2019 Blind Spot Series: All About Eve

Based on the short story The Wisdom of Eve by Mary Orr, All About Eve is the story of an aging Broadway actress who takes in a fan only to become part of the woman’s life and her circle of friends. Written for the screen and directed by Joseph L. Mankiewicz, the film is a study of ambition and fame where a young woman takes the place of her idol in every way only to create chaos around her. Starring Bette Davis, Anne Baxter, George Sanders, Celeste Holm, Gary Merrill, Hugh Marlowe, Thelma Ritter, Gregory Ratoff, Marilyn Monroe, Barbara Bates, and Walter Hampden. All About Eve is a ravishing yet riveting film from Joseph L. Mankiewicz.

The film revolves around a young woman who is a fan of this revered Broadway actress as she would become her assistant and later her understudy who would later become a successful actress and usurp her idol. It’s a film that is a study of ambition and what a young woman would do to become successful where she becomes close to the woman she idolizes and then create chaos in that woman’s life. Joseph L. Mankiewicz’s screenplay explores the idea of ambition as it relates to the titular character of Eve Harrington (Anne Baxter) and how she would become part of the life of the aging theatre actress Margo Channing (Bette Davis). Yet the story begins in an award ceremony for Harrington with Margo, her best friend Karen Richards (Celeste Holm), Richards’ husband/playwright Lloyd Richards (Hugh Marlowe), Margo’s lover/director Bill Sampson (Gary Merrill), and famed theatre critic Addison DeWitt (George Sanders).

Much of the film’s narrative is told from the perspective of Karen and Addison as they look back on the time they met Eve to her unexpected rise culminating with this award ceremony. Though Eve starts off as this innocent fan that Karen had seen almost every night during a theatre performance from Channing. It is through her first meeting with Channing that would play into this idea of who Eve is as she claims to have lost her husband in World War II and is from a poor background. Margo takes Eve as a second assistant which doesn’t sit well with her personal assistant Birdie (Thelma Ritter) who is suspicious about Eve as well as disliking her. Margo would also become annoyed by Eve’s presence as she asked producer Max Fabian (Gregory Ratoff) to hire her as his secretary only to end up being Eve’s understudy as a party at Margo’s home has Margo being overwhelmed with everyone else being entranced by Eve except for Birdie while Karen starts to feel bad for Eve.

The script’s narrative isn’t just this study of ambition as well as having elements of character study in Eve and Margo but also feature some dialogue that is fierce and biting. Even as it would play into the second act where Karen begins to realize the things that Eve is doing to Margo during a confrontation as there’s some language that is intense for its time along with connotations that is far more suggestive. It would play into a lot of the troubles and paranoia that Margo would endure upon Eve usurping her where Margo would choose to focus on something else. The film’s third act is about Eve and her rise but also the suspicions about who she is where DeWitt is someone that knows everything and has done a lot to play into Eve’s rise to stardom. Yet, the narrative would return to the film’s opening scene at the award ceremony with a more disturbing aftermath.

Mankiewicz’s direction is largely simple in terms of the compositions he creates where even though there aren’t a lot of wide shots for many of the film’s locations that is shot largely in various theatres and studios in San Francisco, New York City, Los Angeles, and New Haven, Connecticut. Mankiewicz does maintain that intimacy and theatricality into the performances and the usage of space inside the rooms. Even in how the atmosphere of the dressing room is whenever Margo just finished a performance as she is with Birdie, Karen, and Lloyd discussing the night’s performance where Mankiewicz presents all of them in a medium shot where even though Birdie is in the background at a bathroom. Mankiewicz does still put in the frame to play into her importance just as everyone else is talking to Eve. There are camera movements that would happen in the party although there are some close-ups that play into Margo’s own melancholia and growing jealousy towards Eve as she would be confused by Margo’s behavior in a conversation with other party goers.

Mankiewicz would also play into this drama that relates to a woman being aware that she is on her way out as she’s reaching her 40s and know she can’t stay young. Yet, she would eventually accept her fate despite feeling usurped and upstaged by Eve as the look of disdain she gives at the award ceremony in the film’s opening scene says a lot without doing much. The film’s third act that play into what DeWitt has discovered about Eve and what she is trying to do as it would lead to the image that DeWitt and Karen are narrating throughout the film where Eve is to receive this prestigious award. Yet, it would be followed by an aftermath about the realities of stardom where it is clear that it doesn’t last yet it’s about what one will do to survive and share the spotlight with someone else. Overall, Mankiewicz creates an evocative and majestic film about an aging actress dealing with a young fan who would become her understudy and later her rival.

