Naród żydowski jest w niewoli egipskiej, lecz Bóg zsyła na ziemię swojego sługę Mojżesza (Charlton Heston).Cudem uratowany i wychowany u boku przyszłego Faraona (Yul Brynner) musi opuścić Egipt.
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 -- De Mille, 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. 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. more a reverence for time-honored principles than the analytical, ironic, and questioning approach dominant in the films of today. 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.
For many, I'm sure, the nostalgia extends beyond the film itself. 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). De Mille gave his audience what they expected from an "A" picture. 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 . There was in the 50's and the 40's a more amicable attitude toward "orthodoxy" -- in all its forms. It will be more "realistic" to be sure, but far less "authentic" -- like a perfume ad, physically attractive, but without a "heart".
There were problems in the mid-fifties, as in every decade since the real Moses came down from Mount Sinai. The biggest problem in schools was students chewing gum in class. Hence, the overwhelming popularity of every De Mille production released during that period. something which cannot be said of many similar big-budget pictures of the same era. Expect that it will be visually impressive and less "stagy".
Polio, the continuing menace of poverty, the material and spiritual separateness of what we called "colored people", Communism, etc. Today, it's students "shooting-up" in parking lots or shooting down their classmates in the halls. 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) .
The Ten Commandments) – amerykański film religijny z 1956 roku, będący remakiem filmu Dziesięć przykazań z 1923 roku, tego samego reżysera.
Film jest zrealizowaną z rozmachem adaptacją jednej z biblijnych historii, opowiadającej o okolicznościach opuszczenia przez Izraelitów ziemi egipskiej pod wodzą Mojżesza i o przymierzu z Bogiem.
Join us for a Facebook Live chat with American Honey star Sasha Lane on Monday, Sept. In Egypt, Moses' fiercest enemy proves to be not Rameses, but someone near to him who can 'harden his heart'.
When his Hebrew heritage is revealed, Moses is cast out of Egypt, and makes his way across the desert where he marries, has a son and is commanded by God to return to Egypt to free the Hebrews from slavery.
Moses gains Seti's favor and the love of the throne princess Nefertiri, as well as the hatred of Seti's son, Rameses.