World War I]] and her mother had died of [[tuberculosis]].<ref>{{harvnb|Louvish|2007|p=185}}; {{harvnb|Eyman|2010|p=162}}</ref> To DeMille's dismay, Katherine became an actress; however, she ultimately gained his approval. In 1936 she married actor Anthony Quinn.<ref>{{cite news |last=Bergan |first=Ronald |title=Anthony Quinn: Colourful Hollywood star who built a career playing ethnic heroes and villains |url=https://www.theguardian.com/news/2001/jun/05/guardianobituaries.filmnews |work=The Guardian |date=June 5, 2001 |access-date=May 24, 2019}}</ref>}} In 1922, the couple adopted Richard deMille.{{sfn|Louvish|2007|p=90}}{{refn|group=note|After the death of William deMille, DeMille revealed to Richard DeMille that William was his father and he had been born to William and a mistress. DeMille had adopted him to avoid revealing the affairs to William's wife. The mistress could not keep the boy due to her tuberculosis.{{sfn|Louvish|2007|p=90, 206-207}} DeMille became a notable psychiatrist, filmmaker and writer.<ref>{{cite web |title=Guide to the Richard DeMille Collection |url=https://oac.cdlib.org/findaid/ark:/13030/kt6z09n8nt/ |website=Online Archive of California |publisher=California Digital Library |access-date=May 23, 2019}}</ref><ref>{{harvnb|Birchard|2004|p=xvi}}</ref><ref name="obit">{{cite news |title=Cecil DeMille, 77, Pioneer of Movies, Dead in Hollywood |url=http://movies2.nytimes.com/learning/general/onthisday/bday/0812.html |work=The New York Times |date=January 22, 1959 |access-date=May 24, 2019}}</ref>}}

====Scandalous dramas, Biblical epics, and departure from Paramount====
Film started becoming more sophisticated and the Lasky company's subsequent films were criticized for primitive and unrealistic set design.{{sfn|Birchard|2004|p=21}} Consequently, Beatrice deMille introduced the Famous Players–Lasky to [[Wilfred Buckland]], whom DeMille knew from his time at the American Academy of Dramatic Arts, and he became DeMille's art director. William deMille reluctantly became a story editor. William later converted from theater to Hollywood and spent the rest of his career as a film director.{{sfn|Eames|1985|p=11}} DeMille frequently remade his own films. In 1917, he remade ''[[The Squaw Man (1918 film)|The Squaw Man]]'' (1918), only four years after the original. Despite its quick turnaround, the film was fairly successful. DeMille's second remake at [[Metro-Goldwyn-Mayer|MGM]] in 1931 was a failure.{{sfn|Eames|1985|p=17}}

After five years and 30 hit films, DeMille became the American film industry's most successful director. In the silent era, he was renowned for ''[[Male and Female]]'' (1919), ''Manslaughter'' (1922), ''[[The Volga Boatman (1926 film)|The Volga Boatman]]'' (1926), and ''[[The Godless Girl]]'' (1928). His trademark scenes included bathtubs, lion attacks, and Roman orgies.{{sfn|Eames|1985|p=19}} Many of his films featured scenes in two-color [[Technicolor]]. In 1923, DeMille released the modern melodrama ''The Ten Commandments'', a significant change from his previous irreligious films. The film was produced on a budget of $600,000, Paramount's most expensive production. This concerned Paramount executives, but the film was the studio's highest-grossing film.{{sfn|Eames|1985|p=28}} It held the Paramount record for 25 years until DeMille broke the record again.<ref name="He Himself Was 'Colossal'">{{cite news|title=He Himself Was "Colossal"|url=https://news.google.com/newspapers?nid=1946&dat=19590122&id=6IoxAAAAIBAJ&pg=1891,3704755|access-date=April 29, 2014|newspaper=[[The Montreal Gazette]]|date=January 22, 1959}}</ref>

