The human mind has an impressive method of longing for the past and a lust to relive the circumstances and situation once experienced. It is this longing for the faraway times that history is written and that are the foundation stone of our documented background. It becomes more attractive if the story is full of grandeur and tells the tale of achievements against vast oppositions. This is how Aristotle wrote about Alexander or Herodotus about Egyptian Pharaoh or the Old Testament depicts the story of Moses. This is how stories like ‘The Ten Commandments’ are told and retold and when it came to the modern ages film makers relieved these sagas and in this case Cecil B De Mille’s ‘The Ten Commandments’ becomes relevant in terms of mythology, knowledge and inspiration where the book by Peter C. Craigie, The Book of Deuteronomy, is fundamentally a spiritual text based on the Bible. However, the main context is spirituality where, “The voice of God communicated Ten Words, that is, the Ten Commandments, which Moses was to set before the people once again” (Craigie 134).
Getting back to ‘The Ten Commandments’ it can be stated that much of the movie’s charm comes from the director’s handling of spectacle and special effects (it even won an Oscar for Best special Effects). A little clumsy perhaps, by today’s standards, the movie is worth watching several times only to see the parting of the Red Sea , the pillar of fire and water turning into blood. The music is superbly in sync with the epic tone of the movie and there is nothing ambiguous or disturbing about it (as some new age reinterpretations of classics have done). The sheer color of the scenes takes one up immediately into the spirit of the story. The story is interspersed with off screen commentary by the director himself to link the different parts of this 4 hour epic. While serving his incarceration, Moses meets his real mother and learns that he is actually the son of poor Hebrew parents. Armed with this Revelation he returns to the palace and preaches for justice to the Hebrews. Moses meets Joshua when he is rescued from death at the hands of Baka and reveals to him his true antecedents. Later he is banished from Egypt and pushed off into the desert where he meets a shepherd girl whom he will marry. He hears a voice from Bush and it is God commanding him to lead the Hebrews out of Egypt. Eventually Moses leads his flock into the Promised Land and the Rameses also acknowledges Moses finally.
The story brings out the good and evil conflict with directness peculiar to only those like De Mille who had worked in the era of silent films – the film does not rely on subtlety – probably because a Biblical story is being enacted. Even today m there are Christians so impressed by this movie that when asked to recall Sistine Chapel and its epic mural depicting Moses they equate Charlton Heston’s character in’ The Ten Commandments’ as the one which comes closest to the painting – so sincere is the attempt by the director who had to face charges of profligacy in production in realizing his dream. As the book reveals, “For the Lord thy God … a land of wheat, and barley, and vines, and fig trees, and pomegranates; a land of oil, olive, and honey” (Craigie 183).
Cecil b De Mille made innumerable films but only this film brought him recognition – in his mid 70’s. He based this film on a number of books rather than any set of facts of that time. His task was to create a Biblical epic around a subject dear to people’s hearts and de Mille was incapable of any great reinterpretation as a director but invested his own sincerity and devotion to a project that may as well have fallen flat on its face. He was the only director in Hollywood capable of carrying off such a theme. Since then Biblical films have not been successful in drawing audiences in part because of their makers to depict excessive violence or angst. The films have not been created lovingly although the commitment is there. Mel Gibson’s ‘The Passion of Christ’ may come close in terms of box office appeal. (King, 2006)
Ultimately, the film made by De Mille may not have any basis in reality (apart from the spiritual inclination towards the love of God) but in the times we live in the message of the film is simple – to retain our humility and faith amidst excessive indulgence, to see our aim in life as clearly as the Ten Commandments burnt on the clay tablets. There are wars to drive people out of their lands and there are conflicts within people living in increasing isolation – deprived of faith and the film speaks to us about belief and that there is a power which uplifts us. The story of Moses and the Hebrews and the Promised Land comes close in our times to Israel and its tribulations through history or it may even be about Palestine – depending upon your point of view. However, the main context is love for God and “Moses’ law; The ancient heavens, in silent awe, Writ with curses from pole to pole, All away began to roll” (Craigie 341).
The greatest message the story gives to us is to finally listen to our own inner voices and like Moses be prepared to face whatever comes our way for the sake of our convictions. Such attitudes today are not unthinkable – why do you think ‘the Passion of Christ’ struck such a chord ? – was it plain to the makers that people wanted a message when everything was floundering? The film of ‘The Ten Commandments’ has been brought out on DVD prints and is even circulated as a mini television series with some fine reconstruction work on the prints. This really goes to show that simple is what will get through to people and that films that speak about our times are okay but these really big blockbusters are relevant in all times.
De Mille would not have been able to ponder so much – considering he was probably making one of the last films of his career – but he thought of the one thing dear to his heart and is winning hearts to this day through his depiction of Moses and memories of the performances will remain fresh through generations. There were probably only Biblical references used to draw a context but the film may never be out of context and its form and meaning are even more relevant today and in some coming age will serve to read newer realities. However, the fundamental aspect of the movie is indirectly pointing towards spirituality in contrast to the book. The fact remains that it is the interpretation of this spirituality, in the juxtaposition of human endurance and inspiration, which constructs the bottom-line the states the love of God. “The stipulation is stated first in the Ten Commandments (5:6-21), which present the dimensions and nature of the relationship, namely, love for God” (Craigie 41). The reader is free to choose either spirituality or inspiration or both. On a personal basis, I chose spirituality in the movie as in the book.
Works cited
Craigie, Peter C. The Book of Deuteronomy. NY: Wm. B. Eerdmans Publishing, 1976.
King, David. Review and analysis of 100 Hollywood Movies: A History. Auckland: HBT & Brooks Ltd, 1998.