Just to echo the the positive comments posted here. (Pick any of them)
If you haven't seen this, where have you been? This is great screen entertainment. 'The kind of movie they don't make any more.'
One of the criticisms (by some) is the melodramatic and over-the-top screenplay which, to me, is one of it's enduring assets. It's indicative of DeMille's greatness that he got the script he wanted and the actors who, with the scenery firmly between their teeth, gave it their best shot - and on target all the way. Like many others, I can laugh at some of the dialog when I'm away, but become an avid believer when I view the picture for the umpteenth time. Is this not great Art?
Another aspect of the picture I noticed (after an embarrassing number of viewings), is that each shot is staged like a Silent Movie. It's none the worse for that as in every respect it is a modern (or at least a 1956 modern) movie. But it's staging might be one of the subconscious contributions to it's timelessness.
Along with the above, notice how few close-ups there are. When DeMille has a close-up it means something and advances the plot. Contemporary film-makers take note!
Also these days we hear a lot about 'ensemble' acting. I guess that means there are more than three people with five or more lines that are involved in the plot and appear together in a few scenes. This is one of many examples of DeMille's penchant for 'ensemble' acting. And with this high-powered cast, ensemble par excellence.
One of the things I didn't notice until later, was that the film was pretty much shot in the studio. The memorable vistas of the Exodus, the "Treasure City" of Seti, and Moses' exile don't take up that much screen time. This is a tribute both to DeMille's storytelling ability (keeping our mind on the subject at hand) and the excellent Art Direction and Set Decoration of Paramount Pictures (I don't think they won any Oscars either). Yet there is never a studio-bound feeling on the part of the viewer. Great cinematic Art indeed. If this story takes place in Ancient Egypt, by God we're going to see Ancient Egypt. And we do.
The story, concept and execution are so Big, that one does not notice that on the big screen the aspect ratio is around 1:1.85. The advantage is there is little or nothing lost on the TV screen. In fact when I saw this after a long while in a movie theater, I only briefly noted that it wasn't as wide as I had expected. If you get a chance to see this in a movie theater - Go.
Finally the biggest tribute I can make to this great picture is that it was Charlton Heston's 'Finest Hour'.
If you haven't seen this, where have you been? This is great screen entertainment. 'The kind of movie they don't make any more.'
One of the criticisms (by some) is the melodramatic and over-the-top screenplay which, to me, is one of it's enduring assets. It's indicative of DeMille's greatness that he got the script he wanted and the actors who, with the scenery firmly between their teeth, gave it their best shot - and on target all the way. Like many others, I can laugh at some of the dialog when I'm away, but become an avid believer when I view the picture for the umpteenth time. Is this not great Art?
Another aspect of the picture I noticed (after an embarrassing number of viewings), is that each shot is staged like a Silent Movie. It's none the worse for that as in every respect it is a modern (or at least a 1956 modern) movie. But it's staging might be one of the subconscious contributions to it's timelessness.
Along with the above, notice how few close-ups there are. When DeMille has a close-up it means something and advances the plot. Contemporary film-makers take note!
Also these days we hear a lot about 'ensemble' acting. I guess that means there are more than three people with five or more lines that are involved in the plot and appear together in a few scenes. This is one of many examples of DeMille's penchant for 'ensemble' acting. And with this high-powered cast, ensemble par excellence.
One of the things I didn't notice until later, was that the film was pretty much shot in the studio. The memorable vistas of the Exodus, the "Treasure City" of Seti, and Moses' exile don't take up that much screen time. This is a tribute both to DeMille's storytelling ability (keeping our mind on the subject at hand) and the excellent Art Direction and Set Decoration of Paramount Pictures (I don't think they won any Oscars either). Yet there is never a studio-bound feeling on the part of the viewer. Great cinematic Art indeed. If this story takes place in Ancient Egypt, by God we're going to see Ancient Egypt. And we do.
The story, concept and execution are so Big, that one does not notice that on the big screen the aspect ratio is around 1:1.85. The advantage is there is little or nothing lost on the TV screen. In fact when I saw this after a long while in a movie theater, I only briefly noted that it wasn't as wide as I had expected. If you get a chance to see this in a movie theater - Go.
Finally the biggest tribute I can make to this great picture is that it was Charlton Heston's 'Finest Hour'.