The Miracle (1912 film)

''The Miracle'' (1912) (Germany: ''Das Mirakel'', France: ''Le Miracle''), is a British* "The International Federation of Film Archives (FIAF) defines the country of origin as the country of the principal offices of the production company or individual by whom the moving image work was made." Se
Choice of Original Release Title in Country of Origin as Main Entry

* The film's producer was the American Joseph Menchen who acquired the sole film rights from Max Reinhardt, and from Bote & Bock, the publishers of Karl Vollmoeller and Engelbert Humperdinck. See . Menchen had offices at 20 Frith Street, Soho, at 20 Villiers St., and then at 3–7 Southampton St., Strand, London WC1. See
* Menchen had been resident in London for some time according to an interview with Al. Woods in th
''New York Times'', 9 May 1912
The "little electrical shop at the Bijou" referred to in the report was opened by Menchen at the 'old' Bijou Theatre, 1237 Broadway, after he was made bankrupt in 1905. The press agent for the Bijou Theatre, A. Curtis Bond, acquired the American rights to the Acres kineopticon projector, which Menchen had used to show films at Tony Pastor's Theatre from 1896. silent full-colour film, using a hand-coloured process similar to Pathéchrome. Produced by Joseph Menchen and directed by Michel Carré, it is among the first full-colour feature films to be made. It stars Maria Carmi, Ernst Matray, Florence Winston and Douglas Payne, and was filmed on location in Austria.

''The Miracle'' was not intended to be shown as an ordinary film in the usual way, but was designed by Menchen to be shown as part of a 'Lyricscope play'. This was an unusual (if not unprecedented) spectacular theatrical presentation which – in its most elaborate and complete expression – included: the projected colour film; a full-sized symphony orchestra and chorus performing Engelbert Humperdinck's score; live sound effects such as church bells and crowd noises; stage sets around the projection screen which changed during the performance; and live (non-speaking) actors and dancers in medieval costume.''Evening Post''
(Wellington, NZ), 6 March 1914, p. 3 The various component parts of this ideal production varied somewhat according to local conditions.

This 1912 multi-medium production was an adaptation of Max Reinhardt's wordless spectacular stage production of Karl Vollmoeller's play of the same name, which had played to huge audiences at the Olympia, London exhibition hall in 1911–1912. As some contemporary critics realised, ''The Miracle'' was not a "moving picture drama" in the normal sense of the word, but a "filmed pantomime," a celluloid record of the action of the stage production in a unique presentation.

The world première of the full-colour 'Lyricscope play' of ''The Miracle'' took place at the Royal Opera House, Covent Garden, London, on 21 December 1912 and it was shown all over the country until Easter 1913, breaking many records for attendance. The colour film with its attendant show subsequently made its way around the world, being shown in the U.S., Australia and Germany.

A rival, unauthorised version ('' Das Mirakel'') directed by Mime Misu for Continental-Kunstfilm in Germany appeared in the same year with the same subject and English title ("''The Miracle''"), and was the subject of various copyright legal actions in the UK and the United States, resulting in seven different titles shared between the two films.

Plot outline

The film tells the story of a wayward nun, Megildis, who deserts her convent with a knight, influenced by the music of an evil minstrel. A statue of the Virgin Mary comes to life and the takes place of Megildis, who makes her way through the world and its many vicissitudes. Later, Megildis returns to the convent with her dying infant, and is forgiven as the statue resumes its place.

Act 1 – Temptation
* Scene 1: The Nun, Sister Megildis is placed in charge of the sacred image.
* Scene 2: The healing of the lame man.
* Scene 3: The Minstrel and the music.
* Scene 4: The arrival of the Knight.
* Scene 5: The Nun must spend the night kneeling.
* Scene 6: The flight of the Nun with the Knight.
* Scene 7: The Miraculous Image comes to life.

Intermezzo
* Episode 1: The lake of the fairies.
* Episode 2: The capture of the Robber Count, and dancing for the Nun.
* Episode 3: The mock marriage ceremony.
* Episode 4: The Nun is arrested for witchcraft
* Episode 5: The Nun is shown the ghosts of all who have lost their lives because of her.

Act 2 – Forgiveness
* Scene 1: Christmas Eve in the Convent.
* Scene 2: The image of the Virgin returns to its altar.
* Scene 3: Megildis returns to the convent with her babe, and finds it dead. The Miracle occurs.
* Scene 4: Forgiveness.

Cast

* Maria Carmi – The Madonna
* Florence Winston – The Nun, Megildis
* Ernst Matray – The Minstrel (or the Player)
* Douglas Payne – The Knight
* Ernst Benzinger – The Robber Count
* Joseph Klein – The King
* Theodore Rocholl – The King's Son
* Agathe Barcesque – The Abbess
* Marie von Radgy – The Old Sacristan
* Alfred König – The Lame Man

All the actors in the film (except Florence Winston) had just given sixteen stage performances of the play in Vienna during the two weeks immediately preceding shooting, and were well-rehearsed in their parts.

Although some advertising for the film implied that all the cast had been in the 1911–12 Olympia production, this was only true for Maria Carmi, Douglas Payne, Ernst Benzinger and Joseph Klein. Carmi was married to Karl Vollmoeller, the author of the stage play, and ''The Miracle'' was the first of her 26 films. Apart from Payne and Matray, who had made one film each, none of the cast had any experience in film acting; between them Carmi, Matray, Payne, Benzinger and Klein went on to make some 160 motion pictures Carmi, Matray, Klein and Rocholl also starred in the film of Vollmoeller's next pantomime, ''Eine venezianische Nacht'' (''A night in Venice'').

