The biggest problem he wrote in retrospect, Cecil B. DeMille, who had to know it because he has filmed “Ten Commandments” is equal to two times the, as a silent film in 1923 and in 1956 with Charlton Heston as Moses, his biggest single problem was the voice of God. It’s as if it was the other hand, a breeze to build one way or another city and destroy, to drive 8000 extras through the desert, the Red Sea divide and him then Moses on Mount Sinai, the tablets of the Ten Commandments hand over to leave. And all this at a time when computer generated images do not even exist in the minds of fantasy talented science fiction authors.
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Ridley Scott, now under the title” Exodus: Gods and Kings “for an estimated hundred and fifty million dollar that extract staged from Egypt, this problem seems to have done rather casually. With him, although also burns the bush, but instead of a voice of thunder, which at that time, in 1956, allegedly the acoustically distorted voice of Charlton Heston said to have been, speaks at Scott a ten year old in pitch, in the just-year-olds speak far in front of the voice change, even if they rarely ask to return to Egypt to free the Israelites in everyday life. And instead then send the text of the Ten Commandments by lightning on the tables of stone, dictated this Still Alive Moses, who must carve the words cumbersome and awkward in stone.
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Ridley Scott has other problems, and it is not sure whether he was aware of them all in the face of the film. First of all he had to endure the foreseeable criticism, to have committed exclusively to white actors for the lead roles, for Moses, Ramses and a few others, although it can be assumed that the inhabitants of Egypt and their Israeli slaves in the years 1500 BC differently have looked like.
Scott responded to the allegations rather brusque and humorless
Or rather would have looked, for neither is the man Moses is beyond the biblical story as a historical figure, yet there is archaeological evidence that an enslavement and escape of the Israelites indicated. The 77-year-old Scott responded to the allegations rather brusque and humorless, by declaring a film of this magnitude it would hardly get financed if he had said. “My main character is Mohammed so”
Christian Bale, who now to Batman must equal play the next superhero, Scott defended, but then himself purely ridden as he “probably schizophrenic and one of the most barbarous characters, of which I have read in my life,” Moses, called , Really good did not arrive that since the liberation from slavery and the Exodus of the Jewish identity are central and Christians rather have little left for such loose talk. Quite apart from the fact that in the film where Christian Bale’s game, not much is left of his reading impressions.
Much larger than the problems in the medial battle of attrition, however, are those which the film creates its own narrative. There are, since the biblical and mythological Technicolor epics of the fifties and sixties, something like an unspoken imperative to monumentality and waste if you approach such substances.
As if to present a second version of “Gladiator”
At the same time to the theological and moral message that needs to reject the excess so, do not be disavowed. This is a tricky thing, because today, more than half a century after DeMille and all the others for “Samson and Delilah”, “Ben Hur” or “The Greatest Story Ever Told”, nearly forty years after Burt Lancaster also time Moses was, because there is neither the narrative naivety nor the technical limits of representation in the digital age.
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