'The Ten Commandments' Is Big, Bold, Even Daring Entertainment

Cecil B. DeMille’s powerful motion picture aptly fulfills its duty in delivering a larger than life Biblical episode, complete with terrific special effects, massive sets and grade-A movie stars.

The Ten Commandments

Director: Cecil B. DeMille
Cast: Charlton Heston, Yul Brynner, Anne Baxter
Studio: Paramount Pictures
Release Date: 2011-03-29

By now it’s cliché to say “They don’t make ‘em like they used to,” but no other phrase appropriately describes the epic proportions of Cecil B. DeMille’s The Ten Commandments. Running a gargantuan 231-minutes (including the intermissions and such), DeMille’s powerful motion picture aptly fulfills its duty in delivering a larger than life biblical episode, complete with terrific special effects, massive sets and grade-A movie stars. The Ten Commandments is big, bold, even daring entertainment. I think God would be proud.

Like William Wyler’s Ben Hur (1959), The Ten Commandments wraps a massive biblical narrative around a personable human story, in this case the tale of Moses (Charlton Heston). As found in the early works of the Bible, Moses is born a Hebrew slave, but sent away by his mother in order to avoid the Pharaoh’s wrath. Ironically, Moses is rescued by the Pharaoh’s sister who then raises the infant as her own.

Flash forward some years later and Moses, now the Prince of Egypt, has gained favor in Pharaoh’s eyes, not to mention those of Nefretiri (a deliciously campy Anne Baxter). Meanwhile, Moses’ brother, Rameses (Yul Brynner) jealously plots to put an end to Moses’ reputation, fearing him to be the prophesized “deliverer”, or the one who would free the Hebrew slaves.

As the Bible story goes, Moses’ true identity leads to his expulsion from Egypt and subsequent spiritual awakening. Moses becomes a servant of God, and sets out to do His will – striking vengeance against those formerly close to him – following a road that eventually culminates with the Ten Commandments, or the revelation of God’s sacred laws.

Cecil B. DeMille was like a Golden Aged James Cameron. A perfectionist, sometimes to a fault, DeMille always thought in terms of BIG, BIGGER and BIGGEST. With The Ten Commandments (a remake of his own 1923 silent film of the same name), DeMille goes for broke, delivering an epic along the same lines as Cameron’s contemporary blockbusters, more specifically Titanic. DeMille’s films, which also include The Greatest Show on Earth (1952), Samson and Delilah (1949) and Cleopatra (1939) amongst others, strived for more than just artistic entertainment. It was not enough to merely enjoy his extravaganzas, DeMille wanted to blow audiences away.

With The Ten Commandments, DeMille scrapes and claws his way to reach such ends. You can practically hear the man sweating as he tersely lends his voice to the proceedings, acting as narrator and, oddly enough, as the show’s presenter (he actually walks out from behind a curtain to introduce his spectacle), as though worried the parting of the Red Sea weren’t enough to convince audiences of his film’s epic scope. That opening monologue serves as a means to remind audiences that, despite the occasional camp-factor, this is a BIBLICAL tale and must be taken seriously – the Lord – er – DeMille will not be mocked.

Yet, despite his incessant pleas for audience respect, DeMille’s film contains a surprisingly high degree of, shall we say, goofiness. Heston, ever the dramatic thespian, plays Moses so intensely the performance at times feels mawkish. The third act in particular graduates the character from relatable personality to angry, vengeful prophet. As a consequence, Moses no longer carries any weight; he’s not real enough to arouse our sympathy. It doesn’t help that Heston wanders from scene to scene boldly declaring bold proclamations boldly, whilst boldly chewing up scenerey (“The Lord of hosts will do battle for us. Behold His mighty hand!”), I wondered how this man could ever be a father, or a lover (possible exchange at breakfast: “Woman, bring me my toast, or fill the Lord’s vengeance! Son, do get thee hence to school, or feel your father’s great and jealous wrath! And bring me some butter!”) Tellingly, I was reminded of the great Terrence Stamp’s performance in Superman II where he played the character of General Zod in similar overstated fashion. I half expected Moses to blurt out: “Rameses, kneel before God!”

Of the remaining performers, it is Yul Brynner and Anne Baxter who steal the show. Brynner, as he so often did, carries more weight than was probably necessary in what is essentially a supporting role. Trudging about with that sly grin forever splashed upon his face, the actor portrays Rameses as a cocksure snake, one who effortlessly destroys people’s lives and never regrets (and maybe enjoys) doing so.

Baxter proves even better. As Moses’ (former) lover, Nefretiri, the actress must exude love, hate, sadness, hope, heartache, and wrath all in one beat. Audiences must care for the Egyptian princess, but then hate her all the same. Baxter pulls of the role with aplomb; we believe in her slightly exaggerated personality (“Moses! Moses! Moses!”) because we get where it stems from – a love, or addiction, for a man who cares nothing for her. As such, while she may cause a good deal of destruction, we never fault her for the crimes she commits. Talk about a difficult role.

The remaining cast, including John Derek’s peculiarly tanned Joshua, Edward G. Robinson’s appropriately annoying Dathan and Yvonne De Carlo’s Sephora (and look Vincent Price!) chip in some fine supporting bits, even if they are constantly overshadowed by the “A-listers”, and the costly effects.

Which, I suppose, is the reasoning behind The Ten Commandments’ existence: to show off God’s miracles via slick visuals, and Hollywood trickery. Several set pieces come to mind – the burning bush, the raising of the Pharaoh’s city – but it is the parting of the Red Sea that proves most memorable. Incredibly, the sequence continues to enthrall even by today’s standards, mainly due to DeMille’s immense, operatic directing, and finely tuned atmosphere. Like a true magician, DeMille understood the importance of the set-up. He teases us with patches of dark clouds formulating in the distance, the occasional flash of lightening; increasingly choppy waters. And so, by the time Moses raises his hands to carry out the deed, the audience is ready to accept the magic. That’s true filmmaking right there.

