Moses

This is probably the most beautiful of all the Moses films, and the poor colors of the film is rather an asset to its substance and character than a failure, like a sepia haze veiling the whole film in desert colors. Ben Kingsley makes a very different Moses from Burt Lancaster and Charlton Heston, much more human and sensitive, which could be nearer to the truth. His doubts and shortcomings are more convincing than Charlton Heston's icon and Burt Lancaster's authoritarian hardness. Like in "Moses the Lawgiver" with Burt Lancaster, Aaron is here given an important prominence and is impressively played by David Suchet, who almost transcends Ben Kingsley. Pharaoh is impressively played by Frank Langella and couldn't be more convincing, although, just like in "Moses the Lawgiver", he is entirely wrong. Ramses II was the Pharaoh at the time, Merenphtah ruled only for a short time after his death as an already old man, and Yul Brunner remains the best Pharaoh on film in "The Ten Commandments", which by general consent remains the best Moses film even after almost 60 years. Ennio Morricone succeeds even better in this film with the music than he did in the Burt Lancaster version, it guilds and caresses every scene in perfect moods and colors and adds to the very sensitive portrayal of the Moses complexities, which remain inexplicable to this day. This is perhaps the only Moses film to really love.

Yesh, I wanted more! Honestly, I was completely captivated by this film. After having read that part of scripture, I was overwhelming pleased with the attention to detail in remaining true to scriptural accuracy. Time and again I found myself saying out loud, "I remember reading that part!" or "They sure didn't bother to include that in the version with Charleton Heston." Which I DID like, by the way :).

There were several scenes that brought me to the brink of tears. It was truly an emotionally charged film with most excellent acting.

I had the pleasure of watching it in its entirety and uninterrupted on Trinity Broadcasting Network only taking a run to the restroom and a quick change of my laundry in under 5 minutes. HA!

This is at least the seventh version of the Biblical events encompassing the Hebrew exodus from Egypt and the laying down of God's law in the form of the Ten Commandments that I have checked out: the others were THE TEN COMMANDMENTS (1923 and 1956), MOSES THE LAWGIVER (1974; TV Mini-Series), the relevant three-part entry in GREATEST HEREOS OF THE BIBLE (1978-79; TV Series), the animated THE PRINCE OF EGYPT (1998) and, the most recent (and most radical), EXODUS: GODS AND KINGS (2014; in which the leading man here, Ben Kingsley, also features). Incidentally, the film under review itself forms part of a series, spanning 8 years and 17 TV-movies, collectively dubbed "The Bible Collection" - of which I am only familiar with Ermanno Olmi's GENESIS: THE CREATION AND THE FLOOD (1994), Nicolas Roeg's SAMSON AND DELILAH (1996) and director Young's own JESUS (1999).

Despite its 183-minute duration and the over-familiarity (not to mention, repetitiveness) of the proceedings, the pacing surprisingly only occasionally drags its feet throughout; that said, the brownish hue of the cinematography (sometimes undercut by more appealing bluish tones) lends the whole an unnecessary drabness! Anyway, the film brings together a reasonably competent crowd in the way of cast (albeit not all were readily discernible!) and crew: music consultant Ennio Morricone, Ben Kingsley (in the faithfully-rendered title role, having the same year already essayed the role of another Egyptian Hebrew, JOSEPH - also helmed by Young), Sonia Braga (her role of Moses' spouse Sephora is grossly underplayed!), Anna Galiena (as Moses' noble surrogate mother), Anthony Higgins, Frank Langella (as the new Pharaoh and Moses' former Egyptian 'brother'), Christopher Lee (briefly seen as the surly Ramses {sic}), Philippe Leroy, Enrico Lo Verso (as Joshua, Moses' successor), Geraldine McEwan (as Moses' sister Miriam), Maurice Roeves (as the inevitable opponent to Moses among his own people), Philip Stone (as Moses' father-in-law - occupying, oddly enough, a prominent part!), David Suchet (as Moses' brother Aaron) and Dudley Sutton.

Moses' life in Egypt is rather swiftly dealt with (a mere half an hour in, he has already embraced his Jewish faith!) - but, then, it goes farther than most after the climactic Ten Commandments 'incident' (notably, Miriam's turning against her own brother and its depiction of the demise of all three siblings). Ultimately, this is typically reverent fare (certainly in keeping with, and on the level of, the other entries in "The Bible Collection"): worthwhile - if mainly for the sake of comparison - and, while technically proficient enough, emerges as dramatically uninspired in the long run.

it is not easy to present this Biblical episode. not only for special effects but for the right cast who reminds the profound nuances of Moses fight for his people, the relation with God and the vulnerability of a man who has victim of a huge mission. in this case all is at perfect place. the drama, the music, the acting, the hero looking the best manner to save the Jews. and the heart of that good job is the desire to not be another film about Moses and his people but a decent illustration of Saint Book story about a legendary leader. Ben Kingsley does an admirable role using each nuance of script at high level. result - more than an impressive religious film, it is a honest eulogy to freedom and to sacrifice as root of it. a film for a good series who translate in wise manner one of the great historical moments of ours cultural treasure.

an useful film. for discover Moses as simple man in extraordinaries situations. his humanity, his fear, his faith not as expression of power but as axis of mission. Ben Kingsley is not the hero or the special leader. his Moses is only a man. man of a high duty and the photography, costumes, precise measure of dialogs and scenes are inspired tools for discover , in different version, a well known story. a surprising form of poetry gives force to the film. a wise manner to suggest transforms the work of Kingsley and Suchet in a kind of embroidery. a film who not propose a myth. or a statue. but a simple man and his hard fight against himself, the sacrifice for his people. the result is admirable.