The Miracle (1959)

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The Miracle is a 1959 American historical fiction film directed by Irving Rapper and starring Carroll Baker and Roger Moore. It is a remake of the 1912 hand-colored, black-and-white film The Miracle, which was in turn a production of the 1911 pantomime play, The Miracle, written by Karl Vollmöller and directed by Max Reinhardt.

Production

The movie was based on a play of the same name produced by Max Reinhardt, who staged it successfully in London in 1911. In 1912 Reinhardt sold the world-wide film rights to Joseph Menchen, who produced the first authorised film of The Miracle in December 1912. Menchen sold the US, Canadian and all-Americas film rights to A. H. Woods for $25,000, who showed the film in New York City in 1913.

A 1924 Reinhardt co-production with Morris Gest in New York starring Lady Diana Cooper aroused interest in a re-make by Metro-Goldwyn Pictures with Menchen's involvement. However, Woods sold his rights to First National Pictures, whose ownership was established in a judgement of the New York Supreme Court in First National Pictures, Inc. and Woods v. Metro-Goldwyn Pictures & Menchen et al., October 1927. Warner Bros.

Various scripts were written over the intervening years by Ulrich Steindorff, Wolfgang Reinhardt, and James Hilton, among others. The film was scheduled for filming in 1942, and was to have been presented in a four-hour version produced by Wolfgang Reinhardt, son of Max Reinhardt. However, the project was shelved until 1958, when a script from Frank Butler was announced as film-able.

While the original play and film had been set in medieval times, this version was set during the Napoleonic era in Spain – its climax involved the Battle of Waterloo, with Torin Thatcher making a cameo appearance as Arthur Wellesley, 1st Duke of Wellington (Napoleon is never seen in the film).

Following her success in Baby Doll, Carroll Baker turned down parts in God's Little Acre and Too Much, Too Soon. Warner Bros put her under suspension for refusing the latter; she agreed to play The Miracle for the studio, in part because the role was "sympathetic" and similar to a "feminine Faust".

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