Cinematographer Milton R. Krasner does brilliant work with the film’s black-and-white photography as it is largely straightforward for many of the interiors with its lighting as well as how the stage is lit for performances. Editor Barbara McLean does excellent work with the editing with its usage of freeze-frame to start the main narrative as well as some rhythmic cuts and a few transitional dissolves to structure the film. Art directors George W. Davis and Lyle R. Wheeler, with set decorators Thomas Little and Walter M. Scott, do amazing work with the look of the home that Margo lives in as well as the stage sets and some of the places the characters go to. Costume designers Edith Head and Charles LeMaire do incredible work with the clothes that the characters wearing including the gowns that Margo wears that is designed specifically by Head. The sound work of Thomas T. Moulton is terrific for its straightforward approach to sound including the restaurant sequence and scene set on the stage. The film’s music by Alfred Newman is superb for its soaring and bombastic orchestral score that play into the drama as well as moments that are melodramatic.

The film’s wonderful cast include some notable small roles from Barbara Bates as a fan of Eve in Phoebe, Walter Hampden as the award presenter, Gregory Ratoff as the somewhat gullible producer Max Fabian, and Marilyn Monroe as an aspiring actress named Miss Casswell. Thelma Ritter is superb as Birdie as Margo’s longtime assistant who is often honest about what needed to be said as she is one of the few early in the film that is suspicious about Eve as she is aware that her role in Margo’s life is about to be reduced.

Hugh Marlowe is terrific as Karen’s playwright husband Lloyd as a man who is trying to create great stories for Margo only to find himself attracted towards Eve much to the dismay of Karen as he becomes confused in his loyalty for Margo and his attraction for Eve. Gary Merrill is fantastic as Bill Sampson as a theatre director who is also being courted by Hollywood to make films as he is fascinated by Eve only to realize what Eve wants where he begins to think more about Margo whom he’s been in a relationship with. George Sanders is excellent as Addison DeWitt as a theatre critic who is someone that is close with Margo as he is interested in Eve only to do an interview that would further damage Eve and Margo’s relationship where it’s a low-key yet chilling performance of someone who has a lot of power to make or break someone.

Celeste Holm is brilliant as Lloyd’s wife Karen as Margo’s best friend who would introduce Eve to Margo where she is someone that meant well but notices the tension between the two where she later gets to know more about Eve that would eventually make her uneasy. Anne Baxter is amazing as Eve Harrington as a young woman who is a fan of Margo as she would become her assistant and later her understudy where she is someone that starts off as this innocent figure that is willing to learn yet there’s something about her that is far more intriguing and dark as it has the elements of someone being a total bitch. Finally, there’s Bette Davis in an incredible performance as Margo Channing as an aging theatre actress that is the embodiment of a star as she is a woman that is aware of getting older while dealing with Eve’s presence that would eventually annoy her as well as being someone that is accepting of her fate as she knows that she has a lot more to offer as it’s one of Davis’ finest performances.

All About Eve is a phenomenal film from Joseph L. Mankiewicz. Featuring a great cast led by Bette Davis and Anne Baxter, a compelling yet biting screenplay, amazing art direction, sumptuous music, and its study of ambition and stardom. It’s a film that is entertaining but also filled with characters who are fascinating but also flawed with some willing to accept their faults and others who aren’t aware of what is ahead for them. In the end, All About Eve is a spectacular film from Joseph L. Mankiewicz.

Joseph L. Mankiewicz Films: (Dragonwyck) - (Somewhere in the Night) - (The Late George Apley) - (The Ghost and Mrs. Muir) - (Escape (1948 film)) - (A Letter to Three Wives) - (House of Strangers) - (No Way Out (1950)) - (People Will Talk) - (5 Fingers) – Julius Caesar (1953 film) - (The Barefoot Contessa) - (Guys and Dolls) - (The Quiet American (1958)) - (Cleopatra (1963 film)) - (Carol for Another Christmas) - (The Honey Pot) - (There Was a Crooked Man…) - (Sleuth (1972 film))

© thevoid99 2019

I Confess

Based on the play Nos deux consciences (Our Two Consciences) by Paul Anthelme, I Confess is the story of a priest who becomes a murder suspect as he tries to find help with the church as he deals with possibly violating its rules. Directed by Alfred Hitchcock and screenplay by George Tabori and William Archibald, the film explores a man of faith dealing with a murder he didn’t commit as he finds himself in danger. Starring Montgomery Clift, Anne Baxter, Brian Aherne, O.E. Hasse, and Karl Malden. I Confess is a riveting and engaging film from Alfred Hitchcock.

