User reviews

It doesn't get any better than this. You can count on this perennial favorite to show up every Easter just as you can count on "A Christmas Carol" during the yuletide season. The daddy of all contemporary religious instruction, 1956's "The Ten Commandments" is blockbuster spiritual entertainment in every way, shape and form, as Cecil B. DeMille depicts the life of Moses from his birth to slavery to Mt. Sinai in grandiose, reverential style. And what a life!

This was the first movie I ever saw at the drive-in. I was only 6 at the time but I can remember the neighbors taking me to see this, snuggled up in pajamas and stuffed in the back seat. The parting of the Red Sea waters, the turning of the staff to a viperous snake, the green-colored pestilence of death seeping into the homes of every first-born, the creation of the tablets, the burning bush, the booming narrative. I sat in absolute silence and wonderment. This is my first remembrance of any kind of movie-making and the Oscar-winning visual effects and vivid pageantry are still pretty amazing, even by today's standards.

Charlton Heston, the icon of biblical story-telling, still towers over anybody who has ever TRIED to played Moses – before or since. Stalwart and stoic to a fault, he possess THE look...cut out of pages of my old religious instructions book....the look that radiates magnificence and glory...the look of a man who has definitely seen God. His commanding stature and voice with its slow, deliberate intonation is eerie and unmatched. Yul Brynner portrays Ramses II as if he were the King of Siam in Egyptian pants. Nobody poses or plays majestic like Yul. He's forceful, regal, imperious...everything a biblical foe should be. Anne Baxter as the tempting Nefretiri, Queen of Egypt, borders on total camp in her role, her stylized line readings and breathy allure is laughable now, with posturings and reaction shots not seen since Theda Bara. But who cares? Baxter provides the most fun and its her florid scenes that I now look most forward to – whether she's throwing herself at the totally disinterested Moses or verbally sparring with Ramses, slyly pushing his emotional buttons. She alone puts the "k" in kitsch. The rest of the huge cast is appropriately stiff and solemn.

DeMille's 1923 original version of "The Ten Commandments" is hardly subtle as well, but still impressive and certainly worth a look. In the 1956 remake, DeMille organizes a cavalcade of thousands to lend authenticity to the massive exodus scenes, while the ultimate picture-perfect frame for me is the three beautiful slave extras posing exotically and dramatically on a rock in front of a vivid blue-gray backdrop of furious, threatening clouds as Moses parts the sea. That vision alone is one for the books.

Whenever I am tempted to break a commandment or embrace that golden calf, I know I'll always have to answer to Charlton – glaring down from Mt. Sinai ready to throw those heavy tablets at me for my transgression. Charlton not only sets you straight, he makes you BELIEVE!

Every time it played at our local cinemas I went to see it and sat through it at least twice. I cannot remember how many times I have seen this wonderful movie. I first saw it when I was about 11 and marvelled at it as a spectacle. I wept when Heston wept and rejoiced when he did. As I grew older I came to love Brynner's fantastic performance and lust after Anne Baxter (only better in All About Eve). Cedric Hardwicke, Edward G. and Debra Paget (Hubba Hubba)all impressed me. I was sorry Vincent Price was killed so early - what a great villain. It still demands my attention when it appears on TV. I swear I have seen it enough, but if I catch a glimpse then I have to see it again!! I find it unbelievable that it won almost nothing at the Oscars. At least best Actor for Brynner and best supporting actor for Edward G.!! No costume design? No set design? No Music? A travesty!! See this if you have not already - you are in for a treat- it still stands up. Long but absorbing.

The parting of the red sea! The confrontation at Mount Sinai! This movie is full of spectacular scenes and images! De Mille truly was a great filmmaker. His powerful imagination is evident in the Ten Commandments. This is his masterpiece. It carries you along on an epic adventure that is as big as the old testament. It captures the ancient, epic feel of the original Bible story. It has several stunning performances that could have easily been cheesy and fake, but are convincing and fascinating. Some say that the dialog is campy. I don't think so. I've seen this movie many times and have never thought so. It's nothing like the terrible dialog in Plan 9 From Outer Space from the same decade. The romance may be a cliché now, but it was quite original when it first came out and is still interesting. I personally don't like romance, so the fact that I wasn't bothered by this one is really saying something. This marvelous story is wonderfully told by De Mille and I would strongly recommend it.

