The first part tells the story of Moses leading the Jews from Egypt to the Promised Land, his receipt of the tablets and the worship of the golden calf. The second part shows the efficacy ... See full summary »
Society-girl thrill seeker Lydia causes the death of motorcycle policeman and is prosecuted by her fiancé Daniel who describes in lurid detail the downfall of Rome. While she's in prison she reforms and Daniel becomes a wasted alcoholic.
Jim Wyngate, an English aristocrat, comes to the American West under a cloud of suspicion for embezzlement actually committed by his cousin Lord Henry. In Wyoming, Wyngate runs afoul of ... See full summary »
Cecil B. DeMille
The first part tells the story of Moses leading the Jews from Egypt to the Promised Land, his receipt of the tablets and the worship of the golden calf. The second part shows the efficacy of the commandments in modern life through a story set in San Francisco. Two brothers, rivals for the love of Mary, also come into conflict when John discovers Dan used shoddy materials to construct a cathedral. Written by
Ed Stephan <firstname.lastname@example.org>
Contains a few early two-strip Technicolor scenes, in particular the "Exodus" segment. See more »
As the Pharaoh and his henchmen pursue the Hebrews at the Red Sea, several of the chariots obviously crash. (These were accidents which occurred while filming because the chariots were difficult to drive.) See more »
Mrs. Martha McTavish:
Whatever you've done is my fault because I taught you to fear the Lord but never to love Him, and LOVE is the most important thing.
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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.
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