Amazingly colorful and vibrant, with massive practical sets that remain impressive today, but nuance goes completely out the window in virtually all performances in an attempt to give 'powerful' renditions of Biblical characters, apart from Baxter as Nefretiri and Robinson as Dathan.
The most incredible technical achievement in cinema that had been released to date is also a masterpiece of overacting and melodrama. With the film as visually enticing as it is, the length is actually not terribly unwieldy, but when the technical accomplishments can be condensed into a highlight reel of a few minutes, and with the hypertraditional interpretation of the source material, it's no wonder that DeMille's formidably sized classic that captured the minds of a generation no longer receives much attention apart from film buffs and retirees around holidays. In 1950's American drive-ins, you can absolutely see it all coming together, convinced that what they just witnessed was the pinnacle of filmmaking. A classic of american cinema and a masterpiece. The movie is respectful of the source material and is a religious movie through and through. The movie is over 3 hours long but is fun enough that it does not feel bogged down. Anne Baxter as Nefertiri is exquisite as the feme fatale of the story. The movie expands on the biblical story filling the gaps with melodrama that helps tell the story but is quite funny and silly today. The two machos battling out on screen is simply magnificent. Charlton Heston gives a powerful performance as Moses and Yul Brynner is demanding and impressive as Pharaoh. This movie won an academy award for its effects which were revolutionary at the time with no CGI and the parting of the red sea is one of the most incredible scenes in movie history impressing to this day. This movie is pure spectacle with demille being the king of spectacle in the golden age of cinema with large sets, hundreds of extras, and special effects. In here Charlton Heston plays Moses alongside Yul Brynner as Ramses in an adaptation of one of the bibles most iconic stories. Is a classic and Cecil b Demiles remake of his original black and white version of the exodus. The ten commandments is simply one of the most epic films of all time in the same likes as Ben Hur and Lawrence of Arabia. Lot can be said about the film that turned Moses into an American icon back in the 50s. It has it's issues, and its length and pacing make it an unlikely candidate for repeat viewings, but it's much vaunted grandiosity is good enough reason to see it at least once. Everything about it, from the scope of the story to the number of characters to the enormity of the sets screams ‘Hollywood epic'.
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With thousands of extras, both animal and human, it does an incredible job of capturing the sheer size of an Egyptian city in full swing. If I was going to recommend the film for any reason, it would be to witness its incredible scale. Also, the titular commandments don't play much of a role in the film, since they only appear in the last 10 minutes when things are already wrapping up. It's probably not worth pointing out holes in the story, since it's based on biblical accounts, and therefore there's not much you can do if you want to tell the story we're all familiar with.
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It feels more like a childish game of one-upmanship than it does a bid to free slaves from bondage, and when the exodus does eventually begin, even that seems to last a lifetime.
Moses' journey in the desert and his transformation into a liberator is good too, but the section where he comes back to confront Rameses has very little momentum and seems to go on forever. The beginning of the film, which introduces the main characters and establishes their connections is the most enjoyable part.
The film also suffers from an excessive runtime and a very uneven pace. The dialogue is hammy, the acting feels stagey and the fight scenes are 1950s through and through. DeMille's final film, and the one he is arguably best known for. Regarded as one of the finest epics ever to grace the cinema screen, The Ten Commandments was Cecile B.
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