Literary sources

The miraculous legend of a wayward nun named Beatrice has been retold many times since it was first collected in the early 13th century by Caesarius of Heisterbach in his ''Dialogus miraculorum'' (1219–1223). The tale was revived by Maurice Maeterlinck in 1901 in a minor play named ''Soeur Beatrice'' (''Sister Beatrice''), drawing on versions by Villiers de l'Isle-Adam and on the 14th-century Dutch poem '' Beatrijs''. Maeterlinck described his own work (and ''Ariane et Barbe-bleue'') as "...little scenarios, short poems of the type unfortunately called 'opera-comique', destined to furnish the musicians who asked for them, a theme amenable to lyrical developments. They pretend to nothing further." According to one critic, however, ''Ariane et Barbe-bleue'' and ''Soeur Beatrice'' "are, in truth, absolutely devoid of serious effort, aesthetic, doctrinal, or moral."

According to Jethro Bithell, "As a reading play Sister Beatrice is ruined by the species of blank verse in which it is said to be written. Typographically it is arranged in prose form; but palpable verses of this kind madden the reader:"
:
"II est prudent et sage; et ses yeux sont plus doux
Que les yeux d'un enfant qui se met a genoux."
Maeterlinck used the same style in ''Monna Vanna'': "...written, partly, in the same kind of blank verse as Sister Beatrice—very poor stuff considered as poetry, and very troublesome to read as prose."

''Sister Beatrice'' was produced by Vsevolod Meyerhold at the Moscow Arts Theatre in 1906, a production which Reinhardt may possibly have been aware of. Maeterlinck's play was also produced in March 1910 at the New Theatre, New York, with Edith Wynne Matthison in the title part.

While recovering from an illness aged 18 in 1896, Karl Vollmoeller had a vision of the Blessed Virgin Mary which had a profound impression on him, and which later became the basis of his wordless play, '' The Miracle''. In a later interview he recounted: "While living in Italy, I had the chance to become absorbed in Latin manuscripts which told the history of the saints of the Catholic Church. (ie Heisterbach). One of these legends inspired me to write my play known as ''The Miracle''... I wrote this piece (play) all at the same time (in one go), before films were made. I wish to state most emphatically that my play contains a spiritual message for the whole world, not only for Christians."

In another interview in 1913, Vollmoeller said of ''The Miracle'': "The Miracle is not a theatre play in the ordinary sense. It is intended as an appeal to religious feeling. To attempt to cater in a play of this sort exclusively to the rich or the snobbish would be a great mistake. Often the people who would appreciate a play are the people who cannot afford the price of admission. For a production like The Miracle to coach the people for whom it was primarily intended it must have a low price of admission."

Production team

The film ''The Miracle'' seems to have been the brainchild of its producer, Joseph Menchen, a London-based American inventor, film projectionist and owner of a New York theatrical lighting business who later became a literary agent for film scripts. Reports of copyright cases in the English and US courts confirm that Menchen made the film, and a review of the film's US première in New York referred to it as "the Menchen Miracle".

Menchen obtained the sole rights and film rights from Reinhardt and from Bote & Bock ( Vollmöller's and Humperdinck's publishers), and had "gone to very considerable expense" (£20,000 or $50,000) "in preparing a film of the play, which he intended to produce with Mr. Walter Hyman"Walter Hyman was the owner of a theatre chain
Grand Centrals Ltd.
which operated cheaper-priced theatres away from London's Theatreland:
* Eastern Grand Central Theatre – Commercial Rd, Stepney, E1
* Hackney Grand Central Theatre, Bethnal Green, E2
* Grand Central Theatre – Blackfriars Rd, Southwark, SE1
* The Carlton Theatre – Tottenham Court Rd. W1
* The Majestic Picturedrome cinema, also in Tottenham Court Rd.
The first three cinemas are now demolishe

The last two were notorious gay hangouts: the activities there and elsewhere led the London County Council, LCC to introduce lighting in theatre gangways. (Sourc
''Carlton Cinema''
at the LGBT History Project.) at the Covent Garden Opera House on 21 December." Another name (possibly a financial backer) appearing in connection with the production is that of A. D. Rosenthal. The 'Lyricscope play' was designed to be a partial re-creation (on a slightly smaller scale) of Reinhardt's massive theatrical spectacle which had drawn such large crowds to Olympia the previous year.

Reinhardt seems to have been involved in some initial technical discussions about a film of ''The Miracle'' (according to a July 1912 article in ''The Cinema'' before the film had been made) although he seems to have had little to do with its actual making.''The Cinema'', July 1912, p. 7
(pdf p. 205)

Although much of the 'direction' belongs essentially to Reinhardt (since the movie was intended to be a recording on film of Reinhardt's stage production), Menchen engaged the experienced French film director Michel Carré to supervise the filming. Carré had recently completed a historical film about Napoleon Bonaparte, ''Le Memorial de Saint-Hélène'' (1911). He had previously directed the first European full-length (90 minutes) film, ''L'enfant prodigue'' (1907), based on his own earlier pantomime with music ; and with Albert Cappellani he co-directed the popular and successful 1909 film ''Fleur de Pavé'' starring Mistinguett and Charles Prince.

According to a puff piece in a Berkshire local newspaper, Menchen and Carré had "countless experiences" in designing the film's appearance; eventually they devised a method of arranging backgrounds that would "reproduce every phrase of photographic light and shade, together with extreme depth." Before producing the film, Menchen had owned his own theatrical lighting business in Kansas City and New York, having started as a theatre electrician in Missouri aged about 18, and Carré was an experienced film-maker, having already worked on some 40 films as either (co)-director or screenwriter. Carré and Menchen apparently continued to get on well together; when Menchen opened his new Studio Menchen in the Paris suburb of Epinay-sur-Seine in 1913, Carré became its artistic director, although no films (or very few) seem to have been actually produced there.''Patrimoine en Seine-Saint-Denis: les studios et laboratoires L'Eclair''
pp. 3–4 (in French). Menchen sold the studios in May 1914, just before the outbreak of the First World War.

The film was designed to be accompanied by the original score which Engelbert Humperdinck had written for Reinhardt's Olympia production exactly a year before. In much of his advertising (he was his own self-publicity agent) Menchen fairly consistently promotes the film as being "accompanied by Humperdinck's glorious music", since it carries much of the weight of both film and play. The vocal score by Gustav Schirmer (which also contains the synopsis of the play above the music) was published in Germany by Bote & Bock in 1912 as Humperdinck's ''Das Wunder''.

