To escape the edict of Egypt’s Pharoah, Rameses I, condemning all newborn Hebrew males, the infant Moses is set adrift on the Nile in a reed basket. Saved by the pharaoh’s daughter Bithiah, he is adopted by her and brought up in the court of her brother, Pharaoh Seti. Moses gains Seti’s favor and the love of the throne princess Nefertiri, as well as the hatred of Seti’s son, Rameses. 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. In Egypt Moses’s fiercest enemy proves to be not Rameses, but someone near to him who can ‘harden his heart’. –IMDb
An actor and general manager with his mother’s theatrical troupe since the mid-1900s, Cecil B. DeMille formed a filmmaking partnership in 1913 with vaudeville artist Jesse L. Lasky and businessman Samuel Goldfish (soon to be known as Samuel Goldwyn). Their first venture was The Squaw Man (1914), which DeMille co-directed, co-wrote and co-produced with Oscar Apfel. This successful and elaborate six-reeler launched DeMille on a lifelong career in films. His first solo effort was the Western The Virginian (1914), which he also co-scripted. He edited and wrote (or co-wrote) almost all his successful films, with the notable exception of the popular melodrama The Cheat (1915). Writer Jeanie Macpherson began working for DeMille in 1914 with The Captive (1915), and wrote most of his later silent films: hits that included witty romantic farces (Don’t Change Your Husband); epic morality tales that combined modern dramas with visions of history (Joan the Woman 1916 read more
It would be easy to dismiss Cecil B. Demille's 1956 retelling of the Book of Exodus as pure Hollywood melodrama, but that would ignore just how good it really is. Demille frames the film as if he's still working in silents, and the dialogue tends toward the overwrought. But it's a traditional Hollywood epic in the best sense of the word, overcoming its hokier elements with sheer conviction and grandiosity.
A photograph by Yul Brynner of the legendary director on the set of The Ten Commandments.
"Antonioni's career can be divided into the periods before and after L'Avventura (1960)," writes Dennis Lim in the Los Angeles Times. "By