Das Mirakel 1912 Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

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.

At least two films with the title The Miracle were made and released in 1912: the Continental-Kunstfilm version directed by Mime Misu, and the 'authorised' version directed by Michel Carré with most of the principal cast, costumes, and music coming from the original 1911 London production by Max Reinhardt of the play, The Miracle.

• Das Mirakel (1912 film) produced by Continental-Kunstfilm GmbH (UK and US working title: The Miracle)
• The Miracle (1912 film) produced by Joseph Menchen (German title: Das Mirakel)

From December 1911 to March 1912 London's Olympia Exhibition Hall exhibition hall was turned into an enormous stage set for one of the biggest theatrical shows London had ever experienced. This was Max Reinhardt's production of The Miracle, a wordless mime play (US:Pantomime) by Karl Vollmoeller with music by Engelbert Humperdinck. The production involved (apart from the 15 or so principal players) a cast of around 1,000 minor players plus girl dancers and miscellaneous boys and girls, with an orchestra of 200 players, a chorus of 500 and a specially-installed organ. This spectacular mediaeval pageant was performed before a nightly audience of 8,000, with two matinees a week.

Although Vollmoeller's play had been copyrighted, it was largely based on the well-known legend of 'Sister Beatrice', originally collected in the 13th century by Caesarius of Heisterbach in his Dialogus miraculorum (1219-1223). The tale was revived by Maurice Maeterlinck in 1901 in a minor play named Soeur Beatrice (Sister Beatrice), drawing on versions by Villiers de l'Isle-Adam and on the 14th-century Dutch poem Beatrijs.

The legitimate worldwide film rights to the Reinhardt production, and to the play and the music, were acquired by Joseph Menchen, an inventor who had built up his own electrical theatre lighting business in New York. He had been previously involved in the earliest days of the cinema, projecting early Edison and Vitascope films with his Kineoptikon at Tony Pastor's vaudeville theatre in New York from 1896-1899.

From the outset the advertising for the Continental version played heavily on the play's success at Olympia, hinting (without explicitly claiming) that it was a film of the actual production.

Continental's film was completed and copyrighted by October 1912, while Joseph Menchen's authorised production of The Miracle (1912 film) started production near Vienna, Austria in early October and was finished by December 1912.

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.

"Battle of the Miracles"

Although Das Mirakel (under the title "The Miracle") was well-received by the critics in the USA, it seems to have been made in a deliberate attempt to compete with the 'authorised' film of Max Reinhardt's production, The Miracle (1912 film) produced and co-directed by Joseph Menchen and Michel Carré. The release of two visually similar films in 1912 (one authorized, one not) with the same title and dealing with the same subject has inevitably led to confusion, including the false notion that a film named "The Miracle" went down with the RMS Titanic. See The Miracle (1912 film)#US performances.

The film's history is inextricably intertwined with that of Menchen's.

• The Miracle US: Sinking of the Titanic, death of Henry Harris (Menchen's US distributor), April 1912. Al. Woods buys US rights after this date & before May announcement on return to US. Woods acquired the rights in April, according to (Frohlich & Schwab 1918, pp. 412–415)
• The Miracle US: Woods prints a warning that he owns the motion picture rights in the US
• Das Mirakel US: A trade magazine ad reads "Coming Soon!! The Miracle. A sensational Cathedral play that aroused discussion throughout the world. New York Film Co, 12 Union Square, New York.2"
• The Miracle UK: In June 1912 Menchen announced in the British cinema trade press that a colour film (with voice effects) of The Miracle was going to be made in Vienna, the next venue for Reinhardt's production.
• Das Mirakel US: Continental-Kunstfilm appointed the New York Film Company as their US distributors as from 1 July 1912, and announced the future release of four films including In Nacht und Eis (At Night Through Icebergs) and The Miracle (Das Mirakel)
• Das Mirakel UK: Elite Sales Agency formed on 3 October 1912.
• The Miracle AT: Shooting started Monday 7 October 1912 in Perchtoldsdorf, Vienna.
• Das Mirakel US: Imported the film (as negatives?) into US 9 October. Al Woods attempted to have the film confiscated by the US Customs on the grounds that he owned the rights to the film. The chief customs officer declined to intervene, and decided it was a matter for a judge. The matter eventually came to court on 3 March 1913.

• Das Mirakel US: Das Mirakel first shown in the US to Al Woods' lawyers and the press at 9 a.m. on Friday 18 October 1912 at the Fourteenth Street Theatre, New York City Strangely enough, the former manager of the Fourteenth Street theatre when it was the Théâtre Français