Two versions of "TheTen Commandments" in the same set
Cecil B. De Mille made “The Ten Commandments” twice, one as a silent film in 1923, and later as an all-star, Technicolor epic in 1956. The latter was the director’s last film in a long career that dated back to the very beginning of motion pictures. The two versions differ in structure. The silent version, a two-part parable, devotes only 45 minutes to ancient Egypt and Moses (Theodore Roberts). Most of the intertitles of this section are excerpts from the Old Testament. The balance of the 135-minute movie takes place in the then-contemporary 1920s. A mother reads the Bible to her two sons, John (Richard Dix), a carpenter, and Dan (Rod La Rocque), a jazz-age kid who cynically claims that no one pays attention to the commandments any more.<br /><br />De Mille shows decadence in both sections of the ’23 version — the blaspheming, orgiastic revelry and worship of a false idol in the ancient section and Dan breaking all the commandments in his lust for wealth in the modern part. The ancient section lacks the splendor and production value of the later version. Moses is more a metaphor for goodness and hope than an actual man tasked by God to set free the Hebrew slaves of Egypt. In keeping with the style of silent film acting, Roberts strikes poses, makes grand gestures, and overreacts in order to convey emotion.<br /><br />When De Mille remade “The Ten Commandments,” he abandoned the dual-story format and set the entire movie in ancient times. Many actors were under consideration for the role of Moses, but Charlton Heston, a young up-and-coming actor, won the role.<br /><br />Yul Brynner was cast as Rameses after De Mille saw him on Broadway in “The King and I” and was impressed by his charismatic presence. Brynner had to complete his commitment to the show before taking on the film role. Others in the cast include Anne Baxter (Nefritiri), Edward G. Robinson (Dathan), Yvonne De Carlo (Sephora), Debra Paget (Lilia), John Derek (Joshua), Cedric Hardwicke (Sethi), Nina Foch (Bithiah), Judith Anderson (Memnet), Vincent Price (Baka), John Carradine (Aaron), and Martha Scott (Yochabel).<br /><br />Heston plays Moses as a human being rather than a revered religious icon, which makes the story relatable. Brynner is outstanding as Rameses. He looks great in the period costumes, projects a regal air, and turns in a solid performance. Anne Baxter’s portrayal seems at odds with the tone of the film. It’s been called campy, and some of her scenes do seem over the top, particularly when she’s lusting over Moses.<br /><br />The film’s epic quality is its greatest attribute. De Mille’s care is evident in every scene, and reflects the massive logistical task of doing research, coordinating production in two countries, hiring a cast, and assembling thousands of extras.<br /><br />For the ’23 version, De Mille shot the Egyptian sequences in California, but in ’56, he and cast and crew filmed on an enormous set built in the Egyptian desert outside Luxor. We see this set during the exodus from Egypt and when Pharaoh’s chariots race after Moses to inflict vengeance for the death of the firstborn of Egypt.<br /><br />Thousands of extras made up of Egyptian army soldiers and Cairo residents in period costumes provide tremendous production value. De Mille juxtaposes long shots with studio-filmed closer shots that portray intimate moments — a camel nibbling dates, a stubborn mule, carts filled with the elderly,  a newly freed man bowing and praying, and sheep and goats being herded.<br /><br />Loyal Griggs’ cinematography captures the scope of the exodus, often in high-angle crane shots and elaborate tracking shots. Elmer Bernstein’s triumphant music makes the exodus sequence an unforgettable highlight. The Mount Sinai scenes were also filmed in Egypt. Many of the sets and filming angles in the 1923 version are nearly duplicated in the later version.