Following the death of a lawyer where a German gardener confesses the murder to a young priest, the priest finds himself being a murder suspects as he ponders into telling the truth or not break his vows and protect his friend. It’s a film that is largely about internal conflict for this young priest in Father Logan (Montgomery Clift) as he has his vows that he needs to keep but the idea of going to prison for a crime he didn’t commit would overwhelm him as well as telling the truth so he can clear his name.

The film’s screenplay starts off with the investigation of the murder but also questions into what Father Logan was doing on the night of the murder. Especially as it relates to the wife of Quebec legislature member who had a past with Father Logan as she knows he is innocent while admitting to having issues with the lawyer who is killed. It would play into many suspicions that occur as the investigator Larrue (Karl Malden) feels that something isn’t right as he wants Father Logan to reveal the truth where Logan’s own conflicts come into play in its third act. Even as there are those that want to go after Logan to set an example as the people who know the truth are forced to watch in horror in the film’s climatic trial.

Alfred Hitchcock’s direction does have some aspects of style from its opening sequence as well as his approach to mood in some of the film’s dramatic and suspenseful moments. Even as he maintains a sense of intimacy in his compositions from close-ups and medium shots as well as a few wide shots for some of the film’s exterior settings set partially in Quebec City with some interior locations shot in Hollywood. Some of these involve some unique camera angles such as the flashback where Ruth Grandfort (Anne Baxter) talks about her past with Father Logan before World War II that takes much of the film’s second act. Hitchcock’s approach to suspense definitely plays into Father Logan’s internal conflict such as a sequence where he is walking around the city as he is being followed as he has no idea where to go. It’s among one of the finest moments in the film as it would lead to the climatic trial where it would play into revelations about what really happened. Overall, Hitchcock creates a very gripping yet engrossing film about a priest who knows the truth but is unable to reveal it due to his vows.

Cinematographer Robert Burks does excellent work with the film‘s black-and-white photography where it‘s quite straightforward in its daytime scenes while some of its shading and lighting schemes help set the film‘s dark mood for the scenes set at night. Editor Rudi Fehr does brilliant work with the editing with its use of dissolves as well as creating some rhythmic cuts to play into the drama and suspense. Art directors Ted Haworth and John Beckman, with set decorator George James Hopkins, do superb work with the set pieces from some of the interiors in the places near the church to the home that Ruth lives in. The sound work of Oliver S. Garretson is terrific for its sound editing as well as creating a tense mood in the trial scene. The film’s music by Dimitri Tiomkin is fantastic for its somber yet flourishing orchestral score that plays into the drama along with more eerie pieces for its suspenseful moments.

The film’s amazing cast features some notable small roles Charles Andres as the church head Father Millars, Dolly Haas as the church housekeeper Alma, Roger Dann as Ruth’s very rich and powerful husband Pierre, and Brian Aherne in a terrific performance as the Crown Prosecutor Robertson who believes that Father Logan is guilty. O.E. Hasse is wonderful as the German immigrant Otto who is the church’s caretaker/gardener that did the murder as he deals with the sacrifice Father Logan is doing.

Karl Malden is fantastic as Inspector Larrue who leads the investigation as he realize the case isn’t as simple as it is as he believes that Father Logan knows something and is actually innocent. Anne Baxter is excellent as Ruth Grandfort as a former lover of Father Logan who tries to help him as she is forced to reveal her past life with Father Logan. Finally, there’s Montgomery Clift in a superb performance as Father Logan as this young priest who is accused of murder as Clift brings a lot of restrained anguish into his role as it’s one of Clift’s finest performances.