Nobody ever wants to see a movie more than once because the quality and charm of the movies of today are just not enough to coax you to. But every once in a while there comes a movie which, firstly never lets you take your eyes off the screen for the full length of its feature and secondly,makes you want to watch it over and over again without boring you. Not only that, the more times you watch it, you feel that you missed something the last time. Cecil B. DeMille's THE TEN COMMANDMENTS is that kind of a movie. There have been many movies made on the topic of this Hebrew born prince of Egypt, but none compare to the way in which it has been portrayed in THE TEN COMMANDMENTS. There are a number of reasons for that:

1. When casting the role of Moses, Charlton Heston was chosen above all others including Bert Lancaster, not because of his knowledge of the Bible, but of his striking Physical resemblance to Michelangelo's sculpture of Moses especially the facial structure not to mention the stout build of a prince.

2. The sets for the film were specially designed and the splendour of ancient Egypt in all its glory was recreated especially for this movie.

3. The role of Rameses II was given to Yul Brynner after DeMille observed his magnificent performance as the King of Siam in Rodgers & Hammerstein's THE KING AND I, confirming that he is well suited for a stubburn and malificent heir to the Egyptian throne.

It was not only Heston as Moses who made this movie a success, but all the elements that came together, the cast of thousands, the special effects,the costumes, the sets and most of all the simply unbelievable "parting of the red sea".

It is a wonder why this movie only received one oscar; that of the Special effects, yet I think it deserved alot more. It did not even strike at the box office. Even then it never fails to enchant millions, no matter what religion they follow. Movies like THE TEN COMMANDMENTS and it success in the hearts of millions, shows quite clearly that a movie, in order to be loved by millions the world over, does not necessarily have to strike gold at the box office.

To watch this film, you don't have to believe in God, but if you believe in good triumphing over evil and freedom from slavery of foreign masters, then this is the movie for you.

"The Ten Commandments" is a milestone film. For some, those of us in their 50's or older, it represents the end of an era: Some call it "The Golden Age of Hollywood"; the beginning of the end of the studio system; and the end of a period in which the real founders of the "public art" took, or began to take, their final bows -- DeMille, Zukor, Goldwyn, Selznick, and others.

For those of us who saw "The Ten Commandments" on the big screen and in one of the now extinct gilded movie palaces of yesteryear, the picture holds special memories. There is a sense of nostalgia that accompanies any new viewing of this one-of-a-kind Victorian pageant. For many, I'm sure, the nostalgia extends beyond the film itself.

There were problems in the mid-fifties, as in every decade since the real Moses came down from Mount Sinai. Polio, the continuing menace of poverty, the material and spiritual separateness of what we called "colored people", Communism, etc. But . . . there were virtues too, many reflected in the writing and performances of "The Ten Commandments": Virtues like courage, strength of character, personal honor, and endurance were paramount (no pun intended). The biggest problem in schools was students chewing gum in class. Today, it's students "shooting-up" in parking lots or shooting down their classmates in the halls. . . America had an identity then.

DeMille's vision was, always, of "an ideal". He painstakingly produced authentic looking packages in which to wrap his vision -- embellished by the "glitz" of what was, then, the "ideal" Hollywood portrait: Bluer than blue skies; shimmering, jewel-encrusted costumes; out-sized architecture; dramatically convenient thunderbolts; and perfectly lovely female leads, with make-up invariably and predictably un-smudged. DeMille gave his audience what they expected from an "A" picture. He wasn't interested in realism. His idea was to reinforce values he'd learned from his parents and his brother (a noted playwright) in a dramatic format which could be "felt" by young and old, alike . . . more a reverence for time-honored principles than the analytical, ironic, and questioning approach dominant in the films of today. There was in the 50's and the 40's a more amicable attitude toward "orthodoxy" -- in all its forms. Hence, the overwhelming popularity of every DeMille production released during that period.

After fifty years, "The Ten Commandments" is still impressive visually, dramatically, and especially in terms of the intensity of its convictions (reflected in all the biographies of the principals) . . . something which cannot be said of many similar big-budget pictures of the same era.

One day, someone may attempt a re-make. Expect that it will be visually impressive and less "stagy". But . . . expect, as well, that it will be punctuated with the obligatory mandates of political correctness; an uncertainty about its message; and a healthy dose of Twenty-First Century cynicism. It will be more "realistic" to be sure, but far less "authentic" -- like a perfume ad, physically attractive, but without a "heart".