According to an article in ''The Cinema'' in July 1912, the screenplay was adapted by Karl Vollmöller from his stage play which Reinhardt had produced as a result of a commission from C. B. Cochran for a spectacular pageant at Olympia in 1911. Vollmoeller saw and apparently approved of the film, saying that "it responds in every detail with my original work, with the exception of a few scenes introduced with my consent." However, in a January 1913 interview Vollmoeller appears unenthusiastic about the film's use of colour:

"...a system of colouring each film-scene must be devised independent of the film mechanism itself, as is done by the footlights and other stage lights in a theatrical production. I do not believe in the so-called natural colours for the cinema except for topical films. The reproduction of the colours of nature is not necessary, and nature in these circumstances is frequently ugly. It is here that art should enter."

The stage design and costumes at Olympia were by Ernst Stern, whose set had turned the London exhibition hall (often associated with horse shows) into a Gothic cathedral in 1911. The actors in Menchen's film wore the sumptuous costumes from the first continental performances of Reinhardt's stage show at the Vienna Rotunde; and for performances of Menchen's 'Lyricscope play', the screen was surrounded by stage scenery to make it seem as if the film were being watched through the open doors of a cathedral.

Production

Shooting of the film took place in various locations near Vienna, Austria, immediately after the play's European première there in October 1912.

Reinhardt's original 1911 stage production of ''The Miracle'' went on tour in Europe in repertory for two and a half years and its first continental production took place in the Vienna Rotunda, between 15 September–3 October 1912. The timing of the Vienna première was something of a publicity coup for Reinhardt: the Catholic Church's 23rd International Eucharistic Congress (whose opening ceremony attended by 15,000 people took place inside the Rotunda) had finished at the end of the previous week, providing a ready-made, international, religiously-inclined audience.

Shooting of ''The Miracle'' began on location in and around the parish church of Perchtoldsdorf, near Vienna, on 6 October 1912, immediately after the stage production had ended its 3-week run at the Rotunde. The small town's population was almost outnumbered by the cast of around 800 actors, who at mealtimes ate at long tables in the street.

For some external shots of the cathedral, the ground was covered with cotton wool to simulate snow, at a cost of 5,000 crowns. Filming continued in the recently completed (1874–1906) mock-mediaeval Burg Kreuzenstein, also near Vienna, Menchen having received permission from the owner, Count Wilczek.

It was shot in black-and-white 35mm film, and one or more prints were then hand-coloured in Paris. The film was originally announced with a running time of about 2 hours (7,000 feet),"Film show in Covent Garden"
''New York Times'', 9 December 1912 although it played at 5,500 or 5,100 feet in the US and elsewhere.References to a four-reel version of "The Miracle" probably refer to the 1912 '' Das Mirakel'' made by Continental-Kunstfilm GmbH and directed by Mime Misu (see Which Miracle? above.)

Performances of ''The Miracle''

The film was shown around the world. Première performances (with running times, where known) took place in:

* UK: (7,000 feet) — owner of worldwide rights, Joseph Menchen.
* USA: (5,500 feet) — owner of rights in the Americas: Miracle Company Inc. ( Al. H. Woods, and Milton and Sargent Aborn)
* Netherlands: — rights possibly owned by Anton Noggerath, Jr.
* Australia: ''Sydney Morning Herald'', Monday 29 December 1913, p. 2 col. 3
/ref> — Australasian rights owned by Beaumont Smith
* New Zealand: (6,000 or 5,500 feet)''Wanganui Chronicle'' (NZ), 14 April 1914, p. 8
/ref>
* Germany:
* Argentina:

United Kingdom

UK litigation

Menchen's film was ready for hand-colouring in December 1912, and he attempted to register it in Germany, but was refused since '' Das Mirakel'', a rival film directed by Mime Misu for the German Continental-Kunstfilm production company, was adjudged to have prior right. In London, however, the Elite Sales Agency (the UK distributors for Continental-Kunstfilm) was advertising the film with the English title, ''The Miracle''. The advance publicity implied that it was a film of the actual Reinhardt production in Olympia. Menchen, as the sole owner of the film rights, brought a court action (18 December 1912) to prevent Misu's film from being shown. The judge couldn't rule on the copyright, but he suggested that the Continental version be renamed ''Sister Beatrice''; it was shown at the London Pavilion that same day with the title ''Sister Beatrix''.

''Sister Beatrix'' only received a few single showings in the provinces, and was utterly eclipsed by the success of Menchen's film. The Elite Sales Agency ceased trading in October 1913, citing heavy losses.
* ''See also'' § US litigation ''section''

Performances

The world première of the 'Lyricscope play' of ''The Miracle'' in full colour took place at the Royal Opera House, Covent Garden, London, on 21 December 1912, exactly a year after Max Reinhardt's theatrical spectacle opened at Olympia. The 75-strong orchestra was conducted by Friedrich Schirmer, who had conducted the orchestra at Olympia (London) and later revised Humperdinck's score for the 1924 stage production at the Century Theatre (New York City). The chorus of 60 was conducted by Edmund van der Straeten, who had also been the chorus-master at Olympia.

''The Miracle'' ran for several weeks at the Royal Opera House, Covent Garden showing three times daily (3, 6.30 and 9pm) with chorus and orchestra of 200 performers, for as little as sixpence (2½p). Towards the end of its run, the reported number of performers had grown to 200.

