“BAND OF ANGELS” (1957) Review

Band-of-Angels-1957-2.jpg

“BAND OF ANGELS” (1957) Review

I have been a fan of period dramas for a long time. A very long time. This is only natural, considering that I am also a history buff. One of the topics that I love to explore is the U.S. Civil War. When you combined that topic in a period drama, naturally I am bound to get excited over that particular movie or television production. 

I have seen a good number of television and movie productions about the United States’ Antebellum period and the Civil War. One of those productions is “BAND OF ANGEL”, an adaptation of Robert Warren Penn’s 1955 novel set during the last year of the Antebellum period and the first two years of the Civil War.

The story begins around 1850. The privileged daughter of a Kentucky plantation owner named Amantha Starr overhears one house slave make insinuations about her background to another slave. Before Amantha (or “Manthy”) could learn more details, she discovers that Mr. Starr had the offending slave sold from the family plantation, Starwood. He also enrolls her in a school for privileged girls in Cinncinati. A decade later in 1860, Amantha’s father dies. When she returns to Starwood, Amantha discovers that Mr. Starr had been in debt. Worse, she discovers that her mother had been one of his slaves, making her a slave of mixed blood. Amantha and many other Starwood slaves are collected by a slave trader and conveyed by steamboat to New Orleans for the city’s slave mart.

Upon her arrival in New Orleans, Amantha comes dangerously close to be purchased by a coarse and lecherous buyer. However, she is rescued by a Northern-born planter and slave owner named Hamish Bond, and becomes part of his household as his personal mistress. She also becomes acquainted with Bond’s other house slaves – his right-hand-man named Rau-Ru, his housekeeper and former mistress Michele and Dollie, who serves as her personal maid. Although Amantha initially resents her role as a slave and Bond’s role as her owner, she eventually falls in love with him and he with her. But the outbreak of the Civil War and a long buried secret of Bond’s threaten their future.

Many critics and film fans have compared “BAND OF ANGELS” to the 1939 Oscar winner, “GONE WITH THE WIND”. Frankly, I never understood the comparison. Aside from the setting – late Antebellum period and the Civil War, along with Clark Gable as the leading man, the two films really have nothing in common. “GONE WITH THE WIND” is a near four-hour epic that romanticized a period in time. Although “BAND OF ANGELS” have its moments of romanticism, its portrayal of the Old South and the Civil War is a bit more complicated . . . ambiguous. Also, I would never compare Scarlett O’Hara with Amantha Starr. Both are daughters of Southern plantation owners. But one is obviously a member of the Southern privileged class, while the other is the illegitimate and mixed race daughter of a planter and his slave mistress. Also, Gable’s character in “BAND OF ANGELS” is a Northern-born sea captain, who became a planter; not a semi-disgraced scion of an old Southern family.

Considering the political ambiguity of “BAND OF ANGELS”, I suppose I should be more impressed with it. Thanks to Warren’s novel, Ivan Goff and Ben Roberts’ screenplay and Raoul Walsh’s direction; the movie attempted to provide audiences with a darker view of American slavery and racism. For instance, Amantha’s journey from Kentucky to Louisiana as a slave proved to be a harrowing one, as she deals with a slave trader with plans to rape her, a traumatic experience at the New Orleans slave mart, Bond’s lustful neighbor Charles de Marigny and her attempts to keep her African-American ancestry a secret from a Northern beau later in the film. The film also touches on Rau-ru’s point of view in regard to slavery and racism. Despite being educated and treated well by Hamish Bond; Rau-ru, quite rightly, is resentful of being stuck in the role of what he views as a cosseted pet. Rau-ru also experiences the ugly racism of planters like de Marigny and slave catchers; and Northerners like some of the Union officers and troops that occupied New Orleans and Southern Louisiana in the movie’s last half hour. I also noticed that the movie did not hesitate to expose the ugliness of the slave trade and the system itself, the racist reveal the fate of a great number of slaves who found themselves being forced by Union forces to continue toiling on the cotton and sugar plantations on behalf of the North.

There are other aspects of the movie that I found admirable. Not all of “BAND OF ANGELS” was shot at the Warner Brothers Studios in Burbank. A good of the movie was shot on location in Louisiana. I have to give credit to cinematographer Lucien Ballard for doing an exceptional job for the film’s sharp and vibrant color, even if the film lacked any real memorable or iconic shot. If I must be honest, I can say the same about Max Steiner’s score. However, I can admit that Steiner’s score blended well with the movie’s narrative. Marjorie Best, who had received Oscar nominