The Ten Commandments
Year:
1956
Running time:
219 mn
Nationality:
USA
Language:
English
Genre:
Adventure, Drama, Biblical, Epic
Director:
Cecil B. DeMille
Producer:
Paramount Pictures
Screenwriter/s:
Æneas MacKenzie, Jesse Lasky Jr., Jack Gariss, Fredric M. Frank
Cast:
Charlton Heston, Yul Brynner, Anne Baxter, Edward G. Robinson, Yvonne de Carlo, Debra Paget, John Derek, Nina Foch, and others
Summary of the film
To escape the edict of Egypt's Pharoah, Rameses I, condemning all first-born Hebrew males, the infant Moses is set adrift on the Nile in a reed basket. Saved by the pharaoh's daughter Bithiah, he is adopted by her and brought up in the court of her brother, Pharaoh Seti. Moses gains Seti's favor and the love of the throne princess Nefertiri, as well as the hatred of Seti's son, Rameses. When his Hebrew heritage is revealed, Moses is cast out of Egypt, and makes his way across the desert where he marries, has a son and is commanded by God to return to Egypt to free the Hebrews from slavery. (Filmaffinity)
Queen Nefretiri, played by Anne Baxter, in Cecil B. DeMille’s film The Ten Commandments (1956) (Screenshot by the author)
Moses and an Egyptian temple in the background (Screenshot by the author)
The death of the firstborn, in The Ten Commandments (1956) (Screenshot by the author)
Egyptomania narratives or motifs
The film The Ten Commandments serves as a prime illustration of a production initially made in silent film format and subsequently remade in sound film, utilizing the innovative capabilities provided by Technicolor. Notably, both renditions were crafted by the esteemed director Cecil B. DeMille. The silent version premiered in December 1923, just before the unearthing of Tutankhamun's tomb, a significant event that triggered a resurgence of Egyptomania, which subsequently benefited the film. It emerged as the top-grossing movie of its release year and remained Paramount's highest-grossing production for a quarter of a century. Filming took place in California under the artistic direction of Paul Uribe.
Inspired by this significant achievement, Cecil B. DeMille embarked on a project to remake the film three decades later, aiming for an even more ambitious endeavor, which was made possible by advancements in film technology. This Paramount production marked DeMille's inaugural venture into widescreen cinema. The undertaking involved extensive production efforts and financial investment, employing three art directors, and filming a substantial portion of the movie in Egypt. Upon its release, it held the title of the most costly film ever produced and served as Cecil B. DeMille's final major success before his passing three years later. The screenplay drew inspiration not only from scripture but also from literary works such as Pillar of Fire (1859) by J.H. Ingraham, On Eagle's Wings (1937) by A.E. Southon and The Prince of Egypt (1949) by Dorothy Clarke Wilson. The film showcased groundbreaking special effects, overseen by John P. Fulton, with particular emphasis placed on the rear projection techniques employed in depicting the parting of the Red Sea. This scene, in particular, had a profound impact on audiences. Elmer Bernstein composed and conducted the film's music score. Such was its acclaim that in 2016, on its 60th anniversary, the film was reissued as an album to commemorate its enduring success.
From the perspective of acting, the film featured Charlton Heston in the role of adult Moses, while his son, Fraser Heston, portrayed the younger Moses. The character Rameses II was brought to life by Russian actor Yul Brynner, and Nefretiri was played by the renowned Anne Baxter, a choice rooted in her extensive experience working with esteemed directors such as Billy Wilder, Alfred Hitchcock, and Fritz Lang.
Given these notable elements, it is rational to attribute the film's success to its stellar cast. In fact, it emerged as the highest-grossing film in 1956 and maintained its position as the second highest-grossing film of that decade. Financially speaking, it proved to be highly lucrative with a net profit of $18,500,000. Furthermore, it garnered a predominantly favorable reception from critics.
The utilization of technicolor technology allowed Cecil B. DeMille to draw inspiration from 19th-century painting, particularly from his preferred artist, Alma-Tadema. DeMille supplied the film's artistic team with numerous reproductions of Tadema's artworks to serve as a wellspring of creativity. The art direction was led by Hal Pereira, Walter H. Tyler, and Albert Nozaki. For instance, in the opening scene, the film depicts the uncovering of Moses in a basket along the Nile's banks close to the royal palace. This sequence exudes sophistication and allure, envisioning the private moments when the Pharaoh's daughter, Bithiah, bathed in the Nile waters accompanied by her attendants. This portrayal can be likened to select 19th-century paintings, such as Frederick Goodall's The Finding of Moses (1885, private collection).
Another scene that has piqued scholars' interest due to its artistic connections is that of Pharaoh's first-born son's demise, a recurring element in all cinematic adaptations of this biblical narrative. In The Ten Commandments there isn't a direct visual quotation to Alma-Tadema's artwork; however, there is clear influence drawn from it. The nocturnal setting of this scene, dictated by the biblical tale itself, engenders a similar luminosity shared between both the painting and the film adaptation (see screenshot).
It is probable that Cecil B. DeMille found inspiration in Alma-Tadema's artwork for the color scheme of his film. Pastel hues, particularly light blue, yellow, and mauve, are prominent in the daytime scenes, notably in the portrayals of Ramses II and Nefertari's palace. These soft colors are evident in the attire and settings of scenes that feature the queen as the central character, evoking a sumptuous and grandiose ambiance. A noteworthy similarity can be observed between the scene in which Nefertari is carried in a litter with slaves bearing large feather fans (see screenshot) and Alma-Tadema's painting The Finding of Moses (1904, private collection).