The innovative daylight projection screen used throughout the run at the Royal Opera House was sold by the Universal Screen and Equipment Co. of 226, Piccadilly.The Universal Screen and Equipment Co. was formed on 14 February 1913, to acquire the benefit of an agreement dated 8 February 1913 between:
* Packing Materials Association Ltd. (PMA), founded in 1900
* John Duncan Blackwell, an inventor, whose father was chairman of PMA
* and one Edward Gosschalk, a solicitor
for a secret projection screen process. It was originally registered under the name Anylight Screen and Equipment Company Ltd. and registered at 62 London Wall. The capital was £5,000 (4,950 £1 shares and 1000 1/- shares). The company was wound up a year later at an EGM on 4 February 1914. (Source: )
** John Duncan Blackwell's father, (also called John, like ''his'' father) was the chairman of John Blackwell and Sons of Little Green Works in Collyhurst, Manchester, manufacturers since 1841 of tarpaulins and waterproof oilcloth packaging.
** In 1884 the company took out a patent for a machine process to automate the manufacture of oilcloth wrapping for cotton bales, and in 1897 John Duncan Blackwell took out his own patent for an improved waterproof cotton wrapping.
** John Blackwell & Sons merged in 1900 with eight other small packaging companies to form Packaging Materials Association (PMA). In 1923 Duncan became chairman of PMA, who continuously manufactured his 'patent wrap' until the 1970s. (Source: )
* The terminally legally curious may be interested to know that James Duncan Blackwell set up a half secret trust to provide for his four natural children after his death, without embarrassing his family. In ''Blackwell v. Blackwell 1929 Eng.'' Blackwell's widow and his son were unsuccessful in contesting the will after Viscount Simonds ruled that half secret trusts were as valid as secret trusts. This is the current state of the law in Canada as of 2012. (Source: ) Although it was the first time a film had been shown at Covent Garden, the Berlin Royal Opera had already been incorporating films into productions of Wagner operas to show otherwise impossible scenic effects.

The colour film briefly transferred to the brand-new Picture House at no. 165, Oxford Street, London, from Friday 24 January 1913.The Picture House at 165 Oxford Street (1912 architects: Gilbert and Constanduros) later became the Academy 1-2-3. Re-opening in c.1928 as the Academy, the ICA met in the basement in the late 1940s, and the Marquee jazz club opened in the basement from 1958. with exterior contemporary photo. Source: Eyles, Allen
"Cinemas & Cinemagoing: Art House & Repertory"
BFI screenonline. Accessed 18 December 2012. See also interior photographs a
Flickr
/ref> Before the public opening, Menchen put on a special benefit performance of ''The Miracle'' on 22 January 1913, the anniversary of the Battle of Rorke's Drift. He donated the proceeds to the fund for a memorial to a London cabby, Private Frederick Hitch, VC, who fought at Rorke's Drift and died on 6 January.

There was only a single hand-coloured coloured print of the film, and A. H. Woods, the owner of the film rights for the USA, was intending to the exhibit the film in New York City. Woods personally took the colour print with him back to New York, departing on the on 6 February. ''The Miracle'' opened at the Park Theater, 5 Columbus Circle, on 17 February 1913.

''The Miracle'' continued to show at the Picture House in a black-and-white version, advertised by Menchen (acting as his own UK distributor), as a 'Synescope Play'. which played in smaller auditoriums with reduced forces. ''Poverty Bay Herald'', XLI:13370, 2 May 1914, p. 1

A report of a later performance in July in Windsor describes the general effect in the auditorium:
:The scenery was specially built to represent the exterior of an old cathedral at Perchtoldsdorf, so ingeniously contrived that when the great doors are opened the audience see the whole enactment of the play as if it was being carried on in the cathedral itself. The aspect of the screen as one ordinarily sees it has been entirely done away with. .e. the screen was surrounded with scenery, like a stage play.

''The Miracle'' continued to attract large audiences wherever it played, breaking attendance records at Kings's Hall, Leyton (2,000 seats), King's Hall, Lewisham (2,000 seats), Curzon Hall, Birmingham (3,000 seats), Royal Electric Theatre, Coventry and the Popular Picture Palace, Gravesend
King's Hall, Leyton
at CinemaTreasures.org. The cinema was later taken over by Clavering & Rose, possibly related to the Clavering who was a director of Elite Sales Agency, or one of his brothers.
* The first cinema shows in Birmingham had been presented in the Curzon Hall, Suffolk Street, a hall originally designed in 1864 for dog shows. It held 3,000 people. Its proprietor, Walter Jeffs, had originally included films as a subsidiary part of a show: in time, they became the main attraction. In 1915 it became known as the West End Cinema. Source
'Economic and Social History: Social History since 1815'
''A History of the County of Warwick: Volume 7: The City of Birmingham'' (1964), pp. 223–245. Accessed 21 December 2012.
* Popular Picture Palace: se
'Super Cinema' at Cinema Treasures
As many as 150,000 people went to see ''The Miracle'' during a three-week run at the Liverpool Olympia (3,750 seats).

United States

The première performance of the Menchen ''Miracle'' in full colour took place at the Park Theatre, Columbus Circle, New York, on Monday 17 February 1913.

Background

Menchen's first choice for a US distributor was Henry B. Harris, the New York theatrical manager and impresario. Menchen knew Harris well, having designed the lighting for several of his shows, and the first letter of testimony at the front of Menchen's 1906 product catalogue was signed "Harry B. Harris". Harris had just lost many thousands of dollars in a failed re-creation of the Parisian Folies Bergère in New York, and had been buying rights to several London shows and arranging for the London appearance of his star Rose Stahl in a production. He may have seen Reinhardt's production during its London run at the Olympia exhibition hall from December 1911 to March 1912: at any rate he bought the rights (supposedly for £10,000) to ''The Miracle'' film, according to an interview in April 1912 with the London ''Standard'' newspaper: "I have acquired an option on the fine moving pictures of "The Miracle," which I anticipate will make a sensation on the other side.” All looked well for Harris' return to the States, but unfortunately the tickets that he and his wife had booked for their voyage back to the States had the words printed on them.

