fter an overture, director Cecil B. DeMille himself appears onstage for an unusual introduction (he also narrates periodically throughout). “Ladies and gentlemen, young and old… ” he begins, summing up how the bible omits about 30 years of Moses’ life, which will be filled in here by the works of ancient historians (Philo, Josephus, Eusebius, The Midrash, and the Holy Scriptures), employing documents now long lost, as well as by using material found in the books “Prince of Egypt” by Dorothy Clarke Wilson, “Pillar of Fire” by J.H. Ingraham, and “On Eagle’s Wings” by A.E. Southon. He even states the running time – 3 hours, 39 minutes – and the existence of an intermission, nicely presided over by Elmer Bernstein’s sweeping music. Technically, this intro isn’t available in all releases, but it does establish the magnitude and basis of one of his most renowned productions.

“Slaves are wealth, commander.” Into a house of Egypt comes a newborn that is prophesied to deliver the Hebrews out of bondage. But Rameses I (Ian Keith) grows fearful of such potential, decreeing that all male Hebrew newborns shall be put to death. To avoid the edict, Yochabel (Martha Scott) places her baby (later named Moses) in a basket down the Nile, where he’s discovered by the pharaoh’s daughter, Bithiah (Nina Foch), and raised as her own.

As an adult, Lord Prince Moses (Charlton Heston) conquers nations and arranges alliances, while also setting his sights on the beautiful Nefretiri (Anne Baxter), daughter of current, elderly pharaoh Sethi (Sir Cedric Hardwicke). But Rameses II (Yul Brynner) is intent on preventing his so-called brother from getting the girl or sitting on the throne. He’s also tasked with discovering the identity of the Hebrew deliverer (employing the aid of opportunistic, chief overseer Dathan [Edward G. Robinson]), rumored to be in Goshen, where the construction of a new city is underway. When Moses takes over the planning and the coordination of the slaves, he curries favor with them by granting a day of rest and grain from the stores, setting into motion a loyalty that will generate greater upheaval and a fateful rebellion. “Blood makes poor mortar.”

Nearly zero attention is paid to authentic language, speech, and portrayals. This is clearly a costume drama of old-school Hollywood design and proportions, more focused on ornate garments, glimmering armory, sprawling sets, and hundreds of extras (and countless animals). Even without advanced special effects capabilities, “The Ten Commandments” is a spectacle (it was filmed on location in Egypt, it was the most expensive film made up to that point, and the highest-grossing of the year). Nevertheless, it’s a remarkable epic, adapting some striking tales of transcendent moral lessons from ancient eras. Regardless of its biblical links (for the most part [more than two hours in], the Abrahamic God here is essentially just hope, considering that Moses continues to understandably question why He remains unconcerned with human suffering; it isn’t until after the intermission and entr’acte that miracles appear, many of which demonstrate a merciless, vengeful, cruel deity), the basic concepts of righteousness and heroism are thoroughly cinematic. Plus, the love story between Moses and Nefretiri is effective, even if standard fare for this type of picture (there’s a moderately funny notion of sexuality ever-present, too, as Moses becomes an action hero and sex symbol for the seven lustful girls of Midian, including Sephora [Yvonne De Carlo]).

“What I have done, I was compelled to do.” Within its colossal runtime, numerous subplots arise, presenting some famous faces (including Debra Paget, John Derek, Judith Anderson, Vincent Price, John Carradine, and more), but also dragging out the pacing; in its efforts to encompass a great range of premises and information, scenes tend to dwell a little too long on unnecessary details. It’s certainly not as action-packed or as exciting as Heston’s follow-up “Ben-Hur,” nor is it as convincing, since it relies on unexplainable, contrived, fantastical events rather than the potency of an inspirational leader rallying his followers to a justifiable revolution. The realism and reasonableness, almost exactly at the start of the second half, dwindle considerably to make room for the classic fable of Moses’ plagues against Rameses (utilizing a few amusing special effects). It’s a distinct, virtually black-and-white shift in tone and sensibility. And as it crawls to the anticipated conclusion, boasting Moses’ most iconic act with the Red Sea and Mount Sinai’s involvement in the titular stone tablets, the slowness is even more apparent; it’s difficult to recreate the engagement of the first half when the second abandons the storytelling sensibilities initially set out. However, the epic qualities of De Mille’s last directorial endeavor are impossible to ignore; consistently entertaining or not, the grandeur and scope are monumental.

– Mike Massie