I dieci comandamenti

'The Ten Commandments' was released in 1923 and was directed by Cecil B. DeMille and is the first of two Ten Commandments films directed by him.

This version differs in more ways than one to the remake. While the remake primarily centers on the story of Moses, the original version only features Moses in the prologue (which runs for approximately 40 minutes). The rest of the film centers on an atheist man in present day (the 1920s) who sets out to break the Ten Commandments in order to become successful.

Comparing to the remake, the special effects in the 'parting of the waves' scene definitely look more realistic here (especially considering this was released in 1923) and the entire prologue I masterfully created - however I do wish it was longer since there was little to no development in the characters because of it's short runtime.

I was initially skeptical about the present day segment of the film but I was thoroughly impressed and the story was definitely intriguing, especially towards the end.

Overall, I do prefer the 1956 remake however you shouldn't turn your back on this one. It is definitely a must-watch, even if it just be for the prologue with Moses.

7/10

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.

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.

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.

It's interesting just to watch DeMille's first, silent film version of "The Ten Commandments", and the picture itself is pretty interesting too. It is also occasionally impressive, sometimes with the kind of DeMille flourishes that one expects, sometimes with a satisfying dramatic turn. It's quite different in its conception from the more familiar 1950's version, and so direct comparisons are not always possible, yet it holds up well by itself anyway.

Rather than concentrating on the biblical story, as in the remake, here DeMille first tells an abbreviated version of the Moses/Exodus narrative, and then uses it as the thematic basis for a modern morality tale. There are many parallels between the two stories, and while the parallels are occasionally forced, they often work surprisingly well. The modern-day story is similar to many other films of the 1910's and 1920's, but it is interesting and it is told well.

Although DeMille is known for his lavish spectacles, he also knew how to create some more subtle effects when he wanted to. In the modern story, some of the developments are a bit contrived, but the characters generally ring true, and the story itself is worthwhile as well. While the lavish remake with color and sound is probably going to remain more well-known, this earlier version is well worth seeing, too.