Cecil B. DeMille was a motion-picture producer-director whose use of spectacle attracted vast audiences and made him a dominant figure in Hollywood... He was successful in a genre - the epic - that he made definitely his own, until William Wyler came along three years later with "Ben Hur."

In his first epic role, Charlton Heston is cast as Lord Moses, prince of Egypt, son of the pharaoh's sister...

As a true prince, he saves a slave's life; as a great prince, he gives the priest's grain to the slaves and one day in seven to rest; as a man of justice, he confronts Nefretiri with a piece of Hebrew cloth, the key to his origin; as a warrior and in excellent physical condition, he kills a tough and cruel master builder; as a courageous Hebrew, son of slaves, he tells the pharaoh: "It would take more than a man to lead the slaves from bondage, but if I could free them, I would!" As a man of prowess, he shows his latest methods of combat when he takes on the shepherds and routed them; as God's torch, he proves to be the Deliverer of the Hebrews, their prophet and leader; as the Lawgiver of the Covenant, he is the founder of the community; and as interpreter of "The Ten Commandments," he is an organizer and legislator...

Yul Brynner is superb as Rameses, the rival of Moses... His arrogance and swaggering snobbery are well represented... Brynner delivers an intelligent cynical role... Regarding himself as divine, he rejects the demand of this unknown God and responds by increasing the oppression of the Hebrews...

Anne Baxter is Nefretiri, the sensual princess who leaves her scar upon Moses' heart... Nefretiri is beautiful as a jewel, and her eyes green as the Cedars of Lebanon... For Moses, she is always ready to lie, to kill and betray... She is selfish in her life as certainly in her love...

Edward G. Robinson plays Dathan, the chief Hebrew overseer who confessed to Rameses: "Give me my freedom and I'll give you the scepter. Give me the water girl Lilia and I'll give you the princess your heart's desire." As a treacherous overlord, he charges to the people yelling: "Go where? To drown in the sea?"

Yvonne De Carlo plays Sephora, the midnight shepherdess to whom Moses is wed... Sephora couldn't fill the emptiness of Moses' heart, but promised not to be jealous of the memory...

John Derek is Joshua, the stone cutter, who is totally convinced that Moses is God's Messenger...

Debra Paget plays the delicate flower who quench the thirst of the working slaves... For her the hour of deliverance will never come...

Sir Cedric Hardwicke plays Sethi, the mighty Pharaoh, whose words to his son mark great significance: "Who would take a throne by force that he has earned by deeds?"

Nina Foch plays Bithiah, pharaoh's sister, who discovers the basket in which Moses has just floated down the Nile...

Vincent Price plays Baka the sadistic, covetous, murderous whip-wielding slave-driver...

"The Ten Commandments" is filled with tremendous special effects: Moses's staff turns to a snake; Moses turning the Nile to blood; the Passover of the Angel of Death striking all the Egyptian first-born; the tremendous pillar of fire which halts Rameses' men; the Exodus from Egypt; the parting of the Red Sea; and the delivery of the "Laws of life, and right, and good, and evil."

The relationship between God and man is the powerful drama in our world... Moses is 'every man,' in his pride and humility, in his courage and prowess, in his love and hatred, in his weakness and confusion,in his conduct and ability...

DeMille's "The Ten Commandments" is a moving story of the spirit of freedom rising in a man under the divine inspiration of his Maker... It is a remarkable spectacle with great music, filled with exceptional setting and decor...

So let it be written - so let it be done! This is an all-time classic, which probably deserves more attention that it has got. Yes, it's hammy sometimes, cheezy too, but always good value, the special effects are excellent for its age, and the whole thing has EPIC written all over it. Charlton Heston gives an excellent performance as Moses, Edward G Robinson is suitably nefarious as Dathan, and there's great performances all round from Anne Baxter and Yul Brynner. The expression "total cinema" always comes to mind, and it stands up perfectly to repeated viewings... especially around Passover.

What can be said about The Ten Commandments that hasn't already been said? The story is enthralling; The acting/cast superb; The sets colossal and elaborate and the effects (while dated by today's standards) were mind-blowing at the time and stand up well enough even now so as to not be a detractor.