[[File:Cecil B. DeMille 1919.jpg|200px|thumb|right|Advertisement (1919)|alt=Sepia toned advertisement for "For Better, For Worse" with a headshot of DeMille at the top]]
In the early 1920s, scandal surrounded Paramount; religious groups and the media opposed portrayals of immorality in films. A censorship board called the [[Hays Code]] was established. DeMille's film ''[[The Affairs of Anatol]]'' came under fire. Furthermore, DeMille argued with Zukor over his extravagant and over-budget production costs.{{sfn|Eames|1985|p=13, 23}} Consequently, DeMille left Paramount in 1924 despite having helped establish it. He joined the [[Producers Distributing Corporation]].<ref>{{harvnb|Ringgold|Bodeen|1969|p=10}}; {{harvnb|Dick|2001|p=15}}</ref> His first film in the new production company, DeMille Pictures Corporation, was ''[[The Road to Yesterday]]'' in 1925. He directed and produced four films on his own, working with Producers Distributing Corporation because he found front office supervision too restricting.{{sfn|Ringgold|Bodeen|1969|pp=5–6}} Aside from ''The King of Kings,'' none of DeMille's films away from Paramount were successful.{{sfn|Ringgold|Bodeen|1969|pp=8–12}} ''The King of Kings'' established DeMille as "master of the grandiose and of biblical sagas".{{sfn|Louvish|2007|p=xiv}} Considered at the time the most successful Christian film of the silent era, DeMille calculated that it had been viewed over 800 million times around the world.<ref>{{cite book |last=Bakker |first=Freek L. |title=The Challenge of the Silver Screen: An Analysis of the Cinematic Portraits of Jesus, Rama, Buddha and Muhammad |url=https://books.google.com/books?id=YuF5DwAAQBAJ&q=the+king+of+kings+800+million+viewers&pg=PA18 |publisher=Brill |location=Leiden |date=2009 |page=18 |isbn=9789004168619 |access-date=June 20, 2019}}</ref> After the release of DeMille's ''The Godless Girl'', silent films in America became obsolete, and DeMille was forced to shoot a shoddy final reel with the new sound production technique. Although this final reel looked so different from the first 11 reels that it appeared to be from another movie, according to Simon Louvish, the film is one of DeMille's strangest and most "DeMillean" film.{{sfn|Louvish|2007|p=278}}

The immense popularity of DeMille's silent films enabled him to branch out into other areas. The [[Roaring Twenties]] were the boom years and DeMille took full advantage, opening the [[Mercury Aviation Company]], one of America's first commercial airlines.<ref>{{cite news |last=Masters |first=Nathan |title=How a Hollywood Director Almost Launched L.A.'s First Commercial Airline |url=https://www.kcet.org/shows/lost-la/how-a-hollywood-director-almost-launched-las-first-commercial-airline |access-date=May 30, 2019 |work=KCET |publisher=Public Media Group of Southern California |date=May 23, 2017}}</ref> He was also a real estate speculator,<ref name="register" /> an underwriter of political campaigns, vice president of [[Bank of America]],<ref>{{cite web |title=Financing Hollywood through the Great Depression |url=https://about.bankofamerica.com/en-us/our-story/financing-hollywood-through-great-depression.html#fbid=dmJMGNL_I39 |website=Bank of America |publisher=Bank of America Corporation |access-date=May 30, 2019}}</ref> and vice president of the Commercial National Trust and Savings Bank in Los Angeles, where he approved loans for other filmmakers.<ref>{{cite book |last=Mahar |first=Karen Ward |title=Women Filmmakers in Early Hollywood |url=https://archive.org/details/womenfilmmakersi0000maha |url-access=registration |publisher=[[Johns Hopkins University Press]] |location=Baltimore |date=2006 |page=[https://archive.org/details/womenfilmmakersi0000maha/page/199 199] |isbn=0801884365 |quote=cecil b demille approved loans for other filmmakers. |access-date=June 20, 2019}}</ref> In 1916, DeMille purchased a mansion in Hollywood. [[Charlie Chaplin]] lived next door for a time, and after he moved, DeMille purchased the other house and combined the estates.<ref>{{cite news |last=Stein |first=Megan |title=Angelina Jolie Buys Historic Cecil B. DeMille Estate for $24.5 Million |url=https://people.com/home/angelina-jolie-puts-offer-in-on-historic-cecil-b-demille-estate/ |work=People |date=June 2, 2017 |access-date=June 26, 2019}}</ref>