I Confess is an excellent film from Alfred Hitchcock. Armed with a great cast and a thrilling premise, the film is an example of Hitchcock’s mastery in the art of mystery and suspense. It’s also a film that has him explore the idea of faith and some of the drawbacks in a man’s devotion to his faith. In the end, I Confess is a superbly chilling film from Alfred Hitchcock.

Alfred Hitchcock Films: (Number 13) - (The Pleasure Garden) - (The Blackguard) - (The Mountain Eagle) - (The Lodger) - (A Story of the London Fog) - (The Ring) - (Downhill) - (The Farmer’s Wife) - (Easy Virtue) - (Champagne) - (The Manxman) - (Blackmail) - (Juno and the Paycock) - (Murder!) - (The Skin Game) - (Mary) - (Lord Camber’s Ladies) - (Rich and Strange) - (Number Seventeen) - (Waltzes from Vienna) - (The Man Who Knew Too Much (1934 film)) - The 39 Steps - (Secret Agent) - (Sabotage) - (Young and Innocent) - The Lady Vanishes - (Jamaica Inn) - Rebecca - (Foreign Correspondent) - (Mr. & Mrs. Smith) - Suspicion - (Saboteur) - (Shadow of a Doubt) - Bon Voyage - Lifeboat - (Spellbound) - Notorious - (The Paradine Cage) - Rope - (Under Capricorn) - (Stage Fright) - Strangers on a Train - Dial M for Murder - Rear Window - To Catch a Thief - (The Trouble with Harry) - The Man Who Knew Too Much (1956 film) - (The Wrong Man) - Vertigo - North by Northwest - Psycho - The Birds - Marnie - (Torn Curtain) - (Topaz) - (Frenzy) - (Family Plot)

© thevoid99 2014

The Magnificent Ambersons

Based on the novel by Booth Tarkington, The Magnificent Ambersons is the story about a family who face declining fortunes due to changing times as they also deal with social issues that are happening. Written for the screen, directed, and narrated by Orson Welles. The film explores the dynamics of a family who struggles with new changes as they try to maintain their way of life. Starring Joseph Cotten, Agnes Moorehead, Anne Baxter, Tim Holt, Dolores Costello, and Ray Collins. The Magnificent Ambersons is a captivating drama from Orson Welles.

The film is essentially the story about a family from the early 20th Century who were the darlings of a small town in Indiana only to be affected by changing times when the arrival of the automobile arrive as the fortunes of this unique family start to dwindle. Notably as it revolves around this young man in George Amberson Minafer (Tim Holt) who returns from college to find out that an old family friend in Eugene Morgan (Joseph Cotten) has also returned after a 20-year absence to present the Ambersons his new invention in the automobile. While George would have feelings for Eugene’s daughter Lucy (Anne Baxter), he learns that Eugene and his mother Isabel (Dolores Costello) have had feelings for each other that upsets George and his aunt Fanny (Agnes Moorehead). When George does whatever to stop this from happening yet it would lead to the downfall of the family whose fortunes and reputation were already dwindling.

Orson Welles’ screenplay explores the dynamics of the family as he narrates the film every now and then to give a few moments of exposition to establish who these people are. Notably George Amberson Minafer who arrives as a very spoiled son who the locals hope would get his comeuppance. When George becomes a young adult, he is still a young man with a lot of pride who is instilled about what the Amberson family should be. Yet, he would tease his aunt Fanny while often hanging around with his uncle Jack (Ray Collins) while still being devoted to his family. The arrival of Eugene Morgan would only complicate mattes as George thinks Eugene Morgan is ruining things with this new invention. Yet, the invention would become a major success as it would contribute to changing times.

Though Morgan’s intentions are noble as he wants the Ambersons to be part of his success, George and Fanny each are unsure that Morgan is doing the right thing. Notably as George learns through Jack and Fanny about his mother’s relationship with Eugene and that they were still in love with each other when Isabel married George’s father (Donal Dillaway). Now that George’s father is gone, Isabel and Eugene can renew their love affair yet it hurts George very much as he’s also infatuated with Eugene’s daughter Lucy. It would be his pride for himself and his family that would cause the downfall as he tries to shun Eugene away from his mother only for things to go wrong that led to their downfall.