Charlton Heston and Yul Brynner are at their finest and both are simply amazing to watch. Other titans of film include Edward G. Robinson, Vincent Price and John Caradine. While The Ten Commandments is a long movie (with intermission), the pacing and plot developments keep the viewer engaged and enthralled. Even if one is not a devout believer, the story is universal and timeless in its telling of an oppressed class of people subject to the whims of a tyrannical government and their struggle for freedom. It emphasizes the ideal that all men are created equal and no man should be born subject to another. It tells of the power of God's wrath (or Karma) in how those who do evil against their fellow man are repaid with death and destruction.

It is one of the greatest stories ever told. Even if one does not appreciate that it is a Biblical story, it still holds to many truths about the struggle of man against man that have endured throughout time. It is Shakespearean in its scale and scope, many complex characters and timeless message. The Ten Commandments is a classic that will endure, not simply because it is a 'Bible story', but because it speaks to the human heart in so many ways.

This is one magnificent film. Brilliantly directed by Cecil B DeMille, it boasts some splendid cinematography and gorgeous scenery and attention to detail. Not only that, but also a script that positively sparkles, characters that are refreshingly complex, a rousing score courtesy of the great Elmer Bernstein and a compelling story. Also impressive, perhaps even more so, are the astonishing set pieces and the acting. In the lead Charlton Heston is very powerful while Yul Brynner too gives one of his best performances. The supporting cast are equally impressive, Cedric Hardwicke, Vincent Price, Judith Anderson, John Carradine, Edward G. Robinson, Yvonne DeCarlo and Debra Paget are all memorable. All in all, The Ten Commandments is nothing short of the epitome of magnificence not just in its scope but also its complexity. 10/10 Bethany Cox

I like this film because it makes Moses bigger than life and has a way of showing events in a polished, acceptable way, but I only gave it a 7 because I prefer a bit more realism, That said, I also realize that in the time it was filmed, this was the accepted representation. It is a treat for the eyes and senses.

I do not know why 10 Commandments rates so high. It's got nice background sets, full color, and nifty special effects - at least for it's time. But when it comes to what really counts, this film falls way short. The acting is terrible. And the dialogue is extremely hammy. Watching 10 Commandments feels like you're watching a stage play. The film is also about two hours too long - if you're having problems with insomnia, I suggest watching this film. The director could've worked on authenticity a bit better. The setting feels nothing like the Egypt during the biblical times. The colors are too exaggerated and the set pieces look fake. For some reason Ten Commandments kept reminding me of Gone With the Wind, another terrible film.

What a fantastic movie to climax DeMille's illustrious career.

Charlton Heston, king of the biblical epics, shines brightly as Moses, the one time Egyptian Prince, who now carries staff and perm in order to work Gods will and free his enslaved people from bondage.

Yul Brynner, in what I believe to be his finest turn before the camera plays Rameses the Pharoah who's hateful relationship with Moses spans the entire epic. He is charismatic and shows off the arrogance of a stubborn Pharoah to perfection. This is indeed a film stealing performance.

The beautiful Anne Baxter is at her sultry best as Nefretiri, the woman who would be queen to Rameses, but a slave in love to Moses. However the character is complex and I certainly had trouble in deciding who's side she was on in this epic battle of good verses evil. In the beginning she claims not to care for Moses' discovered background and is willing to be with him no matter what, however as the film progresses she does nothing but ridicule him and belittle him in true anti-semitic fashion.

Edward G. Robinson, Vincent Price, John Derek, Sir Cedric Hardwicke, Yvonne De Carlo, Nina Foch, John Carradine, and Debra Paget all lend fine and memorable support, to an already colourful and breathtaking experience.

Incidentally it is worth mentioning that so convincing was Martha Scott in her role as Moses' mother Yochabel, that she was given the chance to play Charlton Heston's mother again in the later epic Ben-Hur.

Another interesting fact is, it was Charlton Heston's own voice who spoke the words of God. It was Heston's own idea that to hear God would be to feel God from within, which is why he thought it would be interesting to hear His voice as his own.

A remake of DeMille's earlier screen adaptation of the fine book of Exodus, many can see why this film ranks as his ultimate achievement. The sets were lavish and the story handled with suitable reverence and dignity.

People today often make the mistake of comparing older films like this to the modern epics of today with regards to their effects and they quite wrongly categorize them as inferior. Today anyone can create CGI images on their PC. Even my three year old daughter can make something look convincing with a mouse and a keyboard and although these effects are great, people have to remember that CGI was not available in 1956.

