The Sign of the Cross (1932)

 Cecil B. DeMille's "The Sign of the Cross"

Venturing into sound proved successful for Cecil B. DeMille, despite having three flops with 1929's "Dynamite," 1930's "Madam Satan," and 1931's "The Squaw Man." Despite these misfires, DeMille used these productions to improve the sound quality of film itself. For example, he devised a microphone boom and a soundproof camera blimp, as well as popularizing the camera crane. Because of his unique innovations to film's new sound landscape, he was called back to Paramount at the request of Jesse Lasky. There, he created his first major success since 1927's "The King of Kings." The film, "The Sign of the Cross," was another Christian-centered story.

The story takes place in 64 AD Rome during the reign of Emperor Nero. Nero is having all Christian round-up and executed. However, one of his top soldiers falls in love with a Christian woman, despite being the lover of Nero's wife, Poppaea. Despite his love for this Christian woman, the soldier, Marcus, cannot save her or her religious pact from death by lions in the arena. 

"The Sign of the Cross" contains similar thematic elements to DeMille's previous work. Namely, the direct contrast between the philosophical/spiritual poor and the lavish/materialistic elite. These elements can be even more analyzed as being a battle within the individual self. Marcus, the soldier, is torn between the extravagances that the Roman empire affords him and the spiritual certainty of his love interest, Mercia. The Christians seem to have headstrong values and hold tight to these values even in the face of death. The Romans, however, do not seem to have internal value. The Roman only seem to value the material world and do not concern themselves with spirituality. The Romans are obsessed with beauty, materialism, and spectacle. The divide between these two extremes is visually represented by DeMille in the last acts of the film. DeMille showcases the Roman coliseum spectacle, which includes: gladiator battles, naked women being devoured by wild animals, midgets in combat, and other violent spectacles. Because the film was made in Pre-Code Hollywood, a lot of the graphic imagery is surprisingly kept in the film (aside from full-frontal nudity). So, we the viewer are also taking part in this grand spectacle, as we are seeing violence that is rarely shown in cinema during this time period. We too get wrapped up in the sensational. However, in the middle of this ultra-violence, DeMille cuts to the imprisoned Christians praying. The visual imagery could not be more different. While one is rapidly edited, contains tons of visual action, and is heavily graphic, the proceeding image is reverent, intimate, and quiet. The Christians are more concerned with philosophical values and the concept of life, while the wealthier Roman elites are more concerned with earthly extravagances. 

Despite being a Christian-based film, many Christian organizations did not react kindly to the film. More specifically, the aspects of the film that are 'sensational.' This is because there are many scenes that showcase the debauchery of the Romans, as well as explicit visuals shown by DeMille. One of the most famous scenes shows actress Claude Colbert, who plays Empress Poppaea, taking a milk bath. The scene was very explicit for the time, as it heavily implied nakedness. You can see Colbert's chest and shoulders and there are even certain moments that show the tops of her breasts. There are also instances of naked women being attacked in the arena. Despite their nakedness not fully shown, the visual intention is still there. There is another scene in which a woman named Ancaria tries to seduce the Christian Merica with an erotic dance, "Dance of the Naked Moon." The entire scene was cut from reissues of the film after the Hayes Code went into effect in 1934, because of its homosexual overtones. The reaction to the film by the Catholic Church helped found the Catholic Legion of Decency in 1934. 

Despite the enormous controversy, the film remained a success. Perhaps this success is not in spite of the controversy, but because of it. Moviegoers wanting to see sensational imagery got their money's worth. At the same time, Christians were able to enjoy a pro-Christian story. Presumably, many of the Christian audiences wrote off many of the sensational and controversial aspects of the film as affirming the Roman's hedonistic behavior, which is presented as antagonistic in the film. "The Sign of the Cross" re-established Cecil B. DeMille as a powerful director in the new sound landscape.