===1929–1956: sound era===
====MGM and return to Paramount====
When "talking pictures" were invented in 1928, DeMille made a successful transition, offering his own innovations to the painful process; he devised a microphone boom and a soundproof [[Sound blimp|camera blimp]].{{sfn|Presley|Vieira|2014|pp=152–155}} He also popularized the camera crane.{{sfn|Presley|Vieira|2014|p=166}} His first three sound films, ''[[Dynamite (1929 film)|Dynamite]]'', ''[[Madame Satan]]'', and his 1931 remake of ''[[The Squaw Man (1931 film)|The Squaw Man]]'', were produced at Metro-Goldwyn-Mayer.{{sfn|Ringgold|Bodeen|1969|p=7}} These films were critically and financially unsuccessful. He had completely adapted to the production of sound film despite the film's poor dialogue.{{sfn|Blanke|2018|p=129}} After his contract ended at MGM, he left, but no production studios would hire him. He attempted to create a guild of a half a dozen directors with the same creative desires called the Director's Guild, but the idea failed due to lack of funding and commitment. Moreover, the [[Internal Revenue Service]] audited DeMille due to issues with his production company. This was, according to DeMille, the lowest point of his career. He traveled abroad to find employment until he was offered a deal at Paramount.{{sfn|Blanke|2018|pp=129–130}}

In 1932, DeMille returned to Paramount at Lasky's request, bringing with him his own production unit.<ref>{{harvnb|Dick|2001|pp=15, 21}}; {{harvnb|Eames|1985|p=88}}</ref> His first film back at Paramount, ''The Sign of the Cross'', was also his first success since leaving Paramount besides ''The King of Kings''. Zukor approved DeMille's return on the condition that DeMille not exceed his production budget of $650,000 for ''The Sign of the Cross''. Produced in eight weeks without exceeding budget, the film was financially successful.{{sfn|Eames|1985|p=88}} ''The Sign of the Cross'' was the first film to integrate all cinematic techniques. The film was considered a "masterpiece" and surpassed the quality of other sound films of the time.{{sfn|Presley|Vieira|2014|p=198}} DeMille followed this epic with two dramas released in 1933 and 1934, ''[[This Day and Age (film)|This Day and Age]]'' and ''[[Four Frightened People]]''. These were box-office disappointments, though ''Four Frightened People'' received good reviews. DeMille stuck to large-budget spectaculars for the rest of his career.{{sfn|Eames|1985|pp=98–100}}

====Politics and ''Lux Radio Theatre''====
[[File:Cecil B DeMille 1937.JPG|thumb|right|DeMille as producer of the ''Lux Radio Theatre'', broadcast on CBS, 1937|alt=Full body photograph of DeMille wearing a blakc suit, holding a top hat in one hand and the CBS radio microphone in the other]]

DeMille was outspoken about his Episcopalian integrity, but his private life included mistresses and adultery.{{sfn|Eyman|2010|p=7}} He was a conservative [[Republican Party (United States)|Republican]] activist, becoming more conservative as he aged.{{citation needed|date=May 2021}} He was known as anti-union and worked to prevent the unionization of film production studios.{{sfn|Eyman|2010|pp=270–272}} But according to DeMille himself, he was not anti-union and belonged to a few unions. He said he was rather against union leaders such as [[Walter Reuther]] and [[Harry Bridges]], whom he compared to dictators.{{sfn|Eyman|2010|p=376}} He supported [[Herbert Hoover]] and in 1928 made his largest campaign donation to Hoover.{{sfn|Eyman|2010|p=288}} But DeMille also liked [[Franklin D. Roosevelt]], finding him charismatic, tenacious, and intelligent, and agreeing with Roosevelt's abhorrence of [[Prohibition in the United States|Prohibition]]. DeMille lent Roosevelt a car for his [[1932 United States presidential election]] campaign and voted for him. He never again voted for a Democratic candidate in a presidential election.{{sfn|Eyman|2010|p=288}}

From June 1, 1936, until January 22, 1945, DeMille hosted and directed ''[[Lux Radio Theatre]]'', a weekly digest of current feature films.{{sfn|Ringgold|Bodeen|1969|p=367}} Broadcast on the [[Columbia Broadcasting System]] (CBS) from 1935 to 1954,<ref>{{cite book |editor1-last=Cutchins |editor1-first=Dennis |editor2-last=Krebs |editor2-first=Katja |editor3-last=Voigts |editor3-first=Eckart |title=The Routledge Companion to Adaptation |date=2018 |publisher=Routledge |location=New York |isbn=9781315690254 |url=https://books.google.com/books?id=oR9WDwAAQBAJ&q=lux+radio+theater+columbia+broadcast+company&pg=PT463 |access-date=July 17, 2019}}</ref> ''Lux Radio'' was one of the most popular weekly shows in radio history.{{sfn|Ringgold|Bodeen|1969|p=367}} While DeMille was host, the show had 40 million weekly listeners and DeMille had an annual salary of $100,000.{{sfn|Ringgold|Bodeen|1969|p=367}} From 1936 to 1945, he produced, hosted, and directed every show, with the occasional exception of a guest director.{{sfn|Ringgold|Bodeen|1969|p=367}} He resigned from ''Lux Radio'' because he refused to pay a dollar to the American Federation of Radio Artists (AFRA), on the principle that no organization had the right to "levy a compulsory assessment upon any member".{{sfn|Ringgold|Bodeen|1969|p=368}}

