Das Mirakel

Das Mirakel is a black and white silent German film made and released in 1912, directed by Mime Misu for the Berlin film production company Continental Kunstfilm GmbH. It was based (without permission) on Karl Vollmoeller's 1911 play, The Miracle. The film was originally advertised as The Miracle in Britain and the US, but after copyright litigation in both countries it was shown as Sister Beatrix and Sister Beatrice respectively. In Germany it was known as Das Marienwunder: eine alte Legende. The film stars Lore Giesen, Mime Misu, and Anton Ernst Rückert. The screenplay was by Mime Misu, and the cinematographer was Emil Schünemann, who was also behind the camera for Misu's film about the disaster, In Nacht und Eis (Shipwrecked in Icebergs).

The film opens in the nave of a cathedral. People cry out in awe as a blind woman's lost sight is restored. A procession forms, including many pilgrims and nuns. They pass through the cloisters, chanting. Among the nuns there is one younger and more beautiful than the rest, named Beatrix. Among the pilgrims is a handsome knight. The two are attracted to each other during the service in the cathedral. Disturbed by her weakness, Beatrix struggles to control her emotions. Gradually the knight overcomes Beatrix's resistance, aided by the Spirit of Evil, a sinister apparition that makes its appearance several times throughout the story. It in turn is countered by a second apparition that appears as a beautiful nun, the Spirit of Good. When worshippers leave the cathedral after vespers, Beatrix throws down her robe and keys and flees with her handsome knight. The building is now empty and silent, with light falling on the motionless statue of the Virgin. Then the miracle happens. The statue of the Madonna comes to life, and steps down from her throne. She picks up the garment discarded by the infatuated nun, and takes up her place before the barren altar. The other nuns return notice that the statue of the Virgin has vanished. Assuming it has been stolen, they turn upon the woman they think to be Beatrix, and are about to lead her with execrations when the Madonna rises slowly from her feet into the air, and stands before them. In the second half of the drama deals with the adventures of the nun in the world. We see her gradual degradation physically and spiritually as she goes from one lover to another. The Spirit of Evil urges on her degradation and uses her as a pawn to destroy the souls of others she encounters. At last, the Spirit of Good appears and leads a worn out Beatrix back to the gates of the cathedral. She sneaks inside afraid and ashamed. She finds the cathedral empty except for a single figure, which stands motionless before the empty altar. Beatrix goes forward to throw herself upon the mercy of the solitary watcher—and then the figure turns, and the Madonna reveals herself to the nun whose place she has taken. Beatrix is about to run in fright when the sanctuary gates close miraculously, and she finds herself imprisoned in the cathedral. She prostrates herself upon the ground. A smile of pity comes over the face of the Virgin Mother. She stretches out her hand and raises Beatrix up. She then returns to her throne, leaving the pardoned penitent Beatrix to take up the pure life once again. Beatrix is now tranquil. A shaft of sunlight breaks through the cathedral windows and illuminates the scene.

Some of the film was shot on location at Chorin Abbey (Kloster Chorin) near the German Polish border. According to evidence given in a copyright court case involving the two 'Miracle' films, production of Das Mirakel began in Germany in March 1912, and was finished by July 1912. However, from after April until July Misu was engaged in filming In Nacht und Eis, which was passed by the Berlin censors on 6 July. It seems possible, therefore, that Das Mirakel was already in production when the Titanic sank, and that Misu immediately made In Nacht und Eis before completing Mirakel. At any rate, the Berlin police censor's decision to ban the film (possibly for its pro catholic stance) was dated 19 October 1912.