Welles’ direction is definitely stylish in the way he presents small town Indiana in the 20th Century where the center of this small town is this estate that represents the Ambersons. Through his narration, Welles establishes what kind of family the Ambersons are where even though they are revered by the locals. There is also a bit of discontent in the way young George would have this belief that he owns the town. By the time he returns from college, he’s still that kid of sorts who feels like he is the man of the town as he and his mother are the hosts of this annual lavish party they would have. It’s in this party where Welles would set the stage for everything that would mark the beginning of the end for the Ambersons.

While a lot of the shots are quite straightforward, the mood that Welles puts into the shots add to the dramatic stakes. Notably in some of the exteriors where it features some tracking shots where Welles would follow the camera around the characters as they’re walking in this small town. Still, the direction does have its sense of style in the way Welles would position the actors in some key dramatic moments that occur. Notably in the third act where the downfall of the family finally comes into play through as Welles maintains that air of style that occurs. Yet, it would be followed by an ending that isn’t what Welles had intended as it would be helmed by his assistant director Fred Fleck and editor Robert Wise. Even though the final results are just an idea of a much bigger story Welles wanted to create, the final film version is still an engaging piece about drama and pride.

Cinematographer Stanley Cortez does excellent work with the film‘s black-and-white photography to create moods for some of the film‘s interior scenes while the exteriors are more straightforward. Editor Robert Wise does wonderful work with the editing by taking on some straightforward cuts as well as stylized uses of dissolves and wipes. Production designer Albert S. D’Agostino and set decorator Darrell Silvera do amazing work with the sets from the looks of the car and towns to the lavishness that is the Amberson estate.

Costume designer Edward Stevenson does fantastic work with the costumes that the women wear to create their personalities from the lavishness of Isabel, the more prim look of Fanny, and the more youthful style of Lucy. Sound recorders Bailey Fesler and James G. Stewart do terrific work with the sound to capture the atmosphere of the film‘s party scenes as well as the tense moments in the film such as George‘s dismissal about Eugene‘s idea about the automobile. The film’s music by Bernard Herrmann is superb for its soaring orchestral score to play up some of the melodrama that happens in the film.

The film’s cast is quite stellar for the ensemble that is created as it features notable small roles from Bobby Cooper as the young George, J. Louis Johnson as the Ambersons’ butler Sam, Richard Bennett as the Amberson patriarch Major Amberson, Erskine Sanford as a law clerk who tries to help George in the third act, and Donald Dillaway as George’s ailing father Wilbur. Ray Collins is superb as George’s uncle Jack who tries to figure out what is best for the family while dealing with the chaos that is happening around them. Agnes Moorehead is great as George’s melodramatic aunt Fanny who pines for Eugene Morgan as she tries to help George sway Eugene from Isabel. Anne Baxter is wonderful as Eugene’s daughter Lucy who has feelings for George as she tries to deal with his immaturity. Dolores Costello is radiant as Isabel who deals with the loss of her husband as well as Eugene’s presence in the hopes to find someone to be with only for things to get complicated.

Joseph Cotten is great as Eugene Morgan as a man who wants to show the world his invention as he intrigues the Ambersons while gaining the ire of George over Isabel. Finally, there’s Tim Holt in a marvelous performance as George Amberson Minafer as a young man who is threatened by Morgan’s new rules and ideas as he tries to hold on to his old ways only to succumb to his own selfish pride and immaturity.

The Magnificent Ambersons is an incredible film from Orson Welles. Featuring an outstanding ensemble cast that includes Joseph Cotten, Tim Holt, Agnes Moorehead, Anne Baxter, Dolores Costello, and Ray Collins. It’s a film that explores the world of changing times and people trying to hold on to the old ways. Notably as it also reveals the sense of fear just as the world is about to change in the eyes of a young man. In the end, The Magnificent Ambersons is a remarkable film from Orson Welles.

Orson Welles Films: Citizen Kane - The Stranger (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin - Touch of Evil - The Trial (1962 film) - Chimes at Midnight - The Immortal Story - F for Fake - Filming Othello – The Other Side of the Wind

Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2

© thevoid99 2013

The Ten Commandments (1956 film)

Based on the books Pillar of Fire by Joseph Holt Ingraham, On Eagle’s Wings by A.E. Southon, and Prince of Egypt by Dorothy Clarke Wilson, The Ten Commandments is the story of how the Hebrew-born Moses who is raised by Egyptian royals as he would become the leader of the Hebrews as he leads them to the Promised Land. Directed and narrated by Cecil B. DeMille and screenplay by Aeneas MacKenzie, Jesse J. Lasky Jr., Jack Garris, and Fredric M. Frank. The film is a dramatic take on the story of Moses as he would become the leader of the Hebrews and defy the Pharaoh. Playing Moses is Charlton Heston in one of his most iconic performances. With an all-star cast that includes Yul Brenner, Anne Baxter, Edward G. Robinson, Yvonne de Carlo, Debra Paget, and John Derek. The Ten Commandments is a sprawling yet engrossing epic from Cecil B. DeMille.