Okay there are a few obvious matte backdrops used here, but to achieve the effects they did nearly fifty years ago was an outstanding and impressive feat which took talent and knowledge. I tend to look upon these effects as superior because it took the use of mans own brain to bring them about. The human brain is the best computer available, yet one seldom used in todays world. So please take this on board before you slam The Ten Commandments for it's "cheap and nasty" look as one reviewer called it.

This movie is ALMOST faultless, even the length is forgivable as I was so engrossed, I hardly notice the time passing.

One fact that did rouse my curiosity was Moses' appearance throughout the film. I know he went to speak to God at the burning bush, but did he really have to stop off at the salon on the way back? Or did God appear to Moses complete with curling tongs and hair dryer? "Just a little off the top Oh Lord."

And why did Moses seem to age more than everyone else? It seemed like he went from a youthful dark to everyones favourite Santa in the space of a week.

This aside, this film is a fantastic piece of cinema and must rate as a personal favourite of all fans of Biblical epics.

When I was 10 years old I saw The Ten Commandments in the the theater which is the only place it really should be seen. At the time I thought it was the greatest film ever. All that splashy color cinematogaphy and eye filling spectacle. The guy that put this together is some kind of special genius. Then I grew up.

Today in a lot of quarters this and other DeMille sound films are viewed as pretty high camp. Especially those that touch on a religious theme. It's that dialog and The Ten Commandments longer than any other of his films has more of it. People talking some of that high falutin' nonsense, together with a good mixture of sex.

What a lot of people fail to remember is that before Cecil B. DeMille came to Hollywood he was an actor and playwright on Broadway. He learned his trade at the feet of David Belasco, the premier Broadway producer/playwright of his day. In that Victorian/Edwardian era, ALL the actors, in Belasco plays especially spouted that stuff. I recall Anne Baxter saying that Moses spurned her like a strumpet. How many people do you know who use the word strumpet in their every day conversation? Or Yvonne DeCarlo saying to Charlton Heston that he Moses is God's torch to light the way to freedom and that by the way she loves him?

DeMille made one great casting decision in getting the only actor who could play Moses and make it believable. This indeed was Charlton Heston's career role and as he said in his autobiography if you can't make a career out of the lead in two DeMille pictures it ain't happening.

One other member of the cast Edward G. Robinson as Dathan loved this picture. Robinson had been dropping in star status since the late Forties and was now doing mostly B films. DeMille, whose rightwing politics Robinson despised, gave him this part and Robinson's career got a big shot in the arm. Robinson was grateful and gave him full credit in his unfinished memoirs. Most of the last half of The Ten Commandments is a running verbal battle between Heston and Robinson who is trying to keep some kind of control. Robinson is almost like the leader of a company union with the Hebrew slaves as members and Robinson sure enjoys the perks of office.

The first half of the film is the sex part, hovering over all the biblical jargon. DeMille used an old gambit of his, two men in a rivalry over a woman. It worked in previous films like Northwest Mounted Police, Reap the Wild Wind, Unconquered and now here. Anne Baxter is a royal princess promised to the next Pharoah designate. But who will Sir Cedric Hardwicke designate. Charlton Heston his nephew or Yul Brynner his son? Anne Baxter has Nefretiri has both these guys hormones in overdrive. She favors Moses, but then Moses gets a higher calling.

Though he was no director of actors and his sense of drama was generations old, DeMille was a firm believer in two things, fill the screen and make the films move. 50 years later the parting of the Red Sea will still make one gasp. It's not just publicity hype when The Ten Commandments is advertised with a cast of thousands, that is thousands you're seeing on that screen.

Elmer Bernstein wrote the musical score for The Ten Commandments one of his first. He credited DeMille with teaching him how to write musical scores for film that underscore movement. This score brought him his first real notice as a film composer and he certainly became one of the best.

Given the computer technology available today, one can only imagine what Cecil B. DeMille could create today. Of course he'd insist on some of the same writing, but then again without it, it wouldn't be a DeMille picture.

Probably the best Bible movie ever made. It's a very exhilarating experience. Everything is just so grand: the music, the sets, the whole scope of the story, and even the acting. Charlton Heston as Moses is truly one of the greatest heroes of all time. Such an epic and beautiful film, this is one everyone must see. Even if you're not religious there's so much in store with this film. A masterpiece.