<br /><br />Special effects are impressive in the 1923 film. The parting of the Red Sea was done by using a huge studio tank, flooding it with thousands of gallons of water and then running the film backwards to make it seem as if the water is magically parting. This same technique is used in the 1956 version. The obstacle that blocks Pharaoh’s chariots is a fiery wall, as opposed to the animated cyclone-like swirling cone in the later version.<br /><br />Special effects in the ‘50’s version include Moses’ staff turning into a serpent, turning the sea blood-red, fiery hailstones, and a green cloud representing the plague that will claim the Egyptians’ firstborn. The burning bush from which God speaks to Moses (it’s Heston’s own voice) and the inscription of the commandments into stone tablets are accomplished with animation. Blue screen is used in scenes in which characters (in the studio) look out onto panoramic vistas of Egypt (shot on location).<br /><br />The film credits for the 1956 movie list the Holy Scriptures and other ancient and modern writings, including “Prince of Egypt” and “Pillar of Fire,” as the basis for the script, which fills in a missing 30-year period in Moses’ life. The script is often stilted in its dialogue and reflects an old-fashioned structure. Filming began in October, 1954, after an extensive period of writing and rewriting, scouting locations, building sets, and designing costumes, hair, make-up and jewelry. After shooting in Egypt, the company returned to Paramount to complete the film. In a number of scenes, studio-shot scenes are seamlessly blended with those filmed on location.<br /><br />The 3-disc Blu-ray release includes both 1923 and 1956 versions of “The Ten Commandments.” Bonus materials include an audio commentary; hand-tinted and 2-color Technicolor footage and photo gallery from the 1923 film; the featurette “The Ten Commandments: Making Miracles;” a newsreel  showing “The Ten Commandments” (1956) premiere in New York; 3 theatrical trailers for the ‘56 version from 3 different decades; and a booklet.
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 {"Genre": "Drama, Drama/Religion", "Format": "Subtitled", "Contributor": "Charlton Heston, Estelle Taylor, Charles Ogle, Noble Johnson, Rod La Rocque, Leatrice Joy, Cecil B. DeMille, Clarence Burton, Nita Naldi, Richard Dix, Anne Baxter, Charles Robinson, Yul Brynner, Edythe Chapman, Julia Faye, Yvonne De Carlo, Robert Edeson, Theodore Roberts, Lawson Butt, Charles de Rochefort, James NeillCharlton Heston, Estelle Taylor, Charles Ogle, Noble Johnson, Rod La Rocque, Leatrice Joy, Cecil B. DeMille, Clarence Burton, Nita Naldi, Richard Dix, Anne Baxter, Charles Robinson, Yul Brynner, Edythe Chapman, Julia Faye, Yvonne De Carlo, Robert Edeson, Theodore Roberts,\u2026   See more", "Language": "French (Dolby Digital 2.0), English (Dolby Digital 2.0), Spanish (Dolby Digital 2.0)", "Runtime": "5 hours and 56 minutes", "Aspect Ratio": "1.78:1", "MPAA rating": "G (General Audience)", "Product Dimensions": "5.71 x 7.09 x 1.06 inches; 7.36 Ounces", "Director": "Cecil B. DeMille", "Media Format": "Subtitled", "Run time": "5 hours and 56 minutes", "Release date": "February 25, 2020", "Actors": "Anne Baxter, Charles de Rochefort, Charlton Heston, Leatrice Joy, Estelle Taylor", "Dubbed": "French, Portuguese, Spanish", "Subtitles": "French, Spanish, Portuguese", "Studio": "Paramount Pictures Home Entertainment", "Country of Origin": "USA", "Number of discs": "3"}

Here is a brief synopsis of the title : Cecil B. DeMille's final film was this grand-scale religious epic starring Charlton Heston as Moses, an adopted Egyptian prince chosen by God to abandon a life of luxury and lead his fellow Israelites out of slavery. The flight from Egypt, the parting of the Red Sea, and Moses' receiving of the Commandments are among this classic film's many highlights. With Edward G. Robinson, Yul Brynner, Anne Baxter, Yvonne de Carlo, and a cast of thousands. 3 3/4 hrs. Also includes the bonus feature "The Ten Commandments" (1923). Widescreen (Enhanced); Soundtracks: English DTS HD 5.1 Master Audio, French, Spanish, Portuguese; Subtitles: English (SDH), French, Spanish, Portuguese. Three-disc set..