DeMille sued the union for reinstatement but lost. He appealed to the California Supreme Court and lost again. When the AFRA expanded to television, DeMille was banned from television appearances. Consequently, he formed the DeMille Foundation for Political Freedom to campaign for the right to work.{{sfn|Eyman|2010|p=375}} He gave speeches across the nation for the next few years. DeMille's primary criticism was of closed shops, but later included criticism of communism and unions in general. The U.S. Supreme Court declined to review his case, but DeMille lobbied for the [[Taft–Hartley Act]], which passed. It prohibited denying anyone the right to work if they refuse to pay a political assessment. But the law did not apply retroactively, so DeMille's television and radio appearance ban lasted the rest of his life, though he was permitted to appear on radio or television to publicize a movie.{{sfn|Eyman|2010|pp=375–377}} [[William Keighley]] replaced him.{{sfn|Ringgold|Bodeen|1969|p=368}} DeMille never worked in radio again.{{sfn|Ringgold|Bodeen|1969|p=368}}{{Refn|group=note|Frequent actors and actresses on the show included Barbara Stanwyck, Claudette Colbert, Loretta Young, Don Ameche, and Fred MacMurray.{{sfn|Ringgold|Bodeen|1969|p=369}}}}

====Adventure films and dramatic spectacles====
In 1939, DeMille's ''[[Union Pacific (film)|Union Pacific]]'' was successful through DeMille's collaboration with the [[Union Pacific Railroad]]. The Union Pacific gave DeMille access to historical data, early period trains, and expert crews, adding to the film's authenticity.{{sfn|Eames|1985|p=140}} During pre-production, DeMille was dealing with his first serious health issue. In March 1938, he underwent a major emergency [[prostatectomy]]. He had a post-surgery infection from which he nearly did not recover, citing [[streptomycin]] as his saving grace. The surgery caused him to suffer from sexual dysfunction for the rest of his life, according to some family members.{{sfn|Eyman|2010|pp=332–333}} After his surgery and the success of ''Union Pacific'', DeMille first used three-strip Technicolor in 1940, in ''[[North West Mounted Police (film)|North West Mounted Police]]''. DeMille wanted to film in Canada, but due to budget constraints, the film was instead shot in [[Oregon]] and Hollywood.{{sfn|Eames|1985|p=149}} Critics were impressed with the visuals but found the scripts dull, calling it DeMille's "poorest Western".{{sfn|Eames|1985|p=149}} Despite the criticism, it was Paramount's highest-grossing film of the year.{{sfn|Eames|1985|p=149}} Audiences liked its highly saturated color, so DeMille made no further black-and-white features.{{sfn|Louvish|2007|pp=359–360}} DeMille was anti-communist and abandoned a project in 1940 to film [[Ernest Hemingway]]'s ''[[For Whom the Bell Tolls]]'' due to its communist themes, even though he had already paid $100,000 for the rights to the novel. He was so eager to produce the film that he hadn't yet read it. He claimed he abandoned the project in order to complete a different project, but it was actually to preserve his reputation and avoid appearing reactionary.{{sfn|Eyman|2010|pp=337–338}}{{refn|group=note|The project was later completed by DeMille's former assistant director [[Sam Wood]] who was notoriously anti-communist.{{sfn|Eyman|2010|pp=337–338}}}} While concurrently filmmaking, he served during World War II at age 60 as his neighborhood air-raid warden.{{sfn|Louvish|2007|p=372}}