Heston was the ultimate Moses.Scenery,music fight scenes,actors,the special effects of the era makes you forget the four hour duraton and enjoy one of the best biblical films in history.

No, it is not a Great Film. It is pompous, preachy, ludicrously self important and, for much of its length, surprisingly static, more a series of Dramatic and Instructive Tableaux than a motion picture. Guess what? It doesn't matter! There are those who accept it on its own terms and revere it, those who relish it as an example of grand scale, baroque movie making, and those who love it for its camp value, as in the early scenes when Brynner and Heston go chest to chest.

So whatever your approach, settle in and enjoy. You won't see the likes of this again.

We are facing one of the most consecrated biblical epics ever made and the magnum opus of Cecil B. DeMille. The story is well known, most people know the Bible even without having read it. Concerning the work of the cast, it's great even if we consider that they're overly theatrical and lack here some veracity and naturalness, essential to play in cinema. Charlton Heston is the great actor of the film, in the role of Moses. Yul Brynner was also excellent as Pharaoh Ramses, as Anne Baxter in the role of Nefretiri. Edward G. Robinson surprises in the role of the hypocrite Dathan. But what makes this film particularly intense is the beauty it has. The setting is one of the biggest that Hollywood has ever made, with thousands of extras with carefully detailed period costumes. Everything was thought to the detail and we love all this visual show. Of course, historical accuracy has been left in the background. DeMille had his school on Broadway and might not attach much importance to the historical details but knew how to make a great show. The visual and special effects are quite realistic, the state of the art of cinema of this time, and still can seem credible today, more than fifty years after it's premiere. The soundtrack of Elmer Bernstein is strident, betting heavily on metals and percussion, in a clearly symphonic style that was thought to make everything even more grandiose. In short: it's a consecrated epic that many people still watch, almost religiously, at Easter (in Portugal it's normal to be broadcast on TV in this period, year after year). The big problem of this film is the very theatrical dialogue and acting. It looks like theater. But we can forgive this fault because it's more or less overshadowed by the visual and sound show.

This film is so popular and DeMille puts together such a cast that if anyone out there is thinking about a remake, I would guess the casting department would be mulling over who would play Charlton Heston, rather than Moses; who would portray Yul Brynner as Rameses; and who would be the perfect Ann Baxter? Doing a remake of DeMille's rendition would be like remaking THE WIZARD OF OZ or CASABLANCA.

When her character is introduced at the beginning of the film, Ann Baxter looks stunning as she strikes a now classic pose. She also does a great job toying with Rameses mind in the palace, as both her and Rameses pray for their dead firstborn son to be brought back to life by the god, Horus. The words "So let it be written; so let it be done" spoken by Rameses father, and then by Rameses II. My favorite line spoken by Yul Brynner is: "The slaves are mine; their lives are mine; all that they own is mine." This finally cements his image as a truly tyrannical Pharoah, though any child would have figured this out already. The screenwriter loves to have the cast refer to Moses by saying his name twice in succession: "Moses, Moses!" I told myself once I would sit down and count how many times "Moses, Moses!" was said in the film. There is one segment of the film however, where the script is so 1950s cornball I can barely stand it. Everyone is so happy that all good things begin happening at once, i.e. " ... You have a newborn son!" (Yay Yay) If this happened in modern times someone surely would bellow "I won the lottery". (The scene I am referring to is when the slaves are leaving Rameses' city heading for the promised land).

Still, DeMille successfully translates his own majestic, original vision creating this epic for the big screen. When I saw it the first time on the big screen at age seven, I thought this was the greatest movie ever! The frequent cornball dialog in places is easily forgotten when one becomes awestruck by all of the huge, glorious sets which are favorably complimented by solid art direction, cinematography and, as advertised at the time, "a cast of thousands!" This film is a "must see" for any serious film student, fan or fanatic! Enjoy with lotsa popcorn!

I'm always willing to watch this, and I always enjoy it. Rather than admit that there is something wrong with my taste, then, I've come to the conclusion that it's actually rather good. It clearly has class, and spectacle. Perhaps it has other virtues as well.

