The Squaw Man (Jesse L. Lasky Feature Play Co., 1914), Cecil B. DeMille's Historic Pathé Camera.... (Total: 2 Items)

Description

The Historic Pathé Camera Used on Cecil B. DeMille's First Film, Which Launched His Career As a Director and Established Hollywood as the Epicenter of the Film Industry.

The Squaw Man (Jesse L. Lasky Feature Play Co., 1914), Cecil B. DeMille's Historic Pathé Camera. The Squaw Man (1914) holds a remarkably singular place in the history of cinema. While earlier shorts may have been filmed in Hollywood, The Squaw Man is widely regarded to be the first feature length film produced in the town that would soon become synonymous with the motion picture business. Not only did The Squaw Man launch the film career of Cecil B. DeMille, but it also established Hollywood as the epicenter of the burgeoning new industry.

The story of the production of The Squaw Man has been told and retold so many times that it is difficult to separate fact from fiction. What we know for certain is this: filming began on December 29, 1913, based out of a citrus barn-turned-horse stable being leased for $250 a month. The production was supposed to take place in Arizona; DeMille claimed that the scenery near Flagstaff was not what he had in mind, while Jesse L. Lasky attributed the move to the lack of nearby film processing facilities (both stories are likely true). Filming was completed in a little over three weeks.

The Squaw Man is credited to both DeMille and Oscar C. Apfel, the latter a veteran of Edison's studio. Dustin Farnum played Captain James Wynnegate, a role which he had also performed on Broadway, alongside Monroe Salisbury as his cousin Henry and Native American actress Red Wing (Lillian St. Cyr) as Nat-u-Ritch. Although the film experienced a troubled production and release, it was a critical success for DeMille and Apfel and, more importantly, a commercial success for Lasky.

The facts of its production do not convey just how important The Squaw Man would prove to be. Although at the time of its release it may have seemed like just another western in an already-crowded genre, the film's success set into motion the rapid ascent of both DeMille and Lasky, inarguably two of the most significant figures in the history of cinema. Without The Squaw Man, it is not inconceivable that DeMille's time in film could have ended prematurely (his brother, William, was initially disapproving of his decision to eschew the stage for the screen), nor do we know if Lasky would have ever joined forces with Adolph Zukor to form Paramount Pictures. One could argue that much of the triumph of the entire motion picture industry hinged on the success of this one film.

DeMille retained his Pathé camera from The Squaw Man for the rest of his life, even making the first shot of 1936's The Plainsman with the camera and again using the camera for a 1939 newsreel segment. It is evident that DeMille understood the significance of this camera, not only to his own career but to the entire history of cinema.

The camera measures 11" x 15" x 20" and its largest dimensions, with the body of the camera itself measuring 5" x 8" x 12". Serial #106 has been etched into the Pathé nameplate, with the corresponding number in grease pencil on the body of the camera. Overall aging to be expected with an object of this age, including cracked leather with small pieces missing, a missing crank handle, and a broken latch on the camera door. The camera is attached to a modern base using its original screws. The camera should be assumed to be nonfunctional and is being sold as a historical artifact only. Accompanying this lot is a 10" x 40" reproduction photo on foamcore of the first day of filming The Squaw Man, where this camera is clearly visible. Comes with a COA from Heritage Auctions.

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