In 1942, DeMille worked with [[Jeanie MacPherson]] and William deMille to produce a film, ''Queen of Queens'', that was intended to be about [[Mary, mother of Jesus]]. After reading the screenplay, [[Daniel A. Lord]] warned DeMille that Catholics would find the film too irreverent while non-Catholics would consider it Catholic propaganda. Consequently, the film was never made.{{sfn|Louvish|2007|p=271}} MacPherson worked as a scriptwriter on many of DeMille's films.{{sfn|Eyman|2010|pp=96–97}}{{Refn|group=note|DeMille claimed that MacPherson was not a good writer, but she received credit in his films because she gave him many ideas for the screenplays.{{sfn|Eyman|2010|pp=96–97}}}} In 1938, DeMille supervised the film compilation ''[[Land of Liberty]]'' as the American film industry's contribution to the [[1939 New York World's Fair]]. He used clips from his own films in it. ''Land of Liberty'' was not high-grossing, but it was well-received, and DeMille was asked to shorten its running time to allow for more showings per day. MGM distributed the film in 1941 and donated profits to World War II relief charities.{{sfn|Eyman|2010|pp=336–337}}
[[File:Cecil B de Mille in The Greatest Show on Earth trailer.jpg|thumb|right|DeMille in the trailer for ''[[The Greatest Show on Earth (film)|The Greatest Show on Earth]]'' (1952), the film for which he won the [[Academy Award for Best Picture]]|alt=Closeup of DeMille leaning on a setpiece]]
In 1942, DeMille released Paramount's most successful film, ''[[Reap the Wild Wind]]''. It had a large budget and many special effects, including an electronically operated [[giant squid]].{{sfn|Eames|1985|p=158}} After working on it, DeMille was the [[master of ceremonies]] at a rally organized by [[David O. Selznick]] in the [[Los Angeles Coliseum]] in support of the [[Thomas E. Dewey|Dewey]]–[[John W. Bricker|Bricker]] presidential ticket as well as [[governor of California|Governor]] [[Earl Warren]] of California.<ref name="David M. Jordan 2011 pp. 231-232" />{{refn|group=note| The gathering drew 93,000, with short speeches by [[Hedda Hopper]] and [[Walt Disney]]. Among those in attendance were [[Ann Sothern]], [[Ginger Rogers]], [[Randolph Scott]], [[Adolphe Menjou]], [[Gary Cooper]], and [[Walter Pidgeon]]. Though the rally drew a good response, most Hollywood celebrities who took a public position sided with the [[Franklin Roosevelt|Roosevelt]]-[[Harry Truman|Truman]] ticket.<ref name="David M. Jordan 2011 pp. 231-232">David M. Jordan, ''FDR, Dewey, and the Election of 1944'' (Bloomington and Indianapolis: Indiana University Press, 2011), pp. 231–232.</ref>}} DeMille's 1947 film ''[[Unconquered (1947 film)|Unconquered]]'' had the longest running time (146 minutes), longest filming schedule (102 days), and largest budget ($5&nbsp;million). Its sets and effects were so realistic that 30 extras needed to be hospitalized due to a scene with fireballs and flaming arrows. It was commercially very successful.{{sfn|Eames|1985|p=183}}

DeMille's next film, ''Samson and Delilah'' (1949), was Paramount's highest-grossing film up to that time. A Biblical epic with sex, it was a characteristically DeMille film.{{sfn|Eames|1985|p=191}} 1952's ''The Greatest Show on Earth'' became Paramount's highest-grossing film to that point and won the Academy Award for Best Picture and the [[Academy Award for Best Story]]. It began production in 1949. Ringling Brothers-Barnum and Bailey were paid $250,000 for use of the title and facilities. DeMille toured with the circus while helping write the script. Noisy and bright, the film was not well-liked by critics but was an audience favorite.<ref>{{harvnb|Eames|1985|p=202}}</ref><ref>{{cite web |title=The 25th Academy Awards |url=https://www.oscars.org/oscars/ceremonies/1953 |website=Oscars.org |date=October 4, 2014 |publisher=Academy of Motion Picture Arts and Sciences |access-date=November 12, 2019}}</ref> In 1953, DeMille signed a contract with [[Prentice Hall]] to publish an autobiography.{{sfn|Eyman|2010|pp=436–437}} He reminisced into a voice recorder, the recording was transcribed, and the information was organized by topic.{{sfn|Eyman|2010|p=481}} Art Arthur also interviewed people for the autobiography. DeMille did not like the biography's first draft, saying he thought the person portrayed in it was an egotistical "SOB".{{sfn|Eyman|2010|p=482}} In the early 1950s, [[Allen Dulles]] and [[Frank Wisner]] recruited DeMille to serve on the board of the [[anti-communist]] [[National Committee for a Free Europe]], the public face of the organization that oversaw [[Radio Free Europe]].<ref>Weiner, Tim (2007). ''Legacy of Ashes: The History of the CIA''. New York: Doubleday. p. 36. {{ISBN|978-0-3855-1445-3}}</ref> In 1954, Secretary of the Air Force [[Harold E. Talbott]] asked DeMille for help designing the cadet uniforms at the newly established [[United States Air Force Academy]]. DeMille's designs, most notably that of the cadet parade uniform, were praised by Air Force and Academy leadership, adopted, and still worn.<ref>Radford, Bill. "A Digger, A Director and A Practical Joker". ''Colorado Springs Gazette'', USAF Academy 50th Anniversary Edition, Spring 2004.</ref>

