Behind the Scenes With Charlton Heston and “The Ten Commandments”
Posted on March 16, 2016 at 6:26 pm
The scale of the epic “Ten Commandments” meant a record-breaking budget.
Yul Brynner and Charlton Heston
Cecil B. DeMille on the set of “The Ten Commandments”
Charlton Heston as Moses confers with director Cecil B. DeMille
All images Copyright Paramount 1956
“The Ten Commandments” is coming back to theaters for two days only, March 20 and 23, 2016, in more than 650 cinemas nationwide. Truly, this is a film that must be seen on the big screen to experience the epic scope and grand vision of director Cecil B. DeMille and the towering performance of Charlton Heston as Moses. It was selected by movie fans as the greatest Biblical movie of all time in a survey by MovieTickets.com.
We are honored to be able to present these rare behind-the-scenes photos from the making of the film.
Copyright 2016 FocusWe have a very clear picture of Jesus’s birth, and it is endlessly re-enacted and depicted each year at Christmas time. But we know almost nothing about His childhood, other than his astonishing the elders with his depth of knowledge.
“The Young Messiah,” “inspired by scripture and rooted in history,” shows us His early years. It is a reverential, respectful portrayal of Jesus at age 7, as the Romans were trying to find and kill Him, and as He was just beginning to understand His power and purpose. It is based on the book by Anne Rice.
Jesus is played by sweet-faced Adam Greaves-Neal. We first see Him listening to a young girl who is teaching him to draw a camel. When a bully gives her a hard time, Jesus steps in to defend her and the bully starts attacking Him. A mysterious hooded figure tosses an apple core to trip up the bully, who falls, hits his head on a rock, and dies. No one else could see the man in the hood, and Jesus is blamed for the boy’s death.
The young Messiah insists on visiting the body, and it is there He performs His first miracle, bringing the boy back to life. This is an extraordinary moment because no one, even Jesus himself, knew such a thing was possible or that He was capable of it. And yet Jesus is so young, and his compassion so deep, that it seems completely natural for him. It confirms the greatest hopes but also the greatest fears of Mary and Joseph as it makes him a target for the Romans. And, like all parents, they have to find a way to protect their child and to answer His questions, though both are difficult and both at the same time seem impossible. “How do we explain God to His own son?” Even more difficult, how can they explain to Him a world in which the road is lined with crucified Jews and babies were murdered because the Romans were so afraid of Him? And how should they guide Him in using a power no one really understands? Mary can only say, “Keep your power inside you until your Father in Heaven shows you the time to use it.”
As Jesus and his family travel from Egypt to Jerusalem, Herod sends a soldier named Severus (Sean Bean) to find the boy and kill Him. Severus is not worried about reports that the boy can perform miracles. “There’s only one miracle,” he says, brandishing his sword. “Roman steel.”
Greaves-Neal is not really an actor, but his performance has an appealing dignity and tenderness. “Am I dangerous?” he asks, not “Am I in danger?”
It is especially good to see the young Jesus portrayed as compassionate but also intensely curious about the world. That thirst for knowledge and understanding is as inspiring to those around Him as His miracles.
Parents should know that this film include Biblical violence including crucifixion, bullying, and characters are injured and killed.
Family discussion: What do we learn about Jesus from his reaction to the bully? How did his curiosity about the world and scripture help him understand his purpose?
“Gods of Egypt” has more gods than IQ points. There are some grand and striking visuals and some well-staged fight scenes, but there are also effects that look like they were created for a 64-bit computer game and lines of dialogue that make cheesy sword and sandal epics of the Steve Reeves era look like Noel Coward. It may be pretty to look at, but this is a big budget wheel of cheddar.
The producer and director have both apologized, too little and too late, for making a film based on Egyptian mythology without a single Egyptian actor. The gods are played by Australian Geoffrey Rush (Ra, the sun god and father and grandfather to the other gods), Danish Nikolaj Coster-Waldau (Horus, god of air and libertine turned hero), Scotsman Gerard Butler (Set, angry and ambitious god of the desert), American Chadwick Boseman (Thoth, smug god of wisdom), and French Elodie Yung (Hathor, goddess of love). And then there are a few humans, Australian Brenton Thwaites as an Aladdin-style street thief called Bek, and imperious as always British Rufus Sewell as Urshu, Set’s obsequious architect. Given the results, I imagine the Egyptians are relieved not to be a part of it.