Three weeks after Harris's death in the maritime disaster (although his wife survived), a news item appeared in the U.S. trade weekly ''Variety'', claiming that the negatives of ''The Miracle'' had gone down with the ''Titanic''; but Menchen replied the following week from London saying that no shooting had taken place. Neither film had actually been completed by the date the ship sailed on 13 April 1912.In th
Titanic's cargo manifest
there is an entry for a case of films addressed to the New York Motion Picture Company: this may have caused confusion since it was a different entity from Continental-Kunstfilm's US distributor, the New York Film Company. The NYMP Co. made and distributed films under the Bison 101 name, and merged with Universal Studios in June 1912.

Menchen's second choice of distributor was the Hungarian-born archetypal showman Al Woods, who had been in Berlin in connection with the construction of Germany's first purpose-built cinema, the Ufa-Pavillon am Nollendorfplatz. Whereas Harris was in the first rank of theatre producers, Woods (while not averse to spectacle) was someone whose shows tended to invite critical scorn or even prosecution.See e.g. this uncomplimentary passage from the anti-semitic ''The International Jew'' by the car maker Henry Ford : "Al H. Woods has but one good eye. It is not his personal loss that matters, but the history of the misfortune which goes back to the time when Al was a member of an East side gang. The common report was that he used to play the piano in a downtown place, east of Fifth Avenue. Mr. Woods is also a distinguished patron of dramatic art — he presented ''The Girl from Rector's'' and ''The Girl in the Taxi'', two of the most immoral and pointless shows of recent years. Several times he has secured the rights to certain Viennese operas, which were bad enough in themselves from a moral point of view, but which were at least constructed with true artistry; but even these he marred by an inept infusion of vulgarity and blague.
''The Dearborn Independent'', 22 January 1921
He had just finished building the Eltinge Theatre, having had a very successful 1911 season managing the vaudeville female impersonator Julian Eltinge in musical comedy roles on Broadway. Menchen himself had worked in vaudeville theatres like Tony Pastor's, showing early films with his Kinoptikon from 1896 to 1899.

In May 1912 Woods acquired the sole US, Canadian and all-America rights to the film of Reinhardt's Miracle for which he paid Menchen $25,000 and formed the Miracle Film Company, Inc., for the purpose of distributing it.

Woods soon found himself immersed in a series of legal challenges involving a rival German film with the same subject and English name as Menchen's. This film, '' Das Mirakel'', produced by Continental-Kunstfilm of Berlin and directed by Mime Misu, was also billed in the UK and USA as ''The Miracle''. The German film was completed and shown in the US before Menchen had barely finished shooting in Austria. Advertisements implied indirectly that it was a film of Reinhardt's Olympia production. The ensuing name changes for the film have led to considerable confusion about which 'Miracle' is which.
* ''See also'' § UK litigation and § US litigation ''sections''.

New York rehearsals

The stage director Edward P. Temple was engaged by A. H. Woods to stage a ballet of 100 dancers to accompany the film in America. Temple sailed to London on 12 December 1912 to watch the London presentation of "The Miracle". He and Menchen had worked together before at Thomson & Dundy's New York Hippodrome: e.g. in 1906 the revue ''A Society Circus'', Act III, Scene 3, the 'Court of the Golden Fountains' was stage managed by Temple, with stereopticon machines by Menchen. Temple returned in the New Year to prepare the staging with a B&W copy of the 7,000 feet film, and began rehearsing the chorus (150 adults and 50 children), in the week of 12 January 1913. Al. Woods, who had also watched the Covent Garden production with Temple, had found some business partners to share the financial burden with: Milton and Sargent Aborn. The Aborns were producers of operetta with their Aborn Opera Company. Temple had already staged Balfe's ''The Bohemian Girl'' for the Aborns at the Majestic (later Park Theatre) in 1911.

After ''The Miracle'' had finished its Covent Garden run and transferred to the newly refurbished Picture House at 165 Oxford Street, London, Woods returned on the with the precious colour film on 6 February.''Variety'', 7 February 1913, p. 15
/ref> An advertisement by Menchen in the UK trade press on 5 February claimed that ''The Miracle'' would be shown at the Liberty Theatre, owned by Klaw and Erlanger, although other venues were still being considered, including the 'old' Metropolitan Opera House''New York Dramatic Mirror'', 24 July 1912, p. 13. Maurice Grau, general manager of the NY Metropolitan Opera House 1891–1903 was the brother of the impresario Robert Grau, who in 1896 had met and encouraged Menchen who was working as a theatre electrician in Kansas City, Missouri. Robert Grau later became a writer on serious theatre, and his book "The Stage in the 20th century" included a stop-press puff for "The Miracle". Robert Grau's greatest success was to manage Adelina Patti's 1903-4 farewell tour of the US, netting him $200,000. or the New Amsterdam Theatre (also built by Klaw and Erlanger); but by 14 February the Park Theatre had been booked – there were all kinds of consultations, all kinds of arguments, and at least one assault.

US première

The New York première performance of the Menchen ''Miracle'' in full colour took place at the Park Theater, 5 Columbus Circle (formerly the Majestic), on 17 February 1913.The Park Theatre had opened in January 1903 as the Majestic with the musical '' The Wizard of Oz'', which ran for ten months. Menchen provided (and possibly designed) the lighting and "jaw-dropping special effects" for the show, which included a ten-minute tornado. Sources: . The presentation was not quite as elaborate as in Covent Garden (a procession of nuns opened the proceedings, but the critics made no mention of the dancers); Humperdinck's music was performed by a chorus of 100 and an augmented Russian Symphony Orchestra of New York conducted by its founder Modest Altschuler. Altschuler was a pupil of Gustav Holländer, who had previously conducted the orchestra in the stage performances of ''The Miracle'' at Olympia in London in 1911–12. Holländer was the director of the Berlin Stern Conservatory, where one of the professors was Humperdinck who composed the score used in the stage and film versions of ''The Miracle''. Holländer also composed the music for Reinhardt's 1910 stage production of Vollmoeller's pantomime ''Sumurûn''.

The show apparently ran continuously in New York at the Park Theater until at least 9 March.