====Final works and unrealized projects====
{{Quote box|bgcolor=#E0E6F8 |quote = We have just lived through a war where our people were systematically executed. Here we have a man who made a film praising the Jewish people, that tells of Samson, one of the legends of our Scripture. Now he wants to make the life of Moses. We should get down on our knees to Cecil and say "Thank you!"{{sfn|Presley|Vieira|2014|p=371}} |source = – Alfred Zukor responding to DeMille's proposal of ''The Ten Commandments'' remake |width=25% |align=right}}

In 1952, DeMille sought approval for a lavish remake of his 1923 silent film ''The Ten Commandments''. He went before the Paramount board of directors, which was mostly Jewish-American. The board rejected his proposal, even though his last two films, ''Samson and Delilah'' and ''The Greatest Show on Earth'', had been record-breaking hits.<ref>{{harvnb|Eyman|2010|p=438}}; {{harvnb|Presley|Vieira|2014|p=371}}</ref> Adolph Zukor convinced the board to change its mind on the grounds of morality.{{sfn|Presley|Vieira|2014|p=371}} DeMille did not have an exact budget proposal for the project,{{sfn|Eyman|2010|p=438}} and it promised to be the most costly in U.S. film history. Still, the board unanimously approved it.{{sfn|Edmonds|Mimura|1980|p=115}} ''The Ten Commandments'', released in 1956, was DeMille's final film. It was the longest (3 hours, 39 minutes) and most expensive ($13&nbsp;million) film in Paramount history.{{sfn|Eames|1985|p=218, 340}} Production began in October 1954.{{sfn|Eames|1985|p=218, 340}} The Exodus scene was filmed on-site in Egypt with four Technicolor-VistaVision cameras filming 12,000 people. Filming continued in 1955 in Paris and Hollywood on 30 different sound stages. They even expanded to RKO sound studios for filming.{{sfn|Eames|1985|p=218}} Post-production lasted a year, and the film premiered in [[Salt Lake City]].{{sfn|Presley|Vieira|2014|p=384}} Nominated for an Academy Award for Best Picture, it grossed over $80&nbsp;million, which surpassed the gross of ''The Greatest Show on Earth'' and every other film in history except ''[[Gone with the Wind (film)|Gone with the Wind]]''.{{sfn|Eames|1985|p=218, 340}} DeMille offered ten percent of his profit to the crew, a unique practice at the time.{{sfn|Presley|Vieira|2014|pp=381, 387}}

On November 7, 1954, while in Egypt filming the [[The Exodus|Exodus]] sequence for ''The Ten Commandments'', DeMille (who was 73) climbed a {{convert|107|ft|adj=on}} ladder to the top of the set and had a serious heart attack. Despite the urging of his associate producer, DeMille wanted to return to the set right away. He developed a plan with his doctor to allow him to continue directing while reducing his physical stress.<ref>{{harvnb|Birchard|2004|pp=357–358}}; {{harvnb|Eyman|2010|pp=452–453}}</ref> DeMille completed the film, but his health was diminished by several more heart attacks. His daughter Cecilia took over as director as DeMille sat behind the camera with [[Loyal Griggs]] as the cinematographer.{{sfn|Presley|Vieira|2014|p=396}} This film was his last.<ref>{{cite news |last=Phillips |first=Casey |title=Sixty years later, The Ten Commandments remains one of the most popular biblical films ever made |url=https://www.timesfreepress.com/news/life/entertainment/story/2016/mar/26/sixty-years-later-ten-commandments-remains-on/356996/ |access-date=May 30, 2019 |work=Times Free Press |date=March 26, 2016}}</ref>{{Refn|group=note|While the film was a huge success, DeMille regretted that he could not share the success with his wife who had developed [[Alzheimer's disease]].{{sfn|Presley|Vieira|2014|p=387}}}}