After the Pharaoh Seti I (Sir Cedric Hardwicke) orders the death of first-born Hebrew boys based on a prophecy, a woman named Yoshebel (Martha Scott) takes a baby to the Nile as her young daughter Miriam watches to see as the baby named Moses is given to the arms of Pharaoh’s sister Bithiah (Nina Foch) who will raise the child. Many years later, Moses becomes the Pharaoh’s pride and joy after leading a victory against Ethiopia and later build a city with the princess Nefretiri (Anne Baxter) in awe of Moses though Pharoah’s son Rameses (Yul Brenner) is filled with jealousy towards Moses as he seeks to find the Hebrew who would lead the slaves to rebel. Still, Moses is content with his life until Nefretiri learns from the maid Memnet (Judith Anderson) the truth about who Moses is as he asks Bithiah if it’s true. Notably as he would follow her to the home of Yoshebel as he recognized as the woman whose life he had just saved.

After learning about his true roots, Moses decides to become a slave to see how they live where he learns about their struggle. After master builder Baka (Vincent Price) takes the beautiful slave girl Liliah (Debra Paget) for his own where her lover Joshua (John Derek) tries to reclaim her. Moses come to their aid where the corrupt Hebrew overseer Dathan (Edward G. Robinson) learns the truth about Moses. After telling the news to Rameses who would reward Dathan, Moses is captured as he’s brought forth by Seti who is heartbroken over what Moses is as he denies him. Rameses has Moses be banished to the desert as Moses eventually finds shelter in a Bedouin sheik named Jethro (Eduard Franz) whose daughter Sephora (Yvonne de Carlo) becomes Moses’ new love. After a life of herding sheep and gaining a son in Gershom (Tommy Duran), Moses still seeks answers about his life when Joshua appears prompting Moses to climb Mount Sinai where he returns with a new role.

Deciding to return to Egypt with his family and Joshua, he learns that Rameses is the new Pharaoh as he asks Rameses to release the Hebrews. Rameses refuses as a series of plagues occur while Nefretiri tries to renew their relationship but Moses spurns her. Even as she would later plead to his wife to flee Egypt to save her child only to learn that next plague will kill all Egyptian first-born men and boys. Rameses gives in as all of the Hebrews leave including Dathan while Bithiah also joins Moses on their way to the promised land. Yet, the grief-stricken Nefretiri would tell Rameses to attack the Hebrews as they reach towards the Red Sea where Moses would make a miracle that will lead to him gaining God’s laws about the way to live.

The film is essentially the tale of Moses of how he was this prince of Egypt who was adored by many including the Hebrew slaves. Then once his true background is revealed, he is shunned only to return to live up to the prophecy that his adopted uncle feared only to deal with the man he once called brother. All of it told in a grand storyline that lives up to the epic films of the 20th Century as Cecil B. DeMille and his screenwriters explore the life of Moses. Particularly in the key moments of his life such as the Exodus to the Promise Land, telling Rameses to let his people go, and the presentation of the Ten Commandments. Still, it also explores Moses as a man unsure of the role he played as well as the fact that he is a Hebrew raised as a prince with two different mothers.

Cecil B. DeMille’s direction is truly a marvel to watch from the way he creates a film that is ambitious in its set pieces while utilizing wide depth-of-field shots to capture the large crowd shots for the film. Shooting on location in parts of Egypt along with studio shots set in Los Angeles for some of the film’s interior set pieces. DeMille is able to create scenes where he utilizes the wide shots that often accompanied by sweeping crane shots that move back to see how big the crowds are. There’s also shots that is quite intimate to display the drama that occurs between a few characters to express the situation that occurs in the film. Particularly as DeMille wants to maintain the situation that occurs which includes the haunting Angel of Death scene as Moses and his family watches a mist appear.