;Boston

''The Miracle'' showed from 24 February 1913 for two weeks of rather light business at the Colonial Theatre, Boston, MA. The managers at the Colonial were Charles Frohman and William Harris, father of Henry B. Harris, who had taken over the affairs of his late son. The city censor objected to a number of scenes, and several hundred feet had to be cut; tickets cost up to $1.50 (higher than average), and business was very poor.''The Player'', 14 March 1913, p. 22d
/ref> ''The Miracle'' was followed by '' The Pink Lady'', one of the previous season's greatest musical successes, with the company fresh from a triumphant run in London.

The weather around Easter-time was atrocious, with tornadoes devastating eight states (''see'' March 1913 tornado outbreak sequence) and killing around 240 people; several further days of heavy rains in the central and eastern United States caused extensive flooding in which further countless hundreds were drowned (estimates vary from 650 to 900); in New York State, Rochester was badly hit, and Buffalo experienced winds of 90 mph (140 km/h).

;Rival film banned in Chicago
A film of ''The Miracle'' which was banned in Chicago at the end of April 1913 on account of its depiction of "murder, drunkenness and immorality" was probably the Misu version ('' Das Mirakel''), since the states' rights were sold to a Chicago exhibitor by the New York Film Company earlier that month."D. Muntuk, of the M and F Feature Film Company, 157 Washington St, Chicago, has secured the Illinois state rights to the New York Film Company's production, ''The Miracle''. He made a special trip to New York to buy the rights for his company. Source: The police report refers to the film ''Sister Beatrix'' as an adaptation of Maeterlinck's play – which usually featured in the NYFC's advertisements, whereas Menchen never referred to it in his publicity – and then confusingly calls it "The Miracle".

US litigation

The New York Film Company was the US distributor for the Berlin Continental-Kunstfilm production company, whose '' Das Mirakel'' had been renamed ''Sister Beatrix'' in the UK after a court decision in London. (''see'' above) On 15 January 1913, internal dissensions within the New York Film Company led to Harry Schultz dissolving his partnership with the other two directors and continuing the business alone.
However, by 1 February 1913 the situation had been reversed; after differences between the directors had been resolved, Schultz quit the business and Danziger and Levi took control of the New York Film Company.

After the Menchen ''Miracle'' had finished showing at Covent Garden (by 31 January 1913 at the latest) the film arrived in the US and received its US première on Monday 17 February 1913, at the Park Theater, New York.

During the week of 3–9 March 1913, Al Woods went to court to prevent the New York Film Co. from continuing to lease their film of "The Miracle". Justice Lehman imposed a temporary injunction in Woods' favour on the condition that he paid a bond of $20,000.

The New York Film Co. thereafter billed the Continental film as "''Sister Beatrice'', previously advertised as ''The Miracle''", and re-advertised the 'States Rights' for the film under its new title. Menchen's film showed again in Boston during the week of 5 April 1913, and Woods obtained an injunction to stop the A. A. Kellman Feature Film Co. (Kellman was the proprietor of the Park Theater, Taunton, Mass.) from showing Continental's ''The Miracle'' film under its illegal name.

However, the bond of $20,000 was not forthcoming from Woods, so Justice Lehman vacated the injunction on 6 May 1913, leaving the New York Film Co. free to sell or lease ''The Miracle'' without question.

Netherlands

''The Miracle'' opened at the Flora Theatre, 79–81 Wagenstraat, The Hague, on 24 March 1913 and played for 3 consecutive weeks.Mirakel, Das (1912 D)
Cinema Context (in Dutch). Accessed 12 February 2016.This may be a B&W print; a color print of ''The Miracle'' had been playing in the New York in February and March 1913 (see above). The distributors of the Continental version regained the legal right to show their version of '' Das Mirakel'' from 6 May (see also § US litigation below). Timed performances were advertised rather than the usual continuous show, possibly to maximise the number of available seats (800 in 1909) It sold out for the first two weeks and played to very full houses in the third week.

The Flora was originally run by F.A. Nöggerath. His son Anton Nöggerath, Jr., followed in his father' business, learning the film trade in Britain at the Warwick Trading Company from 1897 with Charles Urban and forming his own negative developing business in 1903 in Wardour Street, London. When his father died in 1908, Nöggerath returned to the Netherlands and took over the business with his mother.The building where the Flora theatre was located still exists; the external façade is decorated just below the pediment with typical polychrome ceramic tiles showing Greek masks and musical instruments; the façade is topped with square capitals depicting stylised theatrical masks with merely eyes and eyebrows in Art Deco style. See photo a
79–81 Wagenstraat
Flickr. Accessed 11 February 2016

''The Miracle'' played for two weeks from 16 May 1913 at the Bioscope Theatre, 34 Reguliersbreestraat, Amsterdam, another Noggerath establishment; at the Thalia Theatre in the Hague for a week from 25 October 1918, and at the Prinses Theater, Rotterdam, for the week starting 25 July 1919.

Australia

The Australasian rights to "The Miracle" were acquired from Joseph Menchen by Beaumont Smith during his year-long world tour of South Africa, Europe and Canada with his novelty show "Tiny Town" featuring small people. Smith went on to own or manage numerous Australian cinemas, and later directed films himself.
In Australia and New Zealand (as in Britain) ''The Miracle'' was generally advertised not simply as an ordinary film in its own right, but as a 'Lyricscope play', having been designed as part of a unique evening's entertainment complete with film, sets, actors and dancers, chorus & orchestra."Rehearsals of the choir and of the actors in the various processions in ''The Miracle'' are now taking place in order that "The Miracle" moving picture may be produced at an early date. The Reinhardt film is 5,500 feet long and with the special choruses, Humperdinck's grand Opera music and the different processions, the dream picture will take up the whole evening.
''The New Zealand Observer'', 8 November 1913, p. 23
/ref>

The Australian première of ''The Miracle'' took place in Sydney on 29 December 1913, at T. J. West's Glaciarium, one of Australia's earliest purpose-built ice skating rinks which doubled as a cinema during the summer months.T. J. West had originally come from England, where he teamed up his Modern Marvel Company with Henry John Hayward's novelty theatre company to form 'West's Picture Company and The Brescians'. After successful theatrical tours of New Zealand and Australia they concentrated on the cinema business, Hayward making his base in Auckland, while West continued to make considerable profits throughout Australia, where he owned 14 permanent cinemas by 1910 with an estimated nightly audience of 20,000.

