The Ten Commandments (1923) Cecil B DeMille (silent)

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Description

The Ten Commandments (1923)



http://www.imdb.com/title/tt0014532/
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Directed by

Cecil B. DeMille



Writing credits

(in alphabetical order)

Jeanie Macpherson story





Cast (in credits order) verified as complete

Theodore Roberts ... Moses, the Lawgiver (prologue)

Charles de Rochefort ... Rameses, the Magnificent (prologue) (as Charles De Roche)

Estelle Taylor ... Miriam, the Sister of Moses (prologue)

Julia Faye ... The Wife of Pharaoh (prologue)

Pat Moore ... The Son of Pharaoh - prologue (as Terrence Moore)

James Neill ... Aaron, Brother of Moses (prologue)

Lawson Butt ... Dathan, The Discontented (prologue)

Clarence Burton ... The Taskmaster (prologue)

Noble Johnson ... The Bronze Man (prologue)

Edythe Chapman ... Mrs. Martha McTavish

Richard Dix ... John McTavish, her son

Rod La Rocque ... Dan McTavish, her son

Leatrice Joy ... Mary Leigh

Nita Naldi ... Sally Lung, a Eurasian

Robert Edeson ... Redding, an Inspector

Charles Ogle ... The Doctor

Agnes Ayres ... The Outcast

Genevieve Belasco ... (uncredited)

Wilson Benge ... Butler (uncredited)

Gino Corrado ... Israelite Slave (uncredited)

Dorothy Dale ... Egyptian Girl (uncredited)

Cecilia de Mille ... Extra (uncredited)

Louise Emmons ... Elderly Israelite (uncredited)

Charles Farrell ... Israelite Slave (uncredited)

Viscount Glerawly ... Extra (uncredited)

Rex Ingram ... Israelite Slave (uncredited)

Roscoe Karns ... The Boy in the Rain (uncredited)

Jack Montgomery ... Egyptian cavalryman (uncredited)

Kathleen O'Shee ... Israelite Maiden (uncredited)

Jack Padjan ... Pharoah's horseman (uncredited)

Eugene Pallette ... Israelite Slave (uncredited)

Jack Richardson ... Israelite Slave (uncredited)

Mabel Richardson ... Israelite Woman (uncredited)

Robert St. Angelo ... Extra (uncredited)



Produced by

Cecil B. DeMille .... producer



Original Music by

Hugo Riesenfeld

Milan Roder (uncredited)



Cinematography by

Bert Glennon

J. Peverell Marley (as Peverell Marley)

Archie Stout

Fred Westerberg

Ray Rennahan (color) (uncredited)



Film Editing by

Anne Bauchens



Art Direction by

Paul Iribe



Costume Design by

Howard Greer (uncredited)

Clare West (uncredited)



Second Unit Director or Assistant Director

Cullen Tate .... assistant director



Stunts

Jack Montgomery .... stunts

Jack Padjan .... stunts



Camera and Electrical Department

Edward S. Curtis .... assistant camera (uncredited)

Donald Biddle Keyes .... assistant camera (uncredited)



Other crew

Roy Pomeroy .... technical director

Henry Hathaway .... assistant: Mr. De Mille (uncredited)



TRIVIA



Remade as The Ten Commandments (1956), again by Cecil B. DeMille.





The effect of the parting of the Red Sea was created by placing two blocks of blue gelatin side-by-side, heating them until they melted...then running the footage in reverse.





The Egyptian set seen in the prologue was, in reality, an enormous construction, and was actually considerably larger than the Babylon sets in D.W. Griffith's Intolerance: Love's Struggle Throughout the Ages (1916), to which they are often compared.





Most of the chariot crashes in the prologue were real and unplanned.





During one day of the filming of the Exodus scenes, about sixty bit players were injured in chariot crashes. Most went right back to work after getting bandaged up.







User Comments (Comment on this title)

13 out of 17 people found the following comment useful.

Thou shalt not give a stupid review., 22 October 2003



Author: from United States



Oops, broke that one. All joking aside, this film is incredible. Astonishing effects for the early 20s, where you couldn't twist any digital domain to your whims. The parting of the Red Sea is pretty convincing, even if was Jello. (Can you imagine wading through Jello? Ick.)



This film is told in two parts, as we get to see Moses receiving the Ten Commandments from God in what looks like a Fourth of July celebration. One with good fireworks. Most people know that story--Moses goes to deliver the Commandments, only to find everyone involved in a massive orgy. Here de Mille is in his element. He did so many massive orgies that he should have copyrighted them. We see people making out (not having sex--that would be wrong), men licking wine off women's feet (that is wrong, by gum), and a huge number of people trying to climb up what looks like a curtain. Why they're doing this only de Mille knows. All we need is Gloria Swanson being pawed by a tiger to make everything perfect. As some viewers may not know, de Mille can show whatever sin and debauchery he wants, because the sinners are going to get it in the end. They're gonna get it bad. From the giddy Israelites and their golden calf we're transported to the modern day (1923), where a woman reads the Bible. She can't be the sinner. A son stands nearby, looking very noble and content. Can't be him. Then, we see the other son. He looks bored and disbelieving. We have a sinner! Oh, and he's a bad one. He dances on Sunday, he steals women from their intendeds, he's involved in dozens of dirty dealings, and he's dating an Oriental leper. Beg pardon? I guess she's just thrown in for fun.



