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. It was heavily publicised in the German trade press, with double-page advertisements from September 1912 detailing the ongoing battles with Menchen. Continental's film was completed and copyrighted by October 1912, while Joseph Menchen's authorised production of The Miracle started production near Vienna, Austria in early October and was finished by December 1912. Production 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. Timeline "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 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