The sets for ''The Miracle'' were constructed by the scenic artists George Dixon (who had also worked on the original London production) and Harry Whaite. Lewis De Groen (d. 1919 aged 54) conducted a chorus of 80 singers and his augmented Vice-Regal Orchestra. De Groen had been the conductor at T. J. West's Cinematograph (i.e. cinema) since around 1900, and continued his position in West's new Glaciarium when it opened in 1907. In 1908 he was managing some 80 musicians in Australia and New Zealand, and conducting nightly at three different venues in Sydney.

''The Miracle'' ran in Sydney for two weeks''The Sydney Morning Herald'', Monday 12 January 1914, p. 3 col. 8
and later for three weeks at West's Melbourne cinema during April and May 1914 before transferring to Adelaide, and to Perth in June. It continued to show in Australia, including Wagga Wagga in July 1915 and Warracknabeal in May 1916.

New Zealand

The film, with Burke's orchestra and a chorus, played "with a degree of excellence" at the King's Theatre, Auckland in March 1914. The performances were staged by Maurice Ralph. The relatively large forces available in the city venues were somewhat reduced in the provinces: according to an advertisement in the ''Poverty Bay Herald'' in May 1914 for ''The Miracle'' at His Majesty's Theatre, Gisborne, New Zealand: "Humperdinck's glorious music will be rendered by a Grand Augmented Orchestra of 12 instrumentalists."

Germany

After the 1912 run of performances in the Vienna Rotunde (immediately followed by the film shoot), Vollmoeller's stage play continued its European tour until 1914, playing in Berlin for two weeks at the from 30 April to 13 May.List of initial European performances of '' The Miracle (play)'' (source: ):
* 1912: 15 September – Vienna Rotunde; October – Elberfeld, Breslau, Cologne
* 1913: January – Prague; February – Vienna Volksoper; September – Leipzig, Dresden, Elberfeld, Breslau, Cologne, Prague; 23 December – Festhalle Frankfurt am Main
* 1914: January – Hamburg, Karlsruhe; 30 April – Circus/Zirkus Busch, Berlin. Two days later the film of ''The Miracle'' received its German première (as ''Das Mirakel'') at the Palast am Zoo cinema (later Ufa-Palast am Zoo), Charlottenburg, Berlin on Monday, 15 May 1914.This late date may point to some sort of agreement between Reinhardt and Menchen that the film of ''The Miracle'' wasn't to be released until the run of staged productions had ended.

The exclusive lease on the Palast am Zoo was owned by the millionaire swindler Frank J. Goldsoll. A few months previously he had bought out the European interests of his business partner, A. H. Woods, along with the German film rights to ''The Miracle''.''Variety'', 13 February 1914, p. 5, last col
Goldsoll and Woods had previously built the Ufa-Pavillon am Nollendorfplatz, Berlin's first purpose-built, free-standing cinema, in 1913. They both joined Goldwyn Pictures Corporation in 1919. Godsoll, as a major investor, ousted Sam Goldwyn to become the company's president until its merger to form MGM in 1924.

Reception

The 18 year-old Paul Hindemith went to see Reinhardt's original stage production when it arrived on tour in Frankfurt am Main in December 1913. In a letter he clearly conveys the almost overwhelming effect of the massive, pageant-like show in the Festhalle. It seems (from Hindemith's description of the "real thing") that Menchen had largely succeeded in recreating a similar atmosphere in his full-colour 'Lyricscope' screenings of the film:

28 December 1913

Yesterday I went to a performance of Vollmoeller's "Miracle", which Max Reinhardt is presenting in the Festhalle. If you ever get a chance to see it, do not miss it! You can hardly believe it is possible to keep control of such immense masses of players. I was completely bowled over and would never have believed that it was possible that anything so brilliant and grandiose could be done on a stage, or rather in an arena. The whole gigantic Festhalle has been transformed into a colossal church. All the lamps have become church lanterns and all the windows, church windows. Church bells ring out at the start, and the whole hall becomes black as night. Then the sound of the organ, and nuns singing. Stupendous lighting effects, a procession lasting 3/4 of an hour, wonderful music, and a rich display of people, costumes, and scenery! And how well the actors act! I came out of the hall reeling, and only this morning returned to my senses. It sweeps you right off your feet, and you forget you are in the theatre. I shall go again, come what may, even if I have to pay 20 marks for it. On 1 January we are having ''Parsifal'' here. I'll see if I can find a sympathetic soul to buy me a ticket.At the time he went to see ''The Miracle'', Hindemith was the concertmaster, leader of the orchestra of the Neues Theater, Frankfurt, where Walter Kollo's Posse mit Gesang – 'farce with singing' ''Filmzauber'' (a parody on the current craze for silent films) was running. A lost dramatic piece by Hindemith entitled ''Die Tragödie im Kino'' also dates from this period. (See .) His letter describes ''Filmzauber'' (which he had already played 17 times and was about be sick of) as "utter nonsense from beginning to end, yet funny and charming[...] We play the whole thing by heart and prick up our ears only when a new joke is cracked above our heads."

Hindemith picks out (rec. 1912) (Baby, I slept so bad) and as "numbers of truly classical beauty". (Source: ). The contrast with ''The Miracle'' can be heard #Recordings of Humperdinck's music, below in a clip which combines a 1932 recording of extracts from Humperdinck's score with the final scene from Menchen's film.

Wagner's Bayreuth Festspielhaus was previously the only place where ''Parsifal'' was allowed to be staged, although a number of concert performances had been given outside Bayreuth: Parsifal#The ban on Parsifal outside Bayreuth, the ban was lifted from 1 January 1913.