Of course, all's well that ends well, and everything turns out okay. This movie is silent, so the acting is a bit in-your-face, and the characters are extreme, but hey. It's necessary--literacy wasn't rampant back then, so filmmakers had to make everything painfully obvious. Some people weren't able to read the title cards, and they'd be lost without the silent films' distinctive pantomime.



Side benefit--the version I have on video features a nifty soundtrack by that powerhouse of the movie palace, the Wurlitzer organ.







a great silent spectacle, 12 May 2006



Author: d from spokane,usa





Director: Cecil B. Demille, Script: Jeaine Macpherson, Cast: Theodore Roberts (Moses), Charles de Rochfort (Rameses), Estelle Taylor (Miriam,sister of Moses), Julia Faye (wife of pharaoh), James Neill (Aaron), Edythe Chapman (Mrs. Martha Mc Tavish), Richard Dix (John,son), Rod La Rosque (Dan,son), Nita Naldi (Sally Lung,Eurasian)



Most people today have probably never seen this film. It is now available on the 50th anniversary set with the 1956 version. The 1956 version was an amazing movie but in many ways I prefer this one, Cecil B Demille's 1923 original. Many people will be surprised upon first viewing of this film. Demille uses a different approach thin in his 1956 remake. This film has two parts. The first part is set during the time of the exodus in the old testament. The Hebrew nation is enslaved by the Egyptians under the ruthless rule of the pharaoh Rameses. Moses as the chosen leader of the Jews frees his people from the Egyptians. God gives him the power to inflict plagues upon the Egyptians. He then leads his people on the great exodus across the desert to the Red Sea. God gives him the power to part the sea so the Jewish people can cross. Phaorah orders his army to go after the Jews across the parted Red Sea but God had the sea 'return to normal' so the army drowns.



Make no mistake, this film was a major production in its day and very high budget for its time. Demille uses very elaborate sets for this production. The exterior wall of the great Egyptian city is just like the one used in the 1956 version. Many extras were used in the making of this film. During the great exodus, there appears to be people for as far as the eye can see. You can see this great line of people spread out across the desert. Camels were seen during the exodus but as it turns out, camels were not in the middle east during that time period. The parting of the Red Sea in the 1956 version was considered an amazing special effect for its time. I was very curious as to how they would be able to pull this off in 1923! I was quite amazed!! The special effects used for the parting of the sea is just as good as the 56 perhaps better. One thing I really like about the special effects of this film is the wall of fire that Moses creates to keep the Egyptian army at bay. In the 56 version animation was used for the fire. In this version real fire was used using a double exposure technique that I thought was more impressive. Mr Demille was very loyal to his actors. He would use many of the same actors in a number of his films. The women who plays the part of pharaoh's wife and the boy that played his son are both involved in the 56 version as well as the film editor.



The film switches gears totally for the second half. We are now in modern times. It starts with a mother reading passages from the book of Exodus to her two sons. All the drama from the first half was simply her reading being acted out. The rest of the film is a morality tale between two sons. The mother and one son are deeply religious while the other son is a nonbeliever. He makes fun of his brother's silly beliefs so the mother kicks him out of the house for being a heathen. The believing son lives a modest life while the unbelieving son becomes very wealthy. He even gets the women they both like! He becomes a wealthy contractor employing his brother as a worker. However, the unbelieving brother's life will be filed with misfortune eventually leading to his death. The twist in the second half of the film makes for a interesting viewing experience. I like the contrast between ancient and modern times. Katherine Orrison in her commentary states that the modern sequence will probably seem more dated to the average viewer. I tend to agree. It is interesting to see how people lived and dressed during those times. The modern sequence is filmed mostly on location in San Francisco. It is cool to see how San Fran looked back then. The generation gap between the mother and her sons is very evident. This was the roaring 20's! Katherine Orrison gives an insightful commentary on both films but see seems to have a special fondness for this one. I can understand why.





4 out of 4 people found the following comment useful :-

Excuse me, gotta go and worship a Golden Calf!, 6 September 2001

Author: G from Huntington, NY





Whenever anybody says THE TEN COMMANDMENTS, we think of the fun, uplifting 1956 epic made by DeMille and starring Charleton Heston, Yul Brynner, etc. etc. Not too many people know that film is a remake of DeMille's own 1923 film of the same name. The 1923 version has so much zip to it, mainly because in it's 90 minute plus time, DeMille has to tell TWO stories. The first is the story of Moses. He has to lead the exodus from Egypt, part the Red Sea (an awesome scene done in early two-tone Technicolor) and slap some sense in his followers who wrongly decide to worship the Golden Calf. All that in 45 minutes. That means it spools out really, really fast. The rest of the film takes place in modern day San Francisco, where two brothers, one a hard working carpenter, the other, a wealthy but scheming architect battle. We know their grey haired mom is a good Christian, because she constantly carries around a Bible as big as a cinderblock!



Beautifully restored, witha great piano and organ score. This is an energetic silent well worth catching.





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The Ten Commandments (1923) Cecil B DeMille (silent)

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