And yet, once the big moment happens, the remaining 45-minutes or so feel arbitrary, despite their alleged importance. The Ten Commandments doesn’t build towards its titular objective, but instead powers towards the big Red Sea miracle. At that point, most, if not all, plot threads resolve themselves -- the people believe; Moses believes; Rameses and Nefretiri sit alone, vanquished on their thrones. God’s wrath is complete. Yet, DeMille surges along, providing us with an “orgy” sequence, and that painfully long Ten Commandments episode (during which Heston dramatically casts about to and fro) – one that feels more gimmicky than necessary.

From there, the film jumps from moment to moment – Moses comes down from the mountain, sees the golden calf, and destroys it; a brief earthquake ensues. A drastic cut takes us some 40 years into the future. Moses, now old, speaks of feeling God’s wrath (huh?) and then walks away, waving goodbye to his people. This sendoff fails because at this point, we don’t know these people anymore, or what happened to them since the whole golden calf bit. The film offers a few brief lines to sum up the narrative and we arrive at our conclusion. Why not have Moses stand atop Mount Sinai, on his way to collect the commandments, and overlook his people? Because that would’ve shortened the film by roughly 30-minutes; and apparently that’s not EPIC enough! (In point of fact, the 1998 DreamWorks animated film The Prince of Egypt finished with Moses coming down from the mountain carrying the Ten Commandments – which, I think, would have served as a better ending for DeMille’s picture. I’m just saying.)

As it stands, The Ten Commandments offers a fully rewarding experience. The first few hours or so fly by; the FX are extraordinary; the characters compelling. What it lacks in subtlety, it makes up for with enormous gusto. This is a film that dreams big, and dares to achieve the impossible: it brings God to Hollywood. They certainly don’t make them like this anymore.

For this review I checked out The Ten Commandments: Blu-ray/DVD Limited Edition Combo Set (DVD/Blu-ray Combo). At first I was overwhelmed by the enormous package, but then slightly disappointed once I had combed through the various extras attached.

Arriving in a specially crafted, beautifully realized package that parts to unveil two plastic DVD cases (designed to look like the Ten Commandments) along with a plethora of additional (if not extraneous) goodies. If items such as “Charlton Heston’s Egypt Schedule,” or “Costume Sketches,” or a replica of a menu containing DeMille’s sketches on the back get you off, then this is the set for you. There’s a handsome 24-page hardcover book entitled “Cecil B. DeMille’s The Ten Commandments: An Epic Journey” that covers the making-of process of the film, and another simply titled “The Ten Commandments” that tells the biblical story using Bible verses and pre-production paintings. Other items include the replica of a “Reaction Note” written by a fan who attended a pre-screening; a Western Union telegram from Adolph Zukor to DeMille expressing his love of the film; a brief note from Paramount; and a replica of a Charlton “Chuck” Heston letter to DeMille.

Okay, these were nice, if not superficial. The books were cool, but I wanted more in-depth “making-of” coverage, so I dove into the disc-set. Sadly, I was disappointed. This is essentially a DVD set that also happens to feature a Blu-ray version of The Ten Commandments. Four of the discs offer the exact same content (the 1956 film, footage of the World Premier – featuring John Wayne, no less – a few trailers, and a single commentary), except on separate Blu-ray/DVD formats. A fifth disc contains the 1923 film on Blu-ray; while a sixth features a 75-minute “making-of” documentary, along with an extensive photo gallery.

That’s about it. Maybe I’m just being picky, but when a Limited Edition set costing roughly $59.99 offers six discs, I want more than just the film. Sure it’s nice to have on both formats, but how about a 4-disc set that places the film on one disc (on both Blu-ray and DVD)? Also, what’s the point in placing the same special features on both formats? Give me one disc filled with special features and I’m good. I really don’t care if they’re in HD, just keep it simple. The entirety of this set stank of counterfeit – as though the studio just padded multiple discs with the same stuff as a means of selling more copies. After all, who wants a two-disc set when you can have an even bigger six-disc combo package, even if it offers nothing more?

Even so, the film looks extraordinary on Blu-ray. Sure the blue screen shots look a little shaky (with the black line surrounding the actors clearly defined in the format), but otherwise the image looks solid. Colors are lush and bright; wide shots, particularly those set in Egypt, look terrific. The Exodus sequence in particular, comprising of hundreds of extras, is absolutely spellbinding. I liked the parting of the Red Sea sequence, as the water contrasted nicely with the dark clouds; the image presented offered crisp, near-exceptional detail.

Elmer Bernsteins’ tremendous score thundered through my sound system, practically shaking the house down when turned to half volume. In short, it’s never sounded better. At one point I unplugged the surround audio and listened to the movie from my TV speakers and was surprised to hear a nice audio separation. At times the dialogue audio sounds slightly muddled, but not enough to warrant any complaints. Rear channels picked up some nice elements, but most of the force came from my front two speakers, which is just as well for a film shot in 1956.

Overall, The Ten Commandments: Limited Edition Blu-Ray/DVD Combo Set presents the film in an extraordinary light. It looks and sounds great, too bad the extras don’t follow suit. In actuality, if there’s a standard 2-disc Blu-ray (or DVD) package out there, you’d save a ton of money and get everything you would get with the 6-disc set (save for the slightly creepy, silent 1923 film, and all of those goofy package fillers).


From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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