The ponderous opening narration informs us that ancient Egypt is the cradle of civilization and so the gods decided to live there among the humans, though they are much taller and have gold for blood. As the story begins, Horus wakes up bleary following an orgy as he is about to take over as king from his wise and progressive father (Australian Bryan Brown). But his uncle Set arrives, kills the king, and plucks out Horus’ super-special eyes. Horus, humiliated and blind, retreats to his temple to sulk and drink. And Set enslaves the entire population to build structures for his glory and decrees that only the rich will obtain eternal life.
Zaya (Australian Courtney Eaton, very appealing) is the servant of Urshu, and the beloved of Bek. With access to Urshu’s architectural drawings, she shows Bek where Horus’ eyes are hidden. She believes that if Horus’ sight was restored, he would be able to defeat Set. Bek gets through an Indiana Jones-style series of traps to retrieve one eye, delivers it to Horus, and persuades him to fight Set and get back his kingdom.
There is visual splendor on a scale Cecil B. DeMille could only dream of, with sumptuous production design by Ian Gracie and costumes by Liz Keogh. But some of the CGI effects are less persuasive than Ray Harryhausen‘s stop-motion miniatures, and a few of them, like Ra’s flames and a sort of sand-based version of Skype, look like they came from a 64-bit video game. The mis-matched sizing of the gods and humans is more silly than impressive. The dialogue is a mish-mash of pretentious claptrap about the Journey and comments like “death is not the end” and “never doubt a man fighting for the one thing as powerful as any god — love.” Occasionally there are painful attempts at humor, as when Bek tells Horus to run from danger: “Mortals do it all the time!” or when Hathor brags that she is “the goddess of too much.” The mythology of ancient Egypt is fascinating and meaningful. This movie is not. It cannot decide whether it wants to be campy or thrilling, but it really does not matter because it fails at both.
Parents should know that this film includes extended sword and sorcery peril and violence with many characters injured and killed, monsters, disturbing images, sexual references and situations, and brief strong language.
Family discussion: Why did Ra treat his sons differently? Why does he say he wants human destiny to be uncertain?
Rated PG-13 for Biblical violence including some disturbing images
Profanity:
None
Alcohol/ Drugs:
Alcohol
Violence/ Scariness:
Battle, swords, crucifixion, characters injured and killed, some graphic and disturbing images
Diversity Issues:
A theme of the movie
Date Released to Theaters:
February 19, 2016
Date Released to DVD:
May 23, 2016
Amazon.com ASIN:
B01BZ4DOGQ
Copyright 2016 Sony Pictures “Risen” is a sober, reverent story of Clavius (Joseph Fiennes), a Roman soldier ordered to witness the crucifixion of Jesus and prevent his body from being stolen. When the rock placed in front of the tomb and sealed by Clavius is moved and the tomb is empty, Pilate (Peter Firth) is worried that the Jesus’ followers will use this disappearance as proof of His divinity, so he sends Clavius to investigate. His journey will take him to Galilee, and what he sees there will transform everything he thinks he knows.
Fiennes brings Clavius to life with a vivid, thoughtful, sensitive performance, showing us the depth of his loyalty and sense of honor. The way he walks, stands, and rides communicates a lifetime of battles fought and won. He is a man confident in his strength and very aware of the brutality on both sides. At first, he is governed by duty, which we see in the opening battle scenes, in his prompt appearance before Pilate following the battle, not even taking time to clean up, in his acquiescence to taking on a new aide (“Harry Potter’s” Tom Felton, excellent as Lucius) who has not come up through the ranks because his father is Pilate’s friend.