The following news item shows how the New York Film Company (the US distributors) positioned The Miracle, mentioning Reinhardt and simultaneously praising and damning Menchen's own film (which wasn't released until 21 December). New York Film Co.'s production of The Miracle opens in New Haven, Conn. On 16 December, at the Hyperion Theatre, New Haven, Conn., a grand opening presentation of The Miracle, as produced by the Kunst Film Company, of Berlin, Germany, and which splendid production is being handled in America by the New York Film Company, will be given, accompanied by a lecture and specially prepared music, which will be interpreted by a full orchestra. Later the production will also be presented in Cleveland at the Alhambra Theatre, in the same dignified manner, and on 30 December at Baltimore. No greater compliment could be paid the theme of 'The Miracle' than that a similar production of the same thing has been the first moving picture production to invade the famous centre of music and art in London, namely, Covent Garden. A clipping from a recent issue of the New York American mentions the remarkable occurrence in the following manner: "The movies have invaded that sedate institution and stronghold of classic music, the Covent Garden Theatre. This famous house has been leased for the production of the Cinematograph version of Reinhardt's wordless spectacle, 'The Miracle'. 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." To those who have been fortunate enough to witness a presentation of the N. Y. Film Company's production of this famous play it is not alone a revelation of finished photography and dramatic action, but is as well a wonderful spectacle of architectural beauty, the majority of its scenes having a background chosen from the splendid ancient architecture of Europe. In the USA the film faced legal opposition from Albert H. Woods, the owner of rights to and distributor of the 'official' film of Max Reinhardt's The Miracle: the battle ended in a temporary injunction against its distributors, the New York Film Company, from leasing the Continental film under the title of The Miracle. After a court case in London involving the rival version made by Joseph Menchen, the Continental version distributed by the New York Film Co. was known (after 22 March 1913 at the latest) as Sister Beatrice in the USA. The name change to Sister Beatrice was suggested by a judge during a similar copyright court case in London. The film's UK distributor, Elite Sales Co., ceased trading in October 1913, citing heavy losses.

A review by an anonymous critic in Billboard of Misu's 4 reel film, after a press showing at 9 a. m., Friday 18 October 1912:
"Like most European productions so much emphasis ls placed on the ensemble numbers and on the settings that the whole play is staged at a distance from the camera. Facial expressions are therefore not vivid or intense, although discernable and good considering the conditions." The critic W. Stephen Bush thought the film good enough to use in a lecture about the use of film in teaching history. In the lecture room of the Brooklyn Institute of Arts and Sciences, before a distinguished audience of educators headed by Professor Franklin Hooper, one of the best known pedagogues of the country, a special exhibition of the films known as "The Miracle" was given a few days ago. The picture was shown primarily to demonstrate the high and unique teaching power of the cinematograph and its special fitness as an illustrator of history. Before the exhibition, Mr. W. Steven Bush, of The Moving Picture World, delivered an interesting lecture on the cinematograph as a most valuable teaching agent in history. The Miracle was shown in Baltimore and in Washington D. C. at Tom Moore's Garden Theater to positive notices:
"The Miracle the well known four reel production of the German Art Film Society, was exhibited in Baltimore at Albaugh's Theater in the week ending January 6th 1913. The attendance was good and the presentation of the films very creditable. An orchestra of twelve pieces rendered the special musical score, which had been prepared by Mr. E[rnst] Luz. Mr. Louis Bache, formerly assistant manager of the Electric Theater Supply Company and recently connected in a prominent way with the General Film Company of Philadelphia, had charge of the projection and his skilful work elicited praise from the press and the public. Prices ranged from 25 cents to one dollar." "The Miracle, the four reel feature of the German Art Film Company, had a sensational run at Tom Moore's Garden Theater at Washington, D. C. The reels had been hired for three days, but the crowds came so fast that the engagement was extended to a whole week."

On 13 May 1914 Max Reinhardt's original spectacular stage production of Karl Vollmoeller's pantomime The Miracle ended its Europe wide run in Berlin at the Circus Busch, a purpose built indoor circus arena. Das Marienwunder: eine alte legende remained banned in Germany until some time in May 1914, when the film was re classified as over 18 only (jugendverbot) by the Berlin police censor and released with cuts.