Say what you will about De Mille's stagy style: it fits the Old Testament. Whereas "The Prince of Egypt" went soft and new-agey when it came to the crunch, De Mille never lets us forget the harsh world events are taking place in. With a powerful and capricious god glaring at everyone all the time, it's not surprising that people - even pagans - take to talking in speeches. (The speeches are in an attractive, flowery style that isn't biblical but has the same aesthetic standards as some biblical writing.) And the god really has some Old Testament flavour. Everyone is terrified of him, and for perfectly rational reasons would rather pretend that he doesn't exist. This gets tiresome after a while. You'd think that after watching the Red Sea part everyone would have been willing to admit that Moses courted SOME kind of supernatural influence. On the other hand, you'd be a mug to trust this influence too far.

Possibly the best thing about the movie is the way it manages to divide our sympathies without weakening them. Yes, we're on the side of the Israelites. But it's also hard not to be on the side of the Egyptians. The old Pharaoh is probably the most likeable character on display and the young Pharaoh, while he has his flaws, is a nice enough fellow done in by unfortunate circumstances. Moses gains our empathy early and keeps it even when his beard has turned to marble. Only the minor characters are villains - and they're fun, too.

Of course, I say all this knowing full well that the entire film is, at the same time, completely ridiculous. Well, what can I say. It's yet another instance of a general law. Simple sincerity can sometimes spin straw into gold.

Edwagreen states that not one actor in The Ten Commandments received an Oscar nomination, but that is incorrect. The recently deceased and beautiful Yvonne De Carlo was nominated for Best Supporting Actress in that film.

When given a good script and a decent director she delivered a good performance. See "Brute Force", "Criss Cross" and "Band of Angels" among others. There was much buzz about her performance in "Band of Angels" with many people urging an Oscar nomination for Best Actress, but it never came to be.

I had the good fortune of seeing her on Broadway in Steven Sondheim"s lavish and wonderful musical "Follies". Her movie career was virtually over by then. She won a Tony nomination for Best Featured Actress in a musical. Her memorable rendition of the song "I'm Still Here" has been imitated many, many times since, but never outdone.

There are advantages and disadvantages to watching The Ten Commandments today. One advantage is that it's still spectacular to see the great art direction and the effects that were put in in the era that didn't need cgi to be spectacular; hence all the efforts are more appreciated and the plot is more authentic (although Hollywood style). The disadvantage is that, in comparison to Ben-Hur, The Ten Commandments has not dated so well.

It's still something quite admirable. To direct and manage something as big as this film could not have been an easy task, so what DeMille did is quite extraordinary. And there are some undeniable good things, like Yul Brynner's excellent performance, and, although Heston is not as good as he would have been in Ben-Hur, his Moses pose with his hands spread out is as iconic as anything.

The film occasionally pitfalls in the dialog. Epics were hardly admirable for their accessible dialog. But at least in Ben-Hur (I keep referring to that because I believe that is one of the best films ever), there was an attempt to modernize the lines. Here, the screenwriters seem to have been more interested in reproducing more dialog as it'd written in the Bible than help the flow and pace of the film. As well as that, the voice over is simply out of place. Incidentally, because it is a voice-of-God narration, it's also ironically awkward.

As well as that, there are some scenes that seen today just look laughable. Like the sequence where Moses has to choose his wife among Jethro's daughters who perform the dance for him. The sequence is quite lengthy, considering that we know he will marry the one who is minding the sheep, because that's the good natured thing to do.

Another annoying thing is that the spectacular nature of the film leaves little way for the emotional side of it. The amazing surroundings make it so that there is little time to show the people's struggles. There is too little emphasis on the hatred between Rameses and Moses. In fact, Moses as a whole becomes a trivial character. He is always noble, throughout the film, but his transition from an Egyptian to a Jew is hardly explained. Such a transition should have taken a lot more thought and pondering, and personal conflict. Instead, there just isn't any of that at all. Moses knows what he is to do all along, and as a result, the character of Moses becomes more unbelievable, and we lose contact with him, because he is no longer a human. This may be good in the Bible, but it leaves little for the film.

You may argue that DeMille is spectacular, but he comes from an old school directing style that gets in the way of the film's advancement. In this film, as in other ones of his, it is possible to see similarities between his way of working and Griffith's way. The actors are taken care of less, and as a result, the characters appear more distanced.

Still, it's a film that should be seen, if not for its meaning, because it really shows what these religious epics were about and why people rushed to see them at the time. Now, the closest we get to that hype is The Passion of the Christ.