The Woman God Forgot

Plot

In this historical epic set during the Spanish conquest of the Aztec Empire, Spanish conquistador Hernán Cortés sends his lieutenant Alvarado to the court of Emperor Montezuma. When Alvarado is thrown into a dungeon, he is rescued by Tecza, an Aztec princess who has fallen in love with him. Their romance is discovered when Tecza's jealous lover Guatemoco finds Alvarado hiding in her chambers, leading to Alvarado's recapture. In a tragic turn of events, Tecza, believing she can save Alvarado and secure his love, leads Cortés and his forces into the Aztec capital, unwittingly causing the destruction of her own civilization and people while sealing her romantic fate with the Spanish conqueror.

Historical Background

The Woman God Forgot was produced during a pivotal moment in American history, as the United States entered World War I in April 1917. The film's themes of conquest, cultural clash, and the meeting of civilizations resonated with contemporary audiences who were witnessing global conflict and the reordering of international power structures. The early film industry was also undergoing significant changes in 1917, with Hollywood establishing itself as the world's film production center. Historical epics were becoming increasingly popular as American studios sought to compete with European cinema, particularly Italian historical spectacles. The film reflected America's growing interest in its own history and the history of the Americas, as the country sought to establish its cultural identity separate from Europe. The portrayal of the Spanish conquest also touched on contemporary debates about American imperialism and the country's role in world affairs.

Making Of

The production was marked by Cecil B. DeMille's characteristic attention to detail and grand scale. The director spent weeks researching Aztec civilization and consulted with historians to ensure authenticity in the sets and costumes. The casting of Geraldine Farrar was a major coup for the studio, as she was one of the most famous opera singers of her time. Her transition from opera to film was heavily covered in the press and generated significant publicity. The film's elaborate sets, including a full-scale Aztec temple, were constructed on the Lasky Ranch and took months to build. DeMille insisted on using real gold paint for many of the props and set pieces to achieve the desired visual effect, despite the expense. The production employed over 500 extras for the battle scenes, which were choreographed to appear as authentic as possible. Farrar reportedly struggled with the transition from stage acting to film acting, requiring multiple takes for many scenes.

Visual Style

The cinematography, handled by Alvin Wyckoff, was considered groundbreaking for its time. Wyckoff employed innovative lighting techniques to create dramatic contrasts between the 'civilized' Spanish characters and the 'exotic' Aztec settings. The film made extensive use of natural lighting for the outdoor scenes, particularly the battle sequences, which gave them a realistic and immediate quality. Interior scenes in the Aztec temple were lit to create mysterious and atmospheric effects, using shadows and silhouettes to enhance the dramatic tension. The camera work included sweeping pans of the elaborate sets and crowd scenes, showcasing the scale of the production. Close-ups were used strategically to highlight the emotional moments, particularly in scenes featuring Farrar. The film's visual style helped establish the look that would become associated with DeMille's historical epics.

Innovations

The film featured several technical innovations for its time. The elaborate Aztec temple set was one of the largest and most detailed constructions in Hollywood up to that point, featuring multiple levels and working mechanisms. The production used advanced matte painting techniques to extend the sets and create the illusion of larger spaces. The battle sequences employed innovative camera placement and movement to capture the scale of the action, including some of the earliest uses of what would later be called tracking shots. The film's costume department developed new techniques for creating authentic-looking Aztec armor and jewelry using available materials. The special effects team created convincing fire and destruction sequences for the film's climax, using a combination of miniatures and full-scale effects. The production also pioneered new methods for coordinating large numbers of extras in complex battle scenes, techniques that would be refined in later DeMille productions.

Music

As a silent film, The Woman God Forgot was accompanied by live musical performances in theaters. The original score was composed by William Furst, who was one of the leading composers of film music during the silent era. The score incorporated both classical European elements and what were then considered 'exotic' musical motifs to represent the Aztec culture. Many theaters employed full orchestras for the film's exhibition, particularly in major cities where the film premiered. The music was synchronized with the on-screen action, with specific themes for different characters and dramatic moments. Geraldine Farrar's opera background was reflected in the score, which included moments of grand, operatic-style music during key emotional scenes. The original cue sheets and musical scores for the film have been preserved and provide insight into how silent films were originally presented to audiences.

Memorable Scenes

• The dramatic rescue of Alvarado from the dungeon by Tecza
• The discovery of Alvarado in Tecza's chambers by Guatemoco
• The grand entrance of Cortés into the Aztec capital
• The final battle sequence showing the destruction of the Aztec city
• The emotional farewell scene between Tecza and Alvarado
• The elaborate Aztec religious ceremonies and rituals
• The confrontation between Montezuma and the Spanish conquistadors

What Critics Said

Contemporary critics praised the film's spectacular visuals and ambitious scope. The New York Times noted that 'DeMille has spared no expense in creating a visual feast that transports the audience to another time and place.' Critics particularly singled out Geraldine Farrar's performance for praise, with Variety commenting that 'the opera diva brings a dignity and gravitas to her role that elevates the entire production.' The film's historical authenticity was also frequently mentioned, though some critics noted the romantic elements sometimes overshadowed the historical drama. Modern critics have viewed the film more critically, acknowledging its historical importance while pointing out its dated portrayal of the Aztec civilization and its colonialist perspective. Despite these criticisms, film historians recognize the movie as an important stepping stone in the development of the American epic film.

What Audiences Thought

The film was a commercial success upon its release, drawing large audiences to theaters across the country. The combination of spectacle, romance, and historical drama proved particularly appealing to wartime audiences seeking entertainment and escapism. Geraldine Farrar's star power was a significant draw, with many opera fans attending to see their favorite singer on screen. The film's exotic setting and elaborate costumes were major attractions, with audiences marveling at the visual spectacle. The romantic storyline between Tecza and Alvarado resonated with viewers, despite the tragic ending. The movie's success helped establish both DeMille and Farrar as major figures in the emerging Hollywood studio system. Audience reactions were generally positive, with many praising the film's entertainment value and visual grandeur.

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