Moisés, en príncipe de Egipto, descubre su origen hebreo y su misión divina de liberar al pueblo judío.Moisés, en príncipe de Egipto, descubre su origen hebreo y su misión divina de liberar al pueblo judío.Moisés, en príncipe de Egipto, descubre su origen hebreo y su misión divina de liberar al pueblo judío.
- Dirección
- Guionistas
- Elenco
- Ganó 1 premio Óscar
- 13 premios ganados y 12 nominaciones en total
Cedric Hardwicke
- Sethi
- (as Sir Cedric Hardwicke)
Opiniones destacadas
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.
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.
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.
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.
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.
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!
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!
¿Sabías que…?
- TriviaAt least 14,000 extras and 15,000 animals were used in this movie.
- ErroresWhen the Israelites are making the golden calf, one of the male dancers carelessly, but harmlessly, backs into the pot of molten metal.
- Créditos curiososThis film ends with the line: "So it was written, so it shall be done."
- Versiones alternativasIn all of the film's theatrical releases, Cecil B. DeMille appears in a short prologue in which he prepares the audience for what they will see, including the fact that the picture will concentrate heavily on the early years of Moses before he led the Hebrews out of Egypt; he also indicates the length of the film and the fact that it will be shown with an intermission. This prologue has always been cut in the film's network television showings.
- ConexionesEdited into El regreso del jedi (1983)
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Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- También se conoce como
- The Ten Commandments
- Locaciones de filmación
- Ras Safsafa, South Sinai Governorate, Egipto(Mount Sinai)
- Productora
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 13,282,712 (estimado)
- Total en EE. UU. y Canadá
- USD 65,500,000
- Total a nivel mundial
- USD 65,500,755
- Tiempo de ejecución3 horas 40 minutos
- Color
- Relación de aspecto
- 1.66 : 1
- 2.20:1 (70 mm prints)
- 1.85 : 1
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What is the streaming release date of Los diez mandamientos (1956) in Canada?
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