The story kicks into gear when Moses runs into Hebrew slaves Miriam ( Sandra Bullock) and Aaron ( Jeff Goldblum) who spills the beans that he is their brother and is destined to deliver them from slavery – it should be noted that the prophesized deliverer is really downplayed in this movie and it almost seems like God chose Moses simply because he was convenient – but when he confronts the Pharaoh and the truth is confirmed his world is shattered, which to be fair, finding out your loving father is a monster would certainly skew one’s reality. Personally, I think chariot races are a lot more progressive than mass infanticide.
The tension is formed due to the fear that Rameses has that he will be the “weak link” and that will bring down the dynasty, a fear that is born into him by his stern father, Pharaoh Seti ( Patrick Stewart), who does not find these childlike antics amusing. Unlike the DeMille version, these two are not rivals for the love of a woman, or for the throne of Egypt for that matter, and we are first introduced to them as they carelessly race chariots through the city, destroying a temple in the process and thus making this pair fun and relatable. The most interesting aspect of this retelling of the story of Exodus is the relationship between Moses ( Val Kilmer) and Rameses ( Ralph Fiennes) who in this version are depicted as fun and mischievous brothers who truly care for each other, with Moses being adopted by the Pharaoh’s wife instead of his daughter in this version, but what makes this take on the story great is the dynamic relationship between the two. Question: The Pharaoh ordering that the newborn Hebrew babies be tossed into the Nile to prevent a possible future rebellion is one thing but would such an act be something you’d want to commemorate in a giant mosaic? What is to be respected is that Katzenberg and his team of directors didn’t shy away from some of the story’s darker elements and did their best to remain as faithful as possible. DeMille than it is a “true” adaptation of The Book of Exodus I think that was a fair attitude to take.
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DeMille three hours to pull off in just ninety-minutes and how are you going to handle the darker aspects of the Book of Exodus in a film that is aimed mainly at younger viewers?”Īdapting a story from the Bible is certainly tricky business because no matter how good a job you do you’re definitely going to offend somebody – this film was banned in Malaysia, the Maldives and Egypt – and to mitigate this issue as much as possible the film opens with a text disclaimer stating “While artistic and historical license has been taken, we believe that this film is true to the essence, values and integrity of a story that is a cornerstone of faith for millions of people worldwide” which is a good way to say “Hey, cut us some slack this is the best we could do in the time allowed” and as this is more a remake of the Cecil B. Aside from such straight-to-video offerings like the Veggie Tales religion and cartoons seldom mixed and when Jeffrey Katzenberg decided to produce an animated adaptation of the 1956 film The Ten Commandments two big questions had to be answered “Can you tell the story that took Cecil B. After kicking off their animated division with Antz, a blatant cash-in of Pixar/Disney’s animated flick A Bug’s Life, DreamWorks decided to boldly venture into territory rarely explored by family-friend animated films, that of the Bible story.
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