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| Ten Commandments, The |
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 (10/10)
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Runtime: 220 |
| Public Rating: 9.04 (24 votes) |
Director: Cecil B. DeMille |
MPAA Rating:  |
| Genre: Drama |
Year: 1956 |
| Writer(s): Æneas MacKenzie, Jesse Lasky Jr., Jack Gariss & Fredric M. Frank |
| Reviewed by: Le Apprenti |
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Before there was “The Prince of Egypt”, the world at large knows, and knows of, only one screen version of the legendary slavery epic: Cecil B. DeMille’s “The Ten Commandments”. Truth be told, this colossal motion picture is actually DeMille’s remake of his previous work of the same title – a more parable-oriented drama without the spectacle of cinematography magic. Yet its storytelling is still as fresh and breathtaking today as it was 45 years ago when it premiered.
Adapted from three novels – “On Eagle’s Wing” by A.E. Southon, “The Prince of Egypt” by Dorothy Clarke Wilson, and “Pillar of Fire” by J.H. Ingraham – and driven in plot by the pages of "Exodus" of the Holy Bible, “The Ten Commandments” chronicles the rise of Moses as an Egyptian prince, his fall from glory and subsequent exile, his return as the deliverer of his people enslaved by Egypt, and their exodus into the wilderness. To headline this story, DeMille employs two charismatic personalities: Charlton Heston as Moses and Yul Brynner as Pharaoh Rameses. Both Academy award winners, and both glorious in their respective roles. Heston portrays Moses first as a towering prince magnificent in form and features, and later as a fearless God-empowered deliverer of an enslaved Israel. Brynner brings opposite Heston unbridled resentment in Rameses’s hatred towards Moses and everything he stand for. His is a perfect embodiment of villainy to compliment with the heroic character of Moses.
Supporting Heston and Brynner is an ensemble of talent. Anne Baxter is the conceited scheming Queen Nefretiri, whose role is to harden Pharoah’s heart and falls hopelessly in love with Moses. Baxter overplays her to the point that it seems forced. As Moses’ strong-willed wife Sephora, Yvonne De Carlo is an exceptionally beautiful Sephora. She outshines all of the female cast members, including Debra Paget who – as Joshua’s love interest and Dathan’s mistress Lilia – is very bland. Edward G. Robinson John Derek give sore thumb performances as Dathan and Joshua respectively, both standing out too conspicuously but uninspiring. Other casting includes Cedric Hardwicke as patriarch-like Pharoah Sethi, Nina Foch as Pharoah’s sister Bithiah, Vincent Price as chief slavemaster Baka, Martha Scott as Moses’ mother Yochabel, John Carradine as Moses’ brother Aaron, Olive Deering as Moses’ sister Miriam, Judith Anderson as chief royal Egyptian maid Memnet, and Eduard Franz as Sephora’s father Jethro.
Along with a rich cast is the abundance of spectacular cinematography. In-between DeMille’s narration, camera photography captures the glories of Egypt, the plight of the Hebrew slaves, the altercations between Moses and Rameses, and the spectacular exodus of the Hebrews from Egypt. In addition, special effects – its only Oscar win out of 8 nominations – bring the miracles of God to life: the burning bush, the Plagues, the parting of the Red Sea, and the writing of the Ten Commandments. All of which are memorable thanks to the cinematography. The dialogue is wreathed with substance. Every line is an extension of the story, rich with spiritual overtones.
No doubt, “The Ten Commandments” is the greatest biblical story ever told in motion picture. If it does not make you believe in God, it will make you wonder if you can.
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