Les dix commandements

In the early twenties, it was perfectly alright to show sinners revelling extravagantly and unashamedly in the sins of the flesh. All you had to do was either punish or purify them in the end, and everything would turn out just fine. This is the lesson we learn from watching the second half of Cecil B DeMille's gargantuan epic or 1923. And it is the prologue of the movie that teaches us that deMille had more money to spend on his own films than the old man upstairs.

As a lavish production, TTC is probably one of CBdM's greatest achievements, surpassing in quality and size the 1950s remake, Cleopatra (1934) and all billion-or-so versions of The Squaw Man, all of which deMille would directed. His handling of his actors, his attention to detail and unbridled imagination call to mind a time when you could spend whatever amount of money you wanted on a film without being Jerry Bruckheimer.

Moses spent forty days on Mount Sinai where he received numerous commandments and laws, described in Exodus XX-XXXI. The Ten Commandments (Ex.XX) particularly apply to Christian religions and denominations.

Inspired by Griffith's 'Intolerance' DeMille uses two historical periods to emphasize the film's moral. DeMille does not modify the original Jewish origin of his source, although he underlines the Christian commandments. The script of the famous prologue was literally taken from Exodus. The church in The Story is not clearly a protestant or Roman catholic house of worship. However, when the orthodox Mrs. McTavish enters the church it collapses. Her famous last words: '...whatever you've done is all my fault. I taught you to fear God in stead of to love him..' also indicate that DeMille hardly sympathizes with orthodox denominations. In the prologue DeMille's epic reaches a magnificent high-point when the Red Sea tsunami protects the fleeing Jewish people before it swallows the Egyptian forces. The Story lacks such a climax. In fact Mrs.McTavish and her Bible becomes tedious in her struggle against the evil that her boys have ended up in. DeMille's 1923 version of The Ten Commandments may be a mega-tsunami against orthodox protestantism, it is still a mass of light for the less orthodox moviegoer that believes in cinema only.

Whenever anybody says THE TEN COMMANDMENTS, we think of the fun, uplifting 1956 epic made by DeMille and starring Charleton Heston, Yul Brynner, etc. etc. Not too many people know that film is a remake of DeMille's own 1923 film of the same name. The 1923 version has so much zip to it, mainly because in it's 90 minute plus time, DeMille has to tell TWO stories. The first is the story of Moses. He has to lead the exodus from Egypt, part the Red Sea (an awesome scene done in early two-tone Technicolor) and slap some sense in his followers who wrongly decide to worship the Golden Calf. All that in 45 minutes. That means it spools out really, really fast. The rest of the film takes place in modern day San Francisco, where two brothers, one a hard working carpenter, the other, a wealthy but scheming architect battle. We know their grey haired mom is a good Christian, because she constantly carries around a Bible as big as a cinderblock!

Beautifully restored, witha great piano and organ score. This is an energetic silent well worth catching.

Oops, broke that one. All joking aside, this film is incredible. Astonishing effects for the early 20s, where you couldn't twist any digital domain to your whims. The parting of the Red Sea is pretty convincing, even if was Jello. (Can you imagine wading through Jello? Ick.)

This film is told in two parts, as we get to see Moses receiving the Ten Commandments from God in what looks like a Fourth of July celebration. One with good fireworks. Most people know that story--Moses goes to deliver the Commandments, only to find everyone involved in a massive orgy. Here de Mille is in his element. He did so many massive orgies that he should have copyrighted them. We see people making out (not having sex--that would be wrong), men licking wine off women's feet (that is wrong, by gum), and a huge number of people trying to climb up what looks like a curtain. Why they're doing this only de Mille knows. All we need is Gloria Swanson being pawed by a tiger to make everything perfect. As some viewers may not know, de Mille can show whatever sin and debauchery he wants, because the sinners are going to get it in the end. They're gonna get it bad. From the giddy Israelites and their golden calf we're transported to the modern day (1923), where a woman reads the Bible. She can't be the sinner. A son stands nearby, looking very noble and content. Can't be him. Then, we see the other son. He looks bored and disbelieving. We have a sinner! Oh, and he's a bad one. He dances on Sunday, he steals women from their intendeds, he's involved in dozens of dirty dealings, and he's dating an Oriental leper. Beg pardon? I guess she's just thrown in for fun.

Of course, all's well that ends well, and everything turns out okay. This movie is silent, so the acting is a bit in-your-face, and the characters are extreme, but hey. It's necessary--literacy wasn't rampant back then, so filmmakers had to make everything painfully obvious. Some people weren't able to read the title cards, and they'd be lost without the silent films' distinctive pantomime.

Side benefit--the version I have on video features a nifty soundtrack by that powerhouse of the movie palace, the Wurlitzer organ.

The exciting feature of the 50th Anniversary Editon of DeMille's THE TEN COMMANDMENTS is to be able to see the original 1923 version in a pristine print along with Katherine Orrison's illuminating commentary track. Previously only available on VHS tape with the poorly surviving colorized footage of the Exodus and Parting of the Red Sea (provided as a separate Extra on the DVD)used, it was difficult to realize just how beautifully done the silent epic was. Paramount has cleaned up the print and used only the better surviving black & white elements for this release. The beauty of the photography comes through with great clarity. Orrison's commentary is full of interesting insights as well as being enjoyable due to her enthusiasm about so many details. And Gaylord Carter's Wurlitzer Pipe Organ score is very impressive (as well as being a marvelous record of an organ score done by one who actually performed during the silent era)on this digital stereo recording. The 1956 remake looks and sounds great, as are the all of the special features for it, but this is exactly the same as the previous second edition of this title. I bought the new edition in order to see what they had done with the 1923 version -- and I certainly am impressed. Also, I love the packaging for this edition. Well worth updating as it is available at a very decent price.