I dieci comandamenti

Going on 90 years since it was first released, the original The Ten Commandments can still overawe you with the spectacle of both the biblical prologue and the modern story. Modern in the sense that it was set during the Jazz Age Roaring Twenties, the 1923 when Paramount released what would become that studio's biggest moneymaker up to that time.

You'll recognize the biblical prologue if you've seen the 1956 remake, it is almost a 45 minute scene for scene remake of the time that Charlton Heston and John Carradine arrive at the Egyptian court until the destruction of the Golden calf. They weren't giving Oscars back in 1923, but the parting of the Red Sea was incredible for its time and would have given Cecil B. DeMille yet another Oscar for the same event.

You won't recognize a lot of the biblical prologue cast, but they were part and parcel of a DeMille stock company that he developed during silent era and continued to a lesser degree after the coming of sound. Best known probably was Estelle Taylor who was married to Jack Dempsey at the time as Miriam, the sister of Moses.

The bulk of the film is the modern story which has the theme break the Ten Commandments and they'll break you. The stars are Richard Dix and Rod LaRocque a pair of brothers, one good and one bad, sons of a most pious mother Edythe Chapman. Dix is a good, honest, and steady carpenter by trade and LaRocque through his ruthlessness and who winds up breaking all the Commandments becomes the richest contractor in the state.

LaRocque is pretty ruthless in his private affairs, he breaks the Commandments regarding those as well. He marries Leatrice Joy who Dix likes as well, but then gets a fetching Eurasian mistress in Nita Naldi. Nita is in the slinky and sexy tradition of all DeMille's bad girls.

It all ends really bad for LaRocque as his sins catch up with him.

During the modern story DeMille hand with spectacle is a good one in the scene of the church collapse and later on during the climatic escape LaRocque is attempting to make with a speedboat on a stormy night at sea.

The influence of DeMille's educator father Henry and his friend David Belasco are strong here as they are in all DeMille work. The modern story is the kind of morality play that Belasco would produce and write for the stage for years. It's from the Victorian era, but the Roaring Twenties audience wanted something that reflected traditional values occasionally as if nervously waiting for its excesses to catch up. It's partly the reason why they could find comfort in a Congregationalist president of the USA in Calvin Coolidge.

Though the story is unbelievably dated, DeMille's cinematic techniques are hardly that. The original Ten Commandments in many ways will tell you about its creator warts and all.

Today,all his epics ("ten commandments" 1 and 2,"sign of the cross" "Samson and Delilah" ...° have worn remarkably well.

Like many people ,I saw the 1956 version well before the silent one.The prologue (which is very long for a prologue) has a plot similar to the 1956 version from the plagues to the golden calf orgy.Even the Parting of the Red Sea (and it's quite impressive for 1923!) and the writing of the Holy Tablets are here (it looks more like some kind of mystic firework here).As for the orgy,it's simply better than the color version.That said I like that latter version best,because the gap between the biblical tale and the modern one makes that the two parts do not hang very well,in spite of a brilliant transition : Moses and his people saga suddenly segues into a mother reading the Bible to her sons.

The second part will deal with the story of two brothers,one of whom trying to break these "fusty" commandments and not be broken by them. There are interesting parallels: the workers on the building site and the slaves working for pharaoh on the pyramids,the hero who ,like "pharaoh's tribe ,is drowned in the tide" .Little by little,the film becomes slowly but inexorably overtly Christian: the momma hints to carpenters,nice carpenters,there's a short return to biblical times but depicting a scene of Jesus' s life and unlike the bad woman who became a leper in the prologue,salvation is around the corner for the evil millionaire's wife.Lines from St Matthew ("he gained the world but lost his soul") add to this feeling a redemption.

Despite the reservations expressed above,De Mille was a storyteller extraordinaire,who equaled D.W .Griffith .Thou shalt not overlook him.

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.

Director: Cecil B. Demille, Script: Jeaine Macpherson, Cast: Theodore Roberts (Moses), Charles de Rochfort (Rameses), Estelle Taylor (Miriam,sister of Moses), Julia Faye (wife of pharaoh), James Neill (Aaron), Edythe Chapman (Mrs. Martha Mc Tavish), Richard Dix (John,son), Rod La Rosque (Dan,son), Nita Naldi (Sally Lung,Eurasian)

Most people today have probably never seen this film. It is now available on the 50th anniversary set with the 1956 version. The 1956 version was an amazing movie but in many ways I prefer this one, Cecil B Demille's 1923 original. Many people will be surprised upon first viewing of this film. Demille uses a different approach thin in his 1956 remake. This film has two parts. The first part is set during the time of the exodus in the old testament. The Hebrew nation is enslaved by the Egyptians under the ruthless rule of the pharaoh Rameses. Moses as the chosen leader of the Jews frees his people from the Egyptians. God gives him the power to inflict plagues upon the Egyptians. He then leads his people on the great exodus across the desert to the Red Sea. God gives him the power to part the sea so the Jewish people can cross. Phaorah orders his army to go after the Jews across the parted Red Sea but God had the sea 'return to normal' so the army drowns.

Make no mistake, this film was a major production in its day and very high budget for its time. Demille uses very elaborate sets for this production. The exterior wall of the great Egyptian city is just like the one used in the 1956 version. Many extras were used in the making of this film. During the great exodus, there appears to be people for as far as the eye can see. You can see this great line of people spread out across the desert. Camels were seen during the exodus but as it turns out, camels were not in the middle east during that time period. The parting of the Red Sea in the 1956 version was considered an amazing special effect for its time. I was very curious as to how they would be able to pull this off in 1923! I was quite amazed!! The special effects used for the parting of the sea is just as good as the 56 perhaps better. One thing I really like about the special effects of this film is the wall of fire that Moses creates to keep the Egyptian army at bay. In the 56 version animation was used for the fire. In this version real fire was used using a double exposure technique that I thought was more impressive. Mr Demille was very loyal to his actors. He would use many of the same actors in a number of his films. The women who plays the part of pharaoh's wife and the boy that played his son are both involved in the 56 version as well as the film editor.

The film switches gears totally for the second half. We are now in modern times. It starts with a mother reading passages from the book of Exodus to her two sons. All the drama from the first half was simply her reading being acted out. The rest of the film is a morality tale between two sons. The mother and one son are deeply religious while the other son is a nonbeliever. He makes fun of his brother's silly beliefs so the mother kicks him out of the house for being a heathen. The believing son lives a modest life while the unbelieving son becomes very wealthy. He even gets the women they both like! He becomes a wealthy contractor employing his brother as a worker. However, the unbelieving brother's life will be filed with misfortune eventually leading to his death. The twist in the second half of the film makes for a interesting viewing experience. I like the contrast between ancient and modern times. Katherine Orrison in her commentary states that the modern sequence will probably seem more dated to the average viewer. I tend to agree. It is interesting to see how people lived and dressed during those times. The modern sequence is filmed mostly on location in San Francisco. It is cool to see how San Fran looked back then. The generation gap between the mother and her sons is very evident. This was the roaring 20's! Katherine Orrison gives an insightful commentary on both films but see seems to have a special fondness for this one. I can understand why.

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.