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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.

In total, Bernstein composed 2 hours of music for the film, writing for a full symphony orchestra augmented with various ethnic and unusual instruments such as the shofar, the tiple, and the theremin. The score is written in a highly Romantic style, featuring unique musical leitmotifs for the film's characters (God, Moses, Rameses, Nefretiri, Dathan, Sephora, Lilia, Joshua, etc.) used in a manner inspired, at DeMille's direction, by the opera scores of Richard Wagner.[57] Bernstein recorded both the diegetic music and the score at the Paramount Studios Recording Stage in sessions spread from April 1955 to August 1956.[58]

Cecil B. DeMille promoted the film by placing Ten Commandment monuments as a publicity stunt for the film in cities across the United States.[62] The Ten Commandments premiered at New York City's Criterion Theatre on November 8, 1956.[63] Among those who attended the premiere were Cecil B. DeMille and his eldest child, Cecilia DeMille Harper; Charlton Heston and his wife, Lydia Clarke; Yul Brynner; Anne Baxter; Edward G. Robinson; Yvonne De Carlo and her husband, Bob Morgan; Martha Scott and her husband, Mel Powell, and son, Carleton Alsop; William Holden and his wife, Brenda Marshall; John Wayne and his wife, Pilar Pallete; Tony Curtis and his wife, Janet Leigh; and Paramount Pictures president Barney Balaban. It played on a roadshow basis with reserved seating until mid-1958, when it finally entered general release.[64]

The Ten Commandments was the highest-grossing film of 1956, and the second most successful film of the decade. By April 1957, the film had earned an unprecedented $10 million from engagements at just eighty theaters, averaging about $1 million per week, with more than seven million people paying to watch it.[64] It played for 70 weeks at the Criterion Theatre in New York, grossing $2.7 million.[68] During its initial release, it earned theater rentals (the distributor's share of the box office gross) of $31.3 million in North America, and $23.9 million from the foreign markets, for a total of $55.2 million (equating to approximately $122.7 million in ticket sales).[4] It was hugely profitable for its era, earning a net profit of $18,500,000,[69] against a production budget of $13.27 million (the most a film had cost up to that point).[3]

The special effects were often cheesy and laughable by our standards, too. But then at other times they were pretty good. I imagined what it must have been like seeing this in 1956. This is years before other epics like Lawrence of Arabia or Ben Hur. You only have a small black and white TV (if even that). The movies in a cinema are usually black and white too. Special effects are usually matte paintings and hand drawn animation. Most movies don't even have much in the way of effects and are just in sets on a studio lot. Then Ten Commandments comes. Huge scenery in full colour, not just of huge sets but of the Nile turning red, obelisks being raised, hundreds of Israelites hauling their belongings past huge Egyptian monuments, then two walls of water crashing on top of chariots that are trying to escape. It must have been quite a sight.

[iii] As it would be in 1956, the parting-sea effect was achieved in 1923 by reversing footage of two waves of water crashing together in a tank, albeit on a much smaller scale than the later film. For the standing walls of sea, the 1923 team employed huge piles of clear jelly.

[iv] Admittedly, these composite shots are more jarring to modern audiences than they were in 1956, when process shots with back projection were de rigueur. Alfred Hitchcock, for one, frequently relied on such unconvincing effects.

The Ten Commandments, also known as Cecil B. DeMille's The Ten Commandments, is a 1956 American religious historical epic film produced, directed, and narrated by Cecil B. DeMille. It stars Charlton Heston as Moses, Yul Brynner as Rameses II, Anne Baxter as Nefretiri, Edward G. Robinson as Dathan, Yvonne De Carlo as Sephora, Debra Paget as Lilia, and John Derek as Joshua.

Charlton Heston as Moses in Cecil B. DeMille's 1956 classic 'The Ten Commandments.' Steven Spielberg's movie would more resemble his 'Saving Private Ryan' or Mel Gibson's 'Braveheart.' (SILVER SCREEN COLLECTION/GETTY IMAGES)

Known for blowing the budget, DeMille spent the majority of his time in pre-production which he called " the cheapest part of making a movie." As it is written in the Bible, the ten commandments story is missing a solid 30 years of Moses' life, years that DeMille had to uncover through HUNDREDS of hours of research with a team of screenwriters and research assistants. This included rifling through the Old Testament incessantly as well as pulling from secondary accounts written hundreds of years after Moses's passing. The screenplay came together alongside the storyboards which were meticulously done in watercolour by DeMille's associate director Henry Wilcoxon who also acted in the film as Pentaur. These watercolours were essential and were eventually followed almost exactly during the filming in Egypt. This process worked every time for DeMille who insisted that all of his movies were "made on the desk."

Similar practical ingenuity was needed in the scene where God carves the stone tablets with his commandments in fire. for this shot, Sapp carved the tables from the back, filling in the divots of the letters with gunpowder, which he would then light with a match, resulting in a stunningly vibrant effect that really made the climax of the movie.

From 1954 to 1956, tens of thousands of still photographs were taken, reviewed, printed, and circulated to promote Cecil B. DeMille's The Ten Commandments (1956). By tracing the conflicts that emerged over their management, this study centers the photographs and their distribution within an ecosystem of public relations, print media, and film production. While studio photographers produced the bulk of the photographs, their role was overshadowed by celebrity photographers, including Yousuf Karsh and Yul Brynner. Changes in the visual media landscape and Hollywood's photographic infrastructure threatened both the still photographers and the ability of studio publicists to shape the narrative. 2351a5e196