We see that he might have made a different decision about how to respond to the Sanhedrin’s concerns about Jesus, but he follows the orders and makes sure that Jesus is dead and that the tomb is sealed. And we see him speak to his own gods placing a tribute on the shrine to ensure that his prayers are heard.
One of the film’s most powerful sections is an almost “Law & Order” scene with Clavius interrogating witnesses to try to figure out what happened to the body in the tomb. Each encounter tells us something different about Clavius and, indirectly, about the impact that Jesus (called Yeshuah) has had on his followers.
The cinematography by Lorenzo Senatore is beautiful, lending dignity to the story, and Cliff Curtis, a superbly talented performer of Maori heritage who is famously able to play a remarkably wide range of ethnicitys makes a warm, appealing Jesus, kind, compassionate, and a little mysterious. But the focus of the story is wisely on the (fictional) Roman, who is the stand-in for the audience as a witness to the resurrection.
Parents should know that this film includes Biblical-era violence including battle scenes, torture, and crucifixions, with characters injured and killed and disturbing and briefly graphic images.
Family discussion: When did Clavius first begin to believe and why?
If you like this, try: “The Robe,” “Spartacus,” and “Ben-Hur”
Celebrate Lincoln’s Birthday With Great Movies About the 16th President
Posted on February 12, 2016 at 3:20 pm
Happy birthday, Abraham Lincoln!
Celebrate the birthday of our 16th President with some of the classic movies about his life. Reportedly, he has been portrayed more on screen than any other real-life character. I was honored to be invited to participate in the 272-word project from the Abraham Lincoln Library in Springfield, Illinois. Each of us was asked to contribute an essay that was, like the Gettysburg Address, just 272 words. Here’s mine:
Two score and six years after the death of Abraham Lincoln, he was first portrayed in the brand-new medium of film. 102 years and over 300 films later, Lincoln has appeared on screen more than any other historical figure and more than any other character except for Sherlock Holmes. In 2013 alone there were three feature films about Abraham Lincoln, one with an Oscar-winning performance by Daniel Day-Lewis, directed by Steven Spielberg. In another one, he was a vampire slayer. He has been portrayed by Henry Fonda (John Ford’s “Young Mr. Lincoln,” Raymond Massey (“Abe Lincoln in Illinois”), Walter Huston (D.W. Griffith’s “Abraham Lincoln”), and Bing Crosby – in blackface (“Holiday Inn”). The movies have shown us Lincoln defending clients, mourning Ann Rutledge, courting Mary Todd, and serving as President. We have also seen him traveling through time with a couple of California teenagers in “Bill and Ted’s Excellent Adventure” and granting amnesty to Shirley Temple’s Confederate family in “The Littlest Rebel.”
Lincoln is appealingly iconic as a movie character, instantly recognizable as a symbol of America’s most cherished notion of ourselves: unpretentious but aspiring for a better world and able to find both the humor and integrity in troubled times. In every film appearance, even the silliest and most outlandish, he reminds us, as he did in The Gettysburg Address, of what is most essential in the American character: the search for justice.
PS My husband and I waited for two hours outdoors on a frozen January 1 to view the Emancipation Proclamation on its 150th anniversary. When I saw it, I wept. A security guard whispered, “I know how you feel.”
Young Mr. Lincoln Directed by John Ford and starring Henry Fonda, this is an appealing look at Lincoln’s early law practice and his tragic romance with Ann Rutledge. Particularly exciting and moving are the scenes in the courtroom as Lincoln defends two brothers charged with murder. Both have refused to talk about what happened, each thinking he is protecting the other, and Lincoln has to find a way to prove their innocence.
Abe Lincoln in Illinois Raymond Massey in his signature role plays Lincoln from his days as a rail-splitter to his law practice and his debates with Stephen Douglas. Ruth Gordon plays his wife, Mary.
Gore Vidal’s Lincoln Sam Waterston and Mary Tyler Moore star in this miniseries that focuses on Lincoln’s political strategies and personal struggles.
Sandburg’s Lincoln Hal Holbrook plays Lincoln in this miniseries based on the biography by poet Carl Sandberg.
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