The Ten Commandments

1956

Adventure / Biography

Synopsis


Uploaded By: Bokutox
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March 26, 2013 at 8:41 pm

Cast

Yul Brynner as Rameses
Anne Baxter as Nefretiri
720p 1080p
1.50 GB
1280*720
English
G
English
23.976 fps
3hr 40 min
P/S 6 / 46
3.11 GB
1920*1080
English
G
English
23.976 fps
3hr 40 min
P/S 13 / 43

Movie Reviews

Reviewed by qazifaisal_a 5 / 10

No better Moses. No finer cast.Simply Outstanding.


Nobody ever wants to see a movie more than once because the quality and charm of the movies of today are just not enough to coax you to. But every once in a while there comes a movie which, firstly never lets you take your eyes off the screen for the full length of its feature and secondly,makes you want to watch it over and over again without boring you. Not only that, the more times you watch it, you feel that you missed something the last time. Cecil B. DeMille's THE TEN COMMANDMENTS is that kind of a movie. There have been many movies made on the topic of this Hebrew born prince of Egypt, but none compare to the way in which it has been portrayed in THE TEN COMMANDMENTS. There are a number of reasons for that:

1. When casting the role of Moses, Charlton Heston was chosen above all others including Bert Lancaster, not because of his knowledge of the Bible, but of his striking Physical resemblance to Michelangelo's sculpture of Moses especially the facial structure not to mention the stout build of a prince.

2. The sets for the film were specially designed and the splendour of ancient Egypt in all its glory was recreated especially for this movie.

3. The role of Rameses II was given to Yul Brynner after DeMille observed his magnificent performance as the King of Siam in Rodgers & Hammerstein's THE KING AND I, confirming that he is well suited for a stubburn and malificent heir to the Egyptian throne.

It was not only Heston as Moses who made this movie a success, but all the elements that came together, the cast of thousands, the special effects,the costumes, the sets and most of all the simply unbelievable "parting of the red sea".

It is a wonder why this movie only received one oscar; that of the Special effects, yet I think it deserved alot more. It did not even strike at the box office. Even then it never fails to enchant millions, no matter what religion they follow. Movies like THE TEN COMMANDMENTS and it success in the hearts of millions, shows quite clearly that a movie, in order to be loved by millions the world over, does not necessarily have to strike gold at the box office.

To watch this film, you don't have to believe in God, but if you believe in good triumphing over evil and freedom from slavery of foreign masters, then this is the movie for you.

Reviewed by gary brumburgh (gbrumburgh@aol.com) 8 / 10

Colossal biblical kitsch, courtesy of Cecil B. DeMille.


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!

Reviewed by cwente2 10 / 10

DeMille's Final Film as a Director

"The Ten Commandments" is a milestone film. For some, those of us in their 50's or older, it represents the end of an era: Some call it "The Golden Age of Hollywood"; the beginning of the end of the studio system; and the end of a period in which the real founders of the "public art" took, or began to take, their final bows -- DeMille, Zukor, Goldwyn, Selznick, and others.

For those of us who saw "The Ten Commandments" on the big screen and in one of the now extinct gilded movie palaces of yesteryear, the picture holds special memories. There is a sense of nostalgia that accompanies any new viewing of this one-of-a-kind Victorian pageant. For many, I'm sure, the nostalgia extends beyond the film itself.

There were problems in the mid-fifties, as in every decade since the real Moses came down from Mount Sinai. Polio, the continuing menace of poverty, the material and spiritual separateness of what we called "colored people", Communism, etc. But . . . there were virtues too, many reflected in the writing and performances of "The Ten Commandments": Virtues like courage, strength of character, personal honor, and endurance were paramount (no pun intended). The biggest problem in schools was students chewing gum in class. Today, it's students "shooting-up" in parking lots or shooting down their classmates in the halls. . . America had an identity then.

DeMille's vision was, always, of "an ideal". He painstakingly produced authentic looking packages in which to wrap his vision -- embellished by the "glitz" of what was, then, the "ideal" Hollywood portrait: Bluer than blue skies; shimmering, jewel-encrusted costumes; out-sized architecture; dramatically convenient thunderbolts; and perfectly lovely female leads, with make-up invariably and predictably un-smudged. DeMille gave his audience what they expected from an "A" picture. He wasn't interested in realism. His idea was to reinforce values he'd learned from his parents and his brother (a noted playwright) in a dramatic format which could be "felt" by young and old, alike . . . more a reverence for time-honored principles than the analytical, ironic, and questioning approach dominant in the films of today. There was in the 50's and the 40's a more amicable attitude toward "orthodoxy" -- in all its forms. Hence, the overwhelming popularity of every DeMille production released during that period.

After fifty years, "The Ten Commandments" is still impressive visually, dramatically, and especially in terms of the intensity of its convictions (reflected in all the biographies of the principals) . . . something which cannot be said of many similar big-budget pictures of the same era.

One day, someone may attempt a re-make. Expect that it will be visually impressive and less "stagy". But . . . expect, as well, that it will be punctuated with the obligatory mandates of political correctness; an uncertainty about its message; and a healthy dose of Twenty-First Century cynicism. It will be more "realistic" to be sure, but far less "authentic" -- like a perfume ad, physically attractive, but without a "heart".

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