When Rameses was casting Moses out of Egypt, we see one of the Pyramids which looks just as brown and worn down as it does today. In Rameses' time, the Pyramids were covered with shiny white limestone.
During the end scene, Sephora says to Moses "You are God's torch that lights the way to freedom", but it's a different voice says "that lights the way to freedom." Actress Yvonne De Carlo turned just as she said that part of the line, so it might have had to be dubbed for the original film.
Jethro tells Moses his people, the Midianites, were descendants of Abraham through Ishmael, "his first born." According to Genesis, the Midianites were descended from Midian, one of six sons of Abraham's second wife, Keturah.
When the Hebrews are going out of Egypt, a camel eats some fruit that a man is carrying on his back. In the next shot, the amount of fruit has decreased markedly (too much for the camel to have eaten it all).
As the sheep shearing festival, the wool is sold to Lugar, then Jethro's
six daughters danced for Moses and the sheiks. Moses left them to seek out Sephora. While they talk, there are many sheep in the background still in possession of all their wool. After a sheep shearing, one would expect to see nude sheep.
When the Pharaoh's chariots leave the city gates to go after the slaves, some shots of the chariots have long shadows, as if shot in late afternoon. But in other shots of the chariots, their shadows are short, as if shot in mid-day.
When Nefretiri has Moses brought from the brickworks to her barge, he is filthy, and he holds himself back from embracing her. At one point in the conversation, though, he grabs her shoulders, but leaves no marks on her nor on her dress. Later in the conversation, he refrains from holding her again for fear of leaving her dress soiled.
During the tenth plague, Bithia and her black stretcher bearers seek, and are granted, refuge in the house of Moses. A short time later, still during the plague, everyone is seated at the table and eating the first Passover meal, but the stretcher bearers are nowhere to be seen.
The Red Sea changed color many times while being parted. Perhaps, this is due to the blue screen process, color-timing errors, or print degradation, but at times it appears blue, green, and even gray in color. When later remastered (for TV and DVD) the Red Sea became deep blue in color without a hint of green in it.
After Moses told Nefretiri he has a shepherd girl as his wife, Nefretiri then asked Moses whether his wife has hair with an "odor like sheep"; her position in relation to Moses changed between the two scenes.
When Moses & Aaron appear before Rameses & Nefretiri in the throne room, and Moses says "let my people go" for the first time, Moses is standing in front of and between the ruling couple, with Nefretiri at stage left. As Nefretiri realizes it is indeed Moses, she looks up and to her left at him. However, the longer shot shows her correctly looking up and to her right at him, as he is between her & Rameses.
Rameses stands in front of the Saqarra pyramids, with the Nile in the background and deports Moses into the desert. Unfortunately this will send Moses due west into the Sahara, instead of east across the Sinai.
After Ramesses tells Moses that the slaves are free to go, the Hebrews line up along a road lined with many identical sphinxes, which the narrator identifies as the "Avenue of the Sphinxes." That road was, and still exists, in the ancient Egyptian capital of Thebes, now known as Luxor. Yet in the background you can see the pyramids. Those pyramids, however, are in Giza, which is near Cairo, about 315 miles (500 Km.) north of Luxor.
On the night of the 10th plague, the shadow of The Destoyer appears over a 3/4-moon. It should be a Full Moon, as Passover (as this night is now celebrated) commences on the first Full Moon after the Vernal Equinox.
Differences from the source material, and most other historical inaccuracies, are exempt from being listed as goofs--especially when they're caused by dramatic decisions, reliance on ceremonial traditions, or Renaissance-Baroque artistic depictions.
As Moses was completing the building of an Egyptian city, and called for a blue pennant, the guard waves a blue flag in front of the backdrop, and the flag is filtered out and becomes transparent, alluding to the fact that there is in fact a blue-screened backdrop and not an actual city behind them.
When the Hebrews are leaving Egypt, a man throws a golden calf statue to a small boy who catches it with no problem. Both of these actions would be highly unlikely because of how heavy gold actually is.
The floating basket bounces in the water when the lid is closed, as would be expected; but scenes in which the lid is open and the baby Moses is visible, the basket is stationary, very obviously supported under the water. Maybe the basket could not float with the weight of the baby, or maybe it was for safety reasons.
During the chase in the Red Sea, the lead chariots are riding on ground that was already neatly grooved with wheel tracks; there is no evidence of the footsteps made by thousands of slaves and animals. A shot of the slaves exiting the Red Sea reveals how trampled the ground should have looked.
As Moses is leading the Israelites through the parted Red Sea, he stands upon a tall outcropping of rock on the far end as encouragement to his followers who are still making the journey through. As his people all reach the safety of the other side, the Pharaoh's forces are seen fast approaching the escaping slaves. As Moses gives the signal, we then see the walls of water of the parted Red Sea collapse onto the Egyptian troops while the Pharaoh himself had remained standing on a rock escarpment. The remains of the gigantic waves of water sweep onto the ground surrounding his position. Unfortunately, we also see 2 large and obviously fake boulders afloat on top of the water and being swept up onto the beach to his right side (left of the screen). It could be argued that the force of the onrushing wave merely swept the rocks along, but the problem with that scenario is the fact that, while a large amount of swiftly moving water does indeed have the capacity to change entire landscapes, solid objects such as stone would be forced along the floor of the seabed or river, and not on the surface.
When Sephora calls to Moses that she sees a man (Joshua) among the sheep Moses says to her; "Your eyes are as sharp as they are lovely." Yvonne DeCarlo mistakenly looks straight into the camera, effectively breaking the fourth wall. This can be a little unsettling to the viewer.