Star of Bethlehem

Plot

In this biblical drama from the early silent era, three wise magi from the East observe a brilliant new star in the heavens and interpret it as a sign of a great king's birth in Judea. Following the celestial beacon across the desert, they journey to Bethlehem seeking the newborn child, bearing gifts of gold, frankincense, and myrrh. Meanwhile, the paranoid King Herod, disturbed by the prophecy of a new king who might threaten his throne, summons the magi and deceitfully asks them to report back with the child's location so he might 'worship' him as well. After the magi find the holy family and present their gifts, they are warned in a dream not to return to Herod, prompting the king to unleash his infamous decree to murder all male infants in Bethlehem in a desperate attempt to eliminate the prophesied threat.

Historical Background

Released in 1912, this film emerged during a period when the American film industry was transitioning from short novelty films to more sophisticated narrative features. The Thanhouser Film Corporation was one of the pioneering studios competing with Edison, Biograph, and Vitagraph for audience attention. Religious films were particularly popular during this era as they were considered morally uplifting and acceptable to the increasingly influential censorship boards. The film's release coincided with the early years of the feature film revolution, when audiences were beginning to demand longer, more complex stories. This period also saw the rise of the 'star system,' with actors like Florence La Badie becoming recognizable draws for audiences. The film's production reflected the growing technical sophistication of American cinema, with studios investing more in production values to compete with European imports.

Making Of

Director Lawrence Marston was a stage director before entering films, bringing theatrical sensibilities to this biblical production. The cast underwent extensive preparation for their roles, with the actors portraying the magi studying historical texts to understand their characters' motivations. The production design team consulted religious texts and historical references to create authentic-looking costumes and props. The film was shot during the summer of 1912 at Thanhouser's studio in New Rochelle, with exterior scenes filmed on specially constructed sets designed to resemble ancient Judea. The special effects team experimented with various techniques to create the illusion of the moving star, ultimately settling on a combination of painted glass and lighting effects that were considered quite sophisticated for the period.

Visual Style

The cinematography by Blair Smith utilized the relatively new technology of artificial lighting to create dramatic effects, particularly in the scenes showing the Star of Bethlehem. The film employed a mix of static camera shots and carefully composed tableaux vivants, which was typical of the period but executed with particular artistry here. The lighting design emphasized the contrast between darkness and light, symbolically representing the spiritual themes of the story. Close-ups were used sparingly but effectively, particularly for the infant Jesus and the reactions of the magi. The visual composition reflected the influence of religious paintings, with carefully staged groupings of characters creating iconic images reminiscent of classical Nativity scenes.

Innovations

The film featured innovative special effects for its time, particularly in the creation of the moving Star of Bethlehem using multiple exposure techniques and painted glass effects. The production utilized sophisticated set design and construction techniques to create convincing ancient Judean settings, including detailed architectural elements and landscape features. The costume department demonstrated advanced craftsmanship in creating period-appropriate attire for the numerous characters. The film's editing, while basic by modern standards, showed careful attention to narrative pacing and dramatic emphasis. The lighting design employed emerging artificial lighting technology to create mood and highlight key story elements, representing an early example of cinematographic artistry in religious filmmaking.

Music

As a silent film, 'Star of Bethlehem' would have been accompanied by live musical performance during theatrical exhibitions. The original score suggestions likely included classical pieces appropriate to the religious subject matter, possibly including works by composers like Handel or traditional Christmas carols. The musical accompaniment would have varied by theater, with larger venues employing full orchestras while smaller houses used piano or organ. The music would have been synchronized with the on-screen action, with particular emphasis on dramatic moments like the appearance of the star and Herod's decree. Some theaters may have used specially composed cue sheets provided by Thanhouser to ensure consistent musical interpretation across different venues.

Memorable Scenes

• The dramatic appearance of the Star of Bethlehem illuminating the night sky, achieved through innovative special effects techniques that were impressive for 1912. The scene shows the magi looking up in wonder as the celestial manifestation guides their journey, creating a powerful visual representation of divine intervention that would become a standard element in subsequent Nativity films.

What Critics Said

Contemporary reviews in trade publications like The Moving Picture World praised the film's 'dignified treatment' of the sacred subject matter and its 'artistic excellence.' Critics particularly noted the impressive special effects used to create the Star of Bethlehem and the authentic-looking costumes and sets. The performances, especially Florence La Badie's, were commended for their restraint and sincerity, avoiding the melodramatic excess common in many films of the period. Modern film historians view the film as an important example of early religious cinema and a significant production in Thanhouser's catalog, though they note that its techniques appear primitive compared to later biblical epics.

What Audiences Thought

The film was reportedly well-received by audiences upon its Christmas 1912 release, particularly in areas with strong religious communities. Theater owners reported good attendance, especially for special Christmas week screenings. The film's family-friendly subject matter made it popular with church groups and community organizations that were sometimes hesitant about showing motion pictures. Many theaters promoted the film as suitable for all ages, which helped attract family audiences. The film's success at the box office encouraged Thanhouser to continue producing films with religious and moral themes throughout the 1910s.

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