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The Ten Commandments is a 1956 American epic religious drama film produced, directed, and narrated by Cecil B. DeMille,[5] shot in VistaVision (color by Technicolor), and released by Paramount Pictures. The film is based on the 1949 novel Prince of Egypt by Dorothy Clarke Wilson,[6] the 1859 novel Pillar of Fire by J. H. Ingraham,[7] the 1937 novel On Eagle's Wings by A. E. Southon,[8] and the Book of Exodus, found in the Bible. The Ten Commandments dramatizes the biblical story of the life of Moses, an adopted Egyptian prince who becomes the deliverer of his real brethren, the enslaved Hebrews, and thereafter leads the Exodus to Mount Sinai, where he receives, from God, the Ten Commandments. The film stars Charlton Heston in the lead role, Yul Brynner as Rameses, Anne Baxter as Nefretiri, Edward G. Robinson as Dathan, Yvonne De Carlo as Sephora, Debra Paget as Lilia, and John Derek as Joshua; and features Sir Cedric Hardwicke as Seti I, Nina Foch as Bithiah, Martha Scott as Yochabel, Judith Anderson as Memnet, and Vincent Price as Baka, among others.[5]

Filmed on location in Egypt, Mount Sinai, and the Sinai Peninsula, The Ten Commandments was DeMille's most successful work, his first widescreen film, his fourth biblical production, and his final directorial effort before his death in 1959.[9] It is a remake of the prologue of his 1923 silent film of the same title, and features one of the largest exterior sets ever created for a motion picture.[9] Four screenwriters, three art directors, and five costume designers worked on the film. The interior sets were constructed on Paramount's Hollywood soundstages. The original roadshow version included an onscreen introduction by DeMille and was released to cinemas in the United States on November 8, 1956, and, at the time of its release, was the most expensive film ever made.[9]

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In 1957, the film was nominated for seven Academy Awards, including Best Picture, winning the Academy Award for Best Visual Effects (John P. Fulton, A.S.C.).[10] DeMille won the Foreign Language Press Film Critics Circle Award for Best Director.[11] Charlton Heston was nominated for a Golden Globe Award for Best Performance by an Actor in a Motion Picture (Drama).[10] Yul Brynner won the National Board of Review Award for Best Actor for this film, as well as for Anastasia and The King and I.[10] Heston, Anne Baxter, and Yvonne De Carlo won Laurel Awards for Best Dramatic Actor, 5th Best Dramatic Actress, and 3rd Best Supporting Actress, respectively.[12] It is also one of the most financially successful films ever made, grossing approximately $122.7 million at the box office during its initial release; it was the most successful film of 1956 and the second-highest-grossing film of the decade. According to Guinness World Records, in terms of theatrical exhibition, it is the eighth most successful film of all-time when the box office gross is adjusted for inflation.

The final shooting script was written by Aeneas MacKenzie, Jesse L. Lasky Jr., Jack Gariss, and Fredric M. Frank.[17] It also contained material from the books Prince of Egypt by Dorothy Clarke Wilson, Pillar of Fire by Joseph Holt Ingraham, and On Eagle's Wings by Arthur Eustace Southon.[18] Henry Noerdlinger, the film's researcher, consulted ancient historical texts such as the Midrash Rabbah, Philo's Life of Moses, and the writings of Josephus and Eusebius, in order to "fill in" the missing years of Moses' life,[18] and, as the film's last opening title card states, "the Holy Scriptures".

DeMille described the role of Rameses II as "a part equal in dramatic strength to that of Moses".[22] Rory Calhoun, Jeff Chandler, Anthony Dexter, Mel Ferrer, Stewart Granger, William Holden, and Michael Rennie were considered to play the film's leading antagonist.[23] DeMille saw Yul Brynner in the Broadway musical The King and I, and went backstage to meet him. He told Brynner the story of the film from Rameses' point of view, and offered him the role.[22]

Columnist Louella Parsons regarded the part of Nefretiri as "the most sought-after role of the year".[25] Ann Blyth, Vanessa Brown, Joan Evans, Rhonda Fleming, Coleen Gray, Jane Griffiths, Audrey Hepburn, Jean Marie, Vivien Leigh, Jane Russell, and Joan Taylor were considered to portray the film's leading female character.[26] DeMille liked Audrey Hepburn, but ruled her out when he noticed her figure was not curvaceous enough for Nefretiri's extravagant costumes.[27] Anne Baxter was cast in the role.[28] "There was only one DeMille, and there wasn't an actor in the world who didn't want to work for him just once, however short the salary or tall the corn", she wrote in her memoir.[29]