The ''New York Journal-American, New York American'' voiced the fears of the Royal Opera House's traditional upper-class opera-goers: "The movies have invaded that sedate institution and stronghold of classic music, the Covent Garden Theatre. [...] It is true that the fashionable opera season does not begin until May, but the idea obtains among the conservative patrons of the house that the new departure comes shiveringly near being a desecration."

In London, however, the normally conservative ''Athenaeum (British magazine), Athenaeum'' waxed almost lyrical about the new film:

The producers of 'The Miracle', adapted as a Lyricscope play in colours, at Covent Garden, have furnished us with another instance of the satisfactory use to which the comparatively new invention has recently been put. Those who were unfortunate enough not to see the representation at Olympia may now get an excellent conception of that wonderful production[...] After being afflicted so often by the gesticulations o
animated bifurcated radishes
it is indeed a pleasure to view the grace of real actors and actresses. The timing of the chorus with the pictorial representation is capable of amendment. Full justice is done by the orchestra to Prof. Humperdinck's music.

Stephen W. Bush, reviewing "Reinhardt's Miracle" in ''The Moving Picture World'' after its US première, had some observant criticisms among the plaudits:

When the Nun danced before the Robber Baron the voices behind the screen sounded more like an animated quarrel in an East Side saloon than the rumblings of a licentious mob. Numerous other defects could be pointed out such as the wearing of high heels by one of the leading and sacred characters of the piece, the persistence with which the knight wore his full armor even while courting the sister, the all-too sudden death of the robber baron; but these defects disappear in the splendor and magnificence of the whole.

Rev. E. A. Horton, chaplain of the Massachusetts Senate, said:"'The Miracle' held my constant attention and gave me great reward in suggestion and pleasure."

In Australia, ''The Sydney Morning Herald'' commented: "Max Reinhardt's stupendous production of the 'Miracle' was screened for the last time at West's Glaciarium on Saturday night before an enormous house. The season has marked an era in the history of cinematography in this country and the success of the production will not easily be forgotten."

In Germany, ''The Miracle'' received a resoundingly positive review from Lichtbild-Bühne, entitled "Bravo Goldsoll!" (Frank Goldsoll was the owner of the Palast am Zoo cinema where it showed).

We have slept for years! The theater novice Goldsoll, the Variété expert, comes to us and has to show us how it's done... [He] leaves the theatre air pregnant with incense, so that mood is created. He makes great music with bells and orchestrations etc.. He leaves a plastic, wonderful scenery as a dramatic frame for the film show. He applies lighting effects: at the beginning and end, living nuns and choristers, etc. come on stage and are presented the bodily dedicated mother of God center stage. The effect of the film "The Miracle" is thus so colossal that day the theatre the film is sold out through full presentation has increased in value so great that even enthusiasts say that the whole thing looks more like the original.

The business is launched so brilliantly that the whole guild of theater practitioners who now complain about their empty houses, should simply be ashamed.

Go and try to capitalize on the consequences of this "Miracle" demonstration. Rub the sleep from your eyes, and call out with envy: "Bravo, Goldsoll.''Lichtbild-Bühne'', Nr. 26, 16 May 1914
(in German) a
filmportal.de
Although this is not a perfect translation from the German, the phrase "...even enthusiasts say that the whole thing looks more like the original" appears almost verbatim (in English) in various advertisements and reviews of ''The Miracle'' in the UK and US press.

Which ''Miracle''?

Recordings of Humperdinck's music

A double-sided 78 rpm recording of selections from ''The Miracle'' (HMV C2429, matrix nos. 2B 3406 & 2B 3407) was issued by His Master's Voice, HMV on a plum-coloured label in 1932, featuring the London Symphony Orchestra, organ and an unnamed chorus, conducted by Einar Nilsson.

The recording coincided with the 1932 run of the stage revival of ''The Miracle'' at Lyceum Theatre, London, with Lady Diana Cooper & Wendy Toye, choreography by Leonide Massine and produced again by C.B. Cochran. Nilsson had previously conducted the orchestra in Reinhardt's new 1924 stage production (with Morris Gest) of ''The Miracle'', set designed by Norman Bel Geddes at the Century Theatre (New York City), Century Theatre, in New York.

Side 2 of the above 1932 recording can be heard as the unsynchronised soundtrack to a YouTube clip of the final scene of the film. This is a tinted B&W print, not the original coloured film. The four short selections are as follows, cue numbers taken from the vocal score (see #Musical scores, Musical scores):
* Entracte (Part II), cue 1: Leicht bewegt (pdf p. 47)
* Entracte, cue 11: Fackeltanz der Nonne (pdf p. 65)
* Act II, scene 1, cue 1 6/8 (pdf p. 80)
* Act II, final scene, cue 39 (pdf p. 104)

Humperdinck also made arrangements of various numbers for military band. These were recorded by the band of the Coldstream Guards conducted by Major Mackenzie Rogan and released on single-sided HMV 78rpm discs in March 1913.

See also

* List of early color feature films
* List of Christian films
* Ufa-Pavillon am Nollendorfplatz, a Berlin cinema built in 1913 by Al. Woods and Joe Goldsoll

References

Notes

Citations

Sources

*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
* (See als
Volume I

*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
* NB Website states that their online zoomable image viewer is not working. In 'Views of current image' menu on the left, download 'High resolution image (2.4 MB)' by right-clicking and choose 'Save link as...' etc.
* (Synopsis of the Play. – Chants and Choruses.)
*
*
*
*
*
*

External links

* A black-and-white tinted print of the film (until recently thought to be lost) is held at the CNC Archives, France. Available on (in 7 parts)
*

''The Miracle''
at the British Film Institute (BFI) Database

The vocal score of Humperdinck's music
is available a
imslp.org

Full orchestral score and parts
available for hire from Boosey and Hawkes.

{{DEFAULTSORT:Miracle, The
1912 films
1910s color films
Films about religion
British films based on plays
British silent feature films
Silent films in color
Films shot in Austria
Portrayals of the Virgin Mary in film
Early color films
Silent horror films