Memnet revealing to Nefretiri, the Hebrew cloth that Moses wore when an infant. Memnet responded, 'I hear them, Nefretiri'. When the throne princess Nefretiri was searching through her balcony to see Moses approaching the city gates, she asked Memnet if she could hear the shouts of the Thebans which, she claimed, were drowned by the beating of her heart. During the reign of Sethi I, he conquered Ethiopia and brought back its monarch to Thebes. When Moses grew up, he indeed became a successful and accomplished Prince of Egypt. Bithiah then named the boy ' Moses' because she drew him from the water, and predicted his future success as a prince of Egypt.ДЄfterwards, Memnet was led by the child's real sister Miriam to Yochabel, so that Moses could be suckled by his true mother. She forced Memnet into making an oath that forbade her to reveal the baby's real parentage, and threatened her that she will die if she ever breaks it. Bithiah overlooked the matter and decided to adopt the child, against Memnet's wishes. Upon opening the basket and seeing the child's patterned-cloth, Memnet warned Bithiah that the child was a Hebrew and therefore had been set afloat on the water to save its life from her father's edict. The child was later found among the bulrushes by Bithiah, the widowed daughter of Rameses I, who was bathing in the Nile with her maidens and was escorted by Memnet. Her mother and grandmother were branded into the Pharaoh's service, and later she too became a servant to the royal family under the reigns of Rameses I and his son Sethi I.Дuring the time when Rameses I issued the edict to kill all the Hebrew man-children, Yochabel, a Hebrew slavewoman, set her child adrift on a basket into the Nile River to save him from such edict. Her birthplace is unknown, but she was probably born in the city of Thebes. It will be more 'realistic' to be sure, but far less 'authentic' - like a perfume ad, physically attractive, but without a 'heart'.Memnet was born around the 59th year before Moses' birth. expect, as well, that it will be punctuated with the obligatory mandates of political correctness an uncertainty about its message and a healthy dose of Twenty-First Century cynicism. Expect that it will be visually impressive and less 'stagy'. something which cannot be said of many similar big-budget pictures of the same era. After fifty years, 'The Ten Commandments' is still impressive visually, dramatically, and especially in terms of the intensity of its convictions (reflected in all the biographies of the principals). Hence, the overwhelming popularity of every DeMille production released during that period. There was in the 50's and the 40's a more amicable attitude toward 'orthodoxy' - in all its forms. more a reverence for time-honored principles than the analytical, ironic, and questioning approach dominant in the films of today. His idea was to reinforce values he'd learned from his parents and his brother (a noted playwright) in a dramatic format which could be 'felt' by young and old, alike. DeMille gave his audience what they expected from an 'A' picture. He painstakingly produced authentic looking packages in which to wrap his vision - embellished by the 'glitz' of what was, then, the 'ideal' Hollywood portrait: Bluer than blue skies shimmering, jewel-encrusted costumes out-sized architecture dramatically convenient thunderbolts and perfectly lovely female leads, with make-up invariably and predictably un-smudged. DeMille's vision was, always, of 'an ideal'. Today, it's students 'shooting-up' in parking lots or shooting down their classmates in the halls. The biggest problem in schools was students chewing gum in class. there were virtues too, many reflected in the writing and performances of 'The Ten Commandments': Virtues like courage, strength of character, personal honor, and endurance were paramount (no pun intended). Polio, the continuing menace of poverty, the material and spiritual separateness of what we called 'colored people', Communism, etc. There were problems in the mid-fifties, as in every decade since the real Moses came down from Mount Sinai. For many, I'm sure, the nostalgia extends beyond the film itself. There is a sense of nostalgia that accompanies any new viewing of this one-of-a-kind Victorian pageant.

For those of us who saw 'The Ten Commandments' on the big screen and in one of the now extinct gilded movie palaces of yesteryear, the picture holds special memories.

For some, those of us in their 50's or older, it represents the end of an era: Some call it 'The Golden Age of Hollywood' the beginning of the end of the studio system and the end of a period in which the real founders of the 'public art' took, or began to take, their final bows - DeMille, Zukor, Goldwyn, Selznick, and others. 'The Ten Commandments' is a milestone film.

The ten commandments movie wiki