Many actors were considered for the role of the evil overseer Dathan, including Raymond Burr, Lee J. Cobb, Leo Genn, Victor Jory, Fredric March, Raymond Massey, Stephen McNally, Gary Merrill, Arnold Moss, Robert Newton, Hugh O'Brian, Jack Palance, Eric Pohlmann, Basil Rathbone, Dale Robertson, Robert Ryan, George Sanders, Everett Sloane, and Peter Ustinov.[23] DeMille was enthusiastic about Jack Palance as Dathan, but Palance's agent angered DeMille when he stole a part of the script and demanded that the part be rewritten.[30] Raymond Massey was signed for the role, but later turned it down.[31] DeMille then chose Edward G. Robinson, who was blacklisted in Hollywood. In his autobiography, Robinson remembered, "Mr. DeMille ... felt I had been done an injustice, and told his people to offer me the part. Cecil B. DeMille returned me to films. Cecil B. DeMille restored my self-respect."[32]

Heston's newborn son, Fraser (born February 12, 1955), was cast by DeMille (on the suggestion of Henry Wilcoxon, who said to him: "The timing's just right. If it's a boy, who better to play the Baby Moses?") as soon as Heston announced to DeMille that his wife Lydia was pregnant.[39] Fraser Heston was three months old during filming.[40]

DeMille was reluctant to cast anyone who had appeared in 20th Century Fox's The Egyptian,[42] a rival production at the time.[43] Several exceptions to this are the casting of John Carradine and Mimi Gibson (in credited supporting roles) and Michael Ansara and Peter Coe (in uncredited minor roles), who appeared in both films.

Commentary for the film's DVD edition chronicles the historical research done by DeMille and associates.The man who designed Moses' distinctive rust-white-and-black-striped robe used those colors because they looked impressive, and only later discovered that these are the actual colors of the Tribe of Levi. Arnold Friberg would later state that he was the one who designed Moses' costume. As a gift, after the production, DeMille gave Moses' robe to Friberg, who had it in his possession until his death in 2010. Moses' robe as worn by Charlton Heston was hand-woven by Dorothea Hulse, one of the world's finest weavers. She also created costumes for The Robe, as well as textiles and costume fabrics for Samson and Delilah, David and Bathsheba, and others.

Jesse Lasky Jr., a co-writer on The Ten Commandments, described how DeMille would customarily spread out prints of paintings by Lawrence Alma-Tadema to inform his set designers on the look he wanted to achieve. Arnold Friberg, in addition to designing sets and costumes, also contributed the manner in which Moses ordained Joshua to his mission at the end of the film: by the laying on of hands, placing his hands on Joshua's head. Friberg, a member of the Church of Jesus Christ of Latter-day Saints, demonstrated the LDS manner of performing such ordinations, and DeMille liked it.

An Egyptian wall painting was also the source for the lively dance performed by a circle of young women at Seti's birthday gala. Their movements and costumes are based on art from the Tomb of the Sixth Dynasty Grand Vizier Mehu.[44]Some of the film's cast members, such as Baxter, Paget, Derek, and Foch, wore brown contact lenses, at the behest of DeMille, in order to conceal their light-colored eyes which were considered inadequate for their roles.[45] Paget once said that, "If it hadn't been for the lenses I wouldn't have got the part."[45] However, she also said that the lenses were "awful to work in because the kleig lights heat them up".[45] When DeMille cast Yvonne De Carlo as Sephora, she was worried about having to wear these contact lenses; she also believed that her gray eyes were her best feature.[46] She asked DeMille to make an exception for her. He agreed, expressing the idea that De Carlo's role was special, and that Moses was to fall in love with her.[46]

The Exodus set was a duplicated set from the 1923 film. It was built outside Cairo, and was designed by Egyptian architect El Dine. Inside the set were a mess tent, a wardrobe department, and a stable for horses. The Golden Calf prop is also a duplicate from the film, likely on its kneeled position with a few modifications.

The special photographic effects in The Ten Commandments were created by John P. Fulton, A.S.C. (who received an Oscar for his effects in the film), head of the special effects department at Paramount Pictures, assisted by Paul Lerpae, A.S.C. in optical photography (blue screen "travelling matte" composites) and Farciot Edouart, A.S.C., in process photography (rear projection effects).[47] Fulton's effects included the building of Seti's Jubilee treasure city, the Burning Bush, the fiery hail from a cloudless sky, the Angel of Death, the composites of the Exodus, the Pillar of Fire, the giving of the Ten Commandments, and the tour de force, the parting of the Red Sea.[48]

The parting of the Red Sea was considered the most difficult special effect ever performed up to that time.[48] This effect took about six months of VistaVision filming, and combined scenes shot on the shores of the Red Sea in Egypt, with scenes filmed at Paramount Studios in Hollywood of a huge water tank split by a U-shaped trough, into which approximately 360,000 gallons of water were released from the sides, as well as the filming of a giant waterfall also built on the Paramount backlot to create the effect of the walls of the parted sea out of the turbulent backwash.[49] All of the multiple elements of the shot were then combined in Paul Lerpae's optical printer, and matte paintings of rocks by Jan Domela concealed the matte lines between the real elements and the special effects elements.[50] The parting of the Red Sea sequence is considered by many to be one of the greatest special effects of all time.[51] 2351a5e196