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

The film tells the story of a wayward nun, Megildis, who deserts her convent with a knight, influenced by the music of an evil minstrel. A statue of the Virgin Mary comes to life and takes place of Megildis, who makes her way through the world and its many vicissitudes. Later, Megildis returns to the convent with her dying infant, and is forgiven as the statue resumes its place.

Act 1 – Temptation

• Scene 1: The Nun, Sister Megildis is placed in charge of the sacred image.
• Scene 2: The healing of the lame man.
• Scene 3: The Minstrel and the music.
• Scene 4: The arrival of the Knight.
• Scene 5: The Nun must spend the night kneeling.
• Scene 6: The flight of the Nun with the Knight.
• Scene 7: The Miraculous Image comes to life.

Intermezzo

• Episode 1: The lake of the fairies.
• Episode 2: The capture of the Robber Count, and dancing for the Nun.
• Episode 3: The mock marriage ceremony.
• Episode 4: The Nun is arrested for witchcraft
• Episode 5: The Nun is shown the ghosts of all who have lost their lives because of her.

Act 2 – Forgiveness

• Scene 1: Christmas Eve in the Convent.
• Scene 2: The image of the Virgin returns to its altar.
• Scene 3: Megildis returns to the convent with her babe, and finds it dead. The Miracle occurs.
• Scene 4: Forgiveness.

• Maria Carmi – The Madonna
• Florence Winston – The Nun, Megildis
• Ernst Matray – The Minstrel (or the Player)
• Douglas Payne – The Knight
• Ernst Benzinger – The Robber Count
• Joseph Klein – The King
• Theodore Rocholl – The King's Son
• Agathe Barcesque – The Abbess
• Marie von Radgy – The Old Sacristan
• Alfred König – The Lame Man

All the actors in the film (except Florence Winston) had just given sixteen stage performances of the play in Vienna during the two weeks immediately preceding shooting, and were well-rehearsed in their parts.

Although some advertising for the film implied that all the cast had been in the 1911-12 Olympia production, this was only true for Maria Carmi, Douglas Payne, Ernst Benzinger and Joseph Klein. Carmi was married to Karl Vollmoeller, the author of the stage play, and The Miracle was the first of her 26 films. Apart from Payne and Matray, who had made one film each, none of the cast had any experience in film acting; between them Carmi, Matray, Payne, Benzinger and Klein went on to make some 160 motion pictures Carmi, Matray, Klein and Rocholl also starred in the film of Vollmoeller's next pantomime, Eine venezianische Nacht (A night in Venice).

The miraculous legend of a wayward nun named Beatrice has been retold many times since it was first collected in the early 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. Maeterlinck described his own work (and Ariane et Barbe-bleue) as "...little scenarios, short poems of the type unfortunately called 'opera-comique', destined to furnish the musicians who asked for them, a theme amenable to lyrical developments. They pretend to nothing further." According to one critic, however, Ariane et Barbe-bleue and Soeur Beatrice "are, in truth, absolutely devoid of serious effort, aesthetic, doctrinal, or moral."

Sister Beatrice was produced by Vsevolod Meyerhold at the Moscow Arts Theatre in 1906, a production which Reinhardt may possibly have been aware of. Maeterlinck's play was also produced in March 1910 at the New Theatre, New York, with Edith Wynne Matthison in the title part.

While recovering from an illness aged 18 in 1896, Karl Vollmoeller had a vision of the Blessed Virgin Mary which had a profound impression on him, and which later became the basis of his wordless play, The Miracle. In a later interview he recounted: "While living in Italy, I had the chance to become absorbed in Latin manuscripts which told the history of the saints of the Catholic Church. (ie Heisterbach). One of these legends inspired me to write my play known as The Miracle... I wrote this piece (play) all at the same time (in one go), before films were made. I wish to state most emphatically that my play contains a spiritual message for the whole world, not only for Christians."

In another interview in 1913, Vollmoeller said of The Miracle: "The Miracle is not a theatre play in the ordinary sense. It is intended as an appeal to religious feeling. To attempt to cater in a play of this sort exclusively to the rich or the snobbish would be a great mistake. Often the people who would appreciate a play are the people who cannot afford the price of admission. For a production like The Miracle to coach the people for whom it was primarily intended it must have a low price of admission."

The film The Miracle seems to have been the brainchild of its producer, Joseph Menchen, a London-based American inventor, film projectionist and owner of a New York theatrical lighting business who later became a literary agent for film scripts. Reports of copyright cases in the English and US courts confirm that Menchen made the film, and a review of the film's US première in New York referred to it as "the Menchen Miracle".

Menchen obtained the sole rights and film rights from Reinhardt and from Bote & Bock (Vollmöller's and Humperdinck's publishers), and had "gone to very considerable expense" (£20,000 or $50,000) "in preparing a film of the play, which he intended to produce with Mr. Walter Hyman" at the Covent Garden Opera House on December 21." Another name (possibly a financial backer) appearing in connection with the production is that of A. D. Rosenthal. The 'Lyricscope play' was designed to be a partial re-creation (on a slightly smaller scale) of Reinhardt's massive theatrical spectacle which had drawn such large crowds to Olympia the previous year.

Reinhardt seems to have been involved in some initial technical discussions about a film of The Miracle (according to a July 1912 article in The Cinema before the film had been made) although he seems to have had little to do with its actual making.

Although much of the 'direction' belongs essentially to Reinhardt (since the movie was intended to be a recording on film of Reinhardt's stage production), Menchen engaged the experienced French film director Michel Carré to supervise the filming. Carré had recently completed a historical film about Napoleon Bonaparte, Le Memorial de Saint-Hélène (1911). He had previously directed the first European full-length (90 minutes) film, L'enfant prodigue (1907), based on his own earlier pantomime with music (Carré 1890); and with Albert Cappellani he co-directed the popular and successful 1909 film Fleur de Pavé starring Mistinguett and Charles Prince.

According to a puff piece in a Berkshire local newspaper, Menchen and Carré had "countless experiences" in designing the film's appearance; eventually they devised a method of arranging backgrounds that would "reproduce every phrase of photographic light and shade, together with extreme depth." Before