Due to his frequent heart attacks, DeMille asked his son-in-law, actor [[Anthony Quinn]], to direct a remake of his 1938 film ''[[The Buccaneer (1958 film)|The Buccaneer]]''. DeMille served as executive producer, overseeing producer [[Henry Wilcoxon]].{{sfn|Presley|Vieira|2014|p=402}} Despite a cast led by [[Charlton Heston]] and [[Yul Brynner]], the 1958 film ''[[The Buccaneer (1958 film)|The Buccaneer]]'' was a disappointment.{{sfn|Dick|2001|p=76}} DeMille attended its Santa Barbara premiere in December 1958.{{sfn|Presley|Vieira|2014|p=402}} He was unable to attend its Los Angeles premiere.{{sfn|Presley|Vieira|2014|p=402}} In the months before his death, DeMille was researching a film biography of [[Robert Baden-Powell, 1st Baron Baden-Powell|Robert Baden-Powell]], the founder of the [[Scouting|Scout Movement]]. DeMille asked [[David Niven]] to star in the film, but it was never made. DeMille also was planning a film about the space race and a biblical epic based on the [[Book of Revelation]].<ref>{{harvnb|Eyman|2010|pp=494–496, 500}}; {{harvnb|Presley|Vieira|2014|p=402}}</ref> His autobiography was mostly complete when he died, and was published in November 1959.{{sfn|Eyman|2010|p=507}}

====Death====
[[File:DeMilleTomb.JPG|thumb|150px|right|DeMille's tomb at Hollywood Forever Cemetery|alt=Two large white crypts next to each other in a cememtery]]

DeMille suffered a series of heart attacks from June 1958 to January 1959,{{sfn|Presley|Vieira|2014|p=402}} and died on January 21, 1959, following an attack.<ref name="stars" /> His funeral was held on January 23 at St. Stephen's Episcopal Church. He was entombed at the [[Hollywood Forever Cemetery|Hollywood Memorial Cemetery]] (now known as Hollywood Forever).<ref>Donnelley, Paul (2004). ''Fade to Black: A Book of Movie Obituaries'' (3rd ed.). Omnibus Press. p. 318. {{ISBN|1-844-49430-6}}.</ref> After his death, news outlets such as ''The New York Times'', the ''[[Los Angeles Times]]'', and ''The Guardian'' called DeMille a "pioneer of movies", "the greatest creator and showman of our industry", and "the founder of Hollywood".{{sfn|Presley|Vieira|2014|p=12}} DeMille left his multi-million dollar estate in [[Los Feliz, Los Angeles]], in Laughlin Park to his daughter Cecilia because his wife had dementia and was unable to care for an estate. She died a year later.<ref>{{harvnb|Louvish|2007|p=433}}</ref><ref name="jolie" /> His personal will drew a line between Cecilia and his three adopted children, with Cecilia receiving a majority of DeMille's inheritance and estate. The other three children were surprised by this, as DeMille had not treated them differently in life.{{sfn|Eyman|2010|pp=506–507}} Cecilia lived in the house until her death in 1984.<ref>[https://www.upi.com/Archives/1984/06/26/De-Mille-daughter-dies/8570457070400/ ''De Mille daughter dies''], upi.com, June 26, 1984</ref> The house was auctioned by his granddaughter Cecilia DeMille Presley, who also lived there in the late 1980s.<ref>{{cite news |last=Vyzralek |first=Patti |title=Christie's East to Auction DeMille Possessions |url=https://www.latimes.com/archives/la-xpm-1988-09-26-ca-1893-story.html |work=Los Angeles Times |date=September 26, 1988 |access-date=June 26, 2019}}</ref>{{refn|group=note|The estate cycled through several different homeowners for the next 30 years until it was bought by American actress [[Angelina Jolie]] in 2017 for nearly $25&nbsp;million.<ref name="jolie">{{cite news |last=David |first=Mark |title=Angelina Jolie Buys Cecil B. DeMille's Estate at Record-Shattering Price |url=https://variety.com/2017/dirt/real-estalker/angelina-jolie-cecil-b-demille-estate-laughlin-park-1202451889/ |access-date=June 26, 2019 |work=Variety |date=June 2, 2017}}</ref>}}