For some scenes that requires visual effects including background scenes due to inability of what DeMille wasn’t able to do. Using superimposed shots for the background as well as a few visual effects moments. The look of it is quite primitive since it was made of the 1950s. Notably the visual effects moments that involve the parting of the Red Sea or some of the visual tricks that Moses try to display to deal with Rameses. Still, there is something quite engaging to the way it looks as it’s meant to look otherworldly. Overall, DeMille creates a film that is all about spectacle to tell this amazing story about Moses and the Hebrews in their search for the Promised Land.

Cinematographer Loyal Griggs does brilliant work with the film‘s lush, Technicolor look of the film to capture the vibrant colors of some of the film‘s interior settings including Nile River along with some wonderful exterior shots for some of the film‘s landscape scenes. Editor Anne Bauchens does excellent work with the film‘s editing by creating wonderful transitional dissolves as well as utilizing straight rhythmic cuts to play up the film‘s action and dramatic moments to maintain its tight, methodical pacing. Art directors Albert Noziak, Hal Pereira, and Walter H. Tyler, with set decorators Sam Comer and Ray Moyer, do amazing work with the set pieces such as interior palace designs that the Egyptian royals live in to the lavish tents where Moses meets Jethro. Sound recorders Gene Garvin and Harry Lindgren do wonderful work in the sound to capture the crowds as well as the intimate moments in some of the film‘s set pieces.

The film’s score by Elmer Bernstein is magnificent for the soaring yet sweeping score that he provides filled with bombastic string and brass orchestral arrangements. Notably in creating themes that play up to the grandeur of the film while slowing things down to serene pieces to play up some of the drama and romance in the film. It is truly one of Bernstein’s most essential film scores of his glorious career.

The casting by Bert McKay is superb for the ensemble that is created as it would feature appearances from Woody Strode as the Ethiopian king, Fraser Heston as the baby Moses, John Miljan as the blind man in the Exodus to the Promised Land sequence, Julia Faye as Aaron’s wife Elisheba, Eduard Franz as Sephora’s father Jethro, Tommy Duran as Moses’ son Gershom, Eugene Mazzola as Rameses’ son, Oliver Deering as Moses’ sister Miriam, Babette Bain as the young Miriam, Judith Anderson as Bithiah’s maid Memnet, John Carradine as Moses’ brother Aaron, Vincent Price as the brutish master builder Baka, and Martha Scott as Moses’ real mother Yoshebel. Other notable supporting roles include Nina Foch as Moses’ foster mother Bithiah and Sir Cedric Hardwicke as Pharaoh Seti I who adores Moses only to be heartbroken over Moses’ true persona.

Debra Paget is pretty good as the beautiful slave girl Liliah who deals with her role as being a slave for Dathan while maintaining her love for Joshua. John Derek is excellent as the courageous slave Joshua who impresses Moses for his determination as he would become Moses’ right-hand man in aiding the Exodus to the Promised Land. Yvonne De Carlo is wonderful as Moses’ wife Sephora who teaches him how to herd sheep while aiding him in his new role as God’s messenger. Anne Baxter is great in the role of Nefretiri who loves Moses only to feel spurned where Baxter gets to chew up the scenery when she goads Rameses to seek vengeance. Edward G. Robinson is brilliant as the corrupt Dathan who tries to weasel his way into anything situation and defy Moses in any way he can.

Yul Brenner is terrific as Rameses for the way he maintains an intimidating presence while displaying a sense of jealousy towards Moses for taking away what should’ve been total love from his father. Finally, there’s Charlton Heston in what is definitely the performance that will be the performance of his career as Moses. It’s a role where Heston really gets to play a man that is lost about his destiny and true persona while later become this commanding presence as he asks Rameses to let his people go.

The Ten Commandments is an extraordinary epic from Cecil B. DeMille that features a towering performance from Charlton Heston. Along with an amazing ensemble that includes Yul Brenner, Anne Baxter, Yvonne De Carlo, and Edward G. Robinson and fantastic technical work. The film is truly a textbook of how epics are supposed to be made for its ambition and storytelling. Particularly for a story as universal that provides many discussions about faith and power. In the end, Cecil B. DeMille’s 1956 version of The Ten Commandments is a marvel of a film that is accessible and engaging.

© thevoid99 2012