The meticulous and intricate style of Alma-Tadema's work likely influenced DeMille in recreating the opulent costumes and ornamental items depicted in the film. The preparatory efforts of painter Arnold Friberg and costume designers Dorothy Jeakins and John L. Jensen are commendable for their extensive drawings aimed at crafting elaborate costume designs for the movie scenes.
Finally, it is noteworthy to observe the film's alternation between archaeological realism, in its endeavor to accurately replicate sculptures, reliefs, and architectural styles of ancient Egypt, and a grandiose and spectacular essence that exceeded that of any previous super-production inspired by Antiquity up to that point.
Inspired by this significant achievement, Cecil B. DeMille embarked on a project to remake the film three decades later, aiming for an even more ambitious endeavor, which was made possible by advancements in film technology. This Paramount production marked DeMille's inaugural venture into widescreen cinema. The undertaking involved extensive production efforts and financial investment, employing three art directors, and filming a substantial portion of the movie in Egypt. Upon its release, it held the title of the most costly film ever produced and served as Cecil B. DeMille's final major success before his passing three years later. The screenplay drew inspiration not only from scripture but also from literary works such as Pillar of Fire (1859) by J.H. Ingraham, On Eagle's Wings (1937) by A.E. Southon and The Prince of Egypt (1949) by Dorothy Clarke Wilson. The film showcased groundbreaking special effects, overseen by John P. Fulton, with particular emphasis placed on the rear projection techniques employed in depicting the parting of the Red Sea. This scene, in particular, had a profound impact on audiences. Elmer Bernstein composed and conducted the film's music score. Such was its acclaim that in 2016, on its 60th anniversary, the film was reissued as an album to commemorate its enduring success.
From the perspective of acting, the film featured Charlton Heston in the role of adult Moses, while his son, Fraser Heston, portrayed the younger Moses. The character Rameses II was brought to life by Russian actor Yul Brynner, and Nefretiri was played by the renowned Anne Baxter, a choice rooted in her extensive experience working with esteemed directors such as Billy Wilder, Alfred Hitchcock, and Fritz Lang.
Given these notable elements, it is rational to attribute the film's success to its stellar cast. In fact, it emerged as the highest-grossing film in 1956 and maintained its position as the second highest-grossing film of that decade. Financially speaking, it proved to be highly lucrative with a net profit of $18,500,000. Furthermore, it garnered a predominantly favorable reception from critics.
The utilization of technicolor technology allowed Cecil B. DeMille to draw inspiration from 19th-century painting, particularly from his preferred artist, Alma-Tadema. DeMille supplied the film's artistic team with numerous reproductions of Tadema's artworks to serve as a wellspring of creativity. The art direction was led by Hal Pereira, Walter H. Tyler, and Albert Nozaki. For instance, in the opening scene, the film depicts the uncovering of Moses in a basket along the Nile's banks close to the royal palace. This sequence exudes sophistication and allure, envisioning the private moments when the Pharaoh's daughter, Bithiah, bathed in the Nile waters accompanied by her attendants. This portrayal can be likened to select 19th-century paintings, such as Frederick Goodall's The Finding of Moses (1885, private collection).
Another scene that has piqued scholars' interest due to its artistic connections is that of Pharaoh's first-born son's demise, a recurring element in all cinematic adaptations of this biblical narrative. In The Ten Commandments there isn't a direct visual quotation to Alma-Tadema's artwork; however, there is clear influence drawn from it. The nocturnal setting of this scene, dictated by the biblical tale itself, engenders a similar luminosity shared between both the painting and the film adaptation (see screenshot).
It is probable that Cecil B. DeMille found inspiration in Alma-Tadema's artwork for the color scheme of his film. Pastel hues, particularly light blue, yellow, and mauve, are prominent in the daytime scenes, notably in the portrayals of Ramses II and Nefertari's palace. These soft colors are evident in the attire and settings of scenes that feature the queen as the central character, evoking a sumptuous and grandiose ambiance. A noteworthy similarity can be observed between the scene in which Nefertari is carried in a litter with slaves bearing large feather fans (see screenshot) and Alma-Tadema's painting The Finding of Moses (1904, private collection).
The meticulous and intricate style of Alma-Tadema's work likely influenced DeMille in recreating the opulent costumes and ornamental items depicted in the film. The preparatory efforts of painter Arnold Friberg and costume designers Dorothy Jeakins and John L. Jensen are commendable for their extensive drawings aimed at crafting elaborate costume designs for the movie scenes.
Finally, it is noteworthy to observe the film's alternation between archaeological realism, in its endeavor to accurately replicate sculptures, reliefs, and architectural styles of ancient Egypt, and a grandiose and spectacular essence that exceeded that of any previous super-production inspired by Antiquity up to that point.
Author: Guillermo Juberías Gracia
Other information
Juberías Gracia, G. 2023. From Alma-Tadema to Cecil B. DeMille: The Influence of Nineteenth-Century Painting on Classical Hollywood Films Set in Ancient Egypt, in A. I. Fernández Pichel (ed.) How Pharaohs Became Media Stars: Ancient Egypt and Popular Culture: 153-156. Oxford: Archaeopress.
Open access
Simões Rodrigues, N. 2023. Josephus as source of the Egyptian sequence in Cecil B. DeMille’s The Ten Commandments (1956), in A. I. Fernández Pichel (ed.) How Pharaohs Became Media Stars: Ancient Egypt and Popular Culture: 110-135. Oxford: Archaeopress.
Open access
Rafaelic, D. 2021. Ancient Egypt in Cinema, in A. Bednarski, A. Dodson, S. Ikram (eds), A History of World Egyptology: 481-483. Cambridge University Press: Cambridge.
Access with registration and payment.
Tags
Write a Comment
You must be logged in to post a comment.