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HISTORY

In an interview, Hal Roach stated that he, Harold Lloyd, and Frank Borzage were extras in this film. This has been confirmed by a photograph from the production.
       The 14 November 1913 Variety reported that Katherine [sic] Kerrigan would be playing "Delilah" opposite her brother "Jack" Warren Kerrigan "in the U's new forthcomer, Samson and Delilah." It would be the stage actress's first film appearance. A month and a half later, the 3 January 1914 Motion Picture News noted that the film, now planned as a four-reel motion picture with the title shortened to Samson, was "well along." It was one of six productions being shot simultaneously at the huge Universal City studio, which had "a mammoth stage, one block in length."
       According to the 7 February 1914 Motography, Samson was "at last completed. The crowning scene, where Samson pulls the pillars apart so that the Temple falls and crushes the people within was left to the last, and after many hours' rehearsal was taken with remarkable results." Many of the intertitles were passages from the Old Testament.
       An article in the 28 March 1914 Motion Picture News announced that Samson was being heavily advertised from coast to coast. Hundreds of extras were used during filming. The writer observed that during the final scene of the temple's destruction, "The huge pillars, the roof and accompanying debris seem to fall directly on the heads of the crowd while they scatter in a vain attempt to reach safety. Just how many were actually injured in this scene is not of record, but a ...

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In an interview, Hal Roach stated that he, Harold Lloyd, and Frank Borzage were extras in this film. This has been confirmed by a photograph from the production.
       The 14 November 1913 Variety reported that Katherine [sic] Kerrigan would be playing "Delilah" opposite her brother "Jack" Warren Kerrigan "in the U's new forthcomer, Samson and Delilah." It would be the stage actress's first film appearance. A month and a half later, the 3 January 1914 Motion Picture News noted that the film, now planned as a four-reel motion picture with the title shortened to Samson, was "well along." It was one of six productions being shot simultaneously at the huge Universal City studio, which had "a mammoth stage, one block in length."
       According to the 7 February 1914 Motography, Samson was "at last completed. The crowning scene, where Samson pulls the pillars apart so that the Temple falls and crushes the people within was left to the last, and after many hours' rehearsal was taken with remarkable results." Many of the intertitles were passages from the Old Testament.
       An article in the 28 March 1914 Motion Picture News announced that Samson was being heavily advertised from coast to coast. Hundreds of extras were used during filming. The writer observed that during the final scene of the temple's destruction, "The huge pillars, the roof and accompanying debris seem to fall directly on the heads of the crowd while they scatter in a vain attempt to reach safety. Just how many were actually injured in this scene is not of record, but a number must have been." An article in the March 1914 Ilustrated Films Monthly played up the story that a lion used in the film attacked and mauled J. Warren Kerrigan, and would have killed him if director J. Farrell MacDonald hadn't fired a bullet into the beast's heart. The lion, a member of the Universal City Menageries, had never "shown any signs of temper, and it was considered the most docile." The animal had apparently objected to being doped with a hypodermic needle just before the scene in which Samson was to grab it by the jaws and toss it aside.
       An item in the 27 February 194 Variety noted that Universal had "decreed" that, due to high production costs and a length of six reels, theaters could not charge less than twenty-five cents for admission to Samson.
       The 20 March 1914 Variety repeated a "main criticism" that J. Warren Kerrigan "is hardly big enough for the portrayal of so tremendous a monster of physical strength. As one representative of the Universal facetiously remarked, the roles of Samson and Delilah might have been transposed. Miss Kerrigan is apparently a bigger person, physically, than her brother."
       Cecil B. DeMille directed a film entitled Samson and Delilah in 1949 for Paramount which starred Victor Mature and Hedy Lamarr.
       The National Film Preservation Board (NFPB) included Samson on its list of Lost U.S. Silent Feature Films as of January 2021.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Illustrated Films Monthly
Mar 1914
p. 34, 35
Motion Picture News
3 Jan 1914
p. 30
Motion Picture News
28 Feb 1914
p. 16
Motion Picture News
28 Mar 1914
p. 41
Motography
7 Feb 1914
p. 107
Moving Picture World
24 Jan 1914
p. 427
Moving Picture World
4 Apr 1914
p. 59
Moving Picture World
11 Apr 1914
p. 274
NYDM
25 Mar 1914
p. 34
NYDM
25 Sep 1915
p. 2100
UW
25 Apr 1914
p. 13
Variety
14 Nov 1913
p. 14
Variety
27 Feb 1914
p. 22
Variety
20 Mar 1914
p. 24
Variety
27 Mar 1914
p. 25
DETAILS
Alternate Title:
Samson and Delilah
Release Date:
30 April 1914
Production Date:

Physical Properties:
Silent
Black and White
Length(in reels):
6
Country:
United States
Language:
English
SYNOPSIS

An aging, childless couple is promised by an angel that a child will be born to them, who will grow up to deliver Israel from the hands of the Philistines, but his hair must never be cut. When the boy comes to them, Manoah and his wife call him Samson. The boy grows up under his mother's careful watch, and his enormous strength becomes legendary, but when he falls in love with Zorah, a Philistine, he marries her despite his parents' objections. At their marriage feast, Samson offers a prize for anyone who can solve his riddle, and the Philistines threaten Zorah, forcing her to reveal the answer. Samson leaves Zorah in anger, and when he later returns to her, her father has already given her to another man. For revenge, Samson sets the Philistines' crops on fire, and they, in turn, burn Zorah's father's house, killing both father and daughter. Samson then retires to a cave where the Philistines fight him, but he slays them all with the jawbone of an ox. Later, Samson meets and becomes fascinated with another Philistine, Delilah. She discovers that his hair is the secret of his strength, and cuts it while he is asleep. After being thrown into prison, blinded, and forced to work like an animal, Samson is taken to the temple where he calls upon God to restore his strength. He pulls down the temple, killing everyone, and dies on top of Delilah's ...

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An aging, childless couple is promised by an angel that a child will be born to them, who will grow up to deliver Israel from the hands of the Philistines, but his hair must never be cut. When the boy comes to them, Manoah and his wife call him Samson. The boy grows up under his mother's careful watch, and his enormous strength becomes legendary, but when he falls in love with Zorah, a Philistine, he marries her despite his parents' objections. At their marriage feast, Samson offers a prize for anyone who can solve his riddle, and the Philistines threaten Zorah, forcing her to reveal the answer. Samson leaves Zorah in anger, and when he later returns to her, her father has already given her to another man. For revenge, Samson sets the Philistines' crops on fire, and they, in turn, burn Zorah's father's house, killing both father and daughter. Samson then retires to a cave where the Philistines fight him, but he slays them all with the jawbone of an ox. Later, Samson meets and becomes fascinated with another Philistine, Delilah. She discovers that his hair is the secret of his strength, and cuts it while he is asleep. After being thrown into prison, blinded, and forced to work like an animal, Samson is taken to the temple where he calls upon God to restore his strength. He pulls down the temple, killing everyone, and dies on top of Delilah's body.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.