The Star of Bethlehem (Thanhouser, 1912)

While Thanhouser’s The Star of Bethlehem may not have shone as brightly as Kalem Studio’s spectacular From the Manger to the Cross (1912) in terms of public fanfare and critical accolades, it did certainly possess a twinkle, establishing its own significance in several ways. ¹ Not only did it depart from canons of previous cinematic treatments of Christ, limiting itself to the nativity story, it also contributed to the acceptance of cinematic biblical texts, particularly by middle-class Protestant spectators, by serving up a generous portion of manufactured piety. In doing so, The Star of Bethlehem helped to promote the expansion of the fledgling moving picture industry into religious markets and attempted to root the Gospel narrative back in its Hebraic sources. Alongside From the Manger to the Cross, Thanhouser’s film also contributed to the construction of celebrity and a fan base for actors and also buttressed the position of film reviewers as biblical expositors. Finally, The Star of Bethlehem facilitated an early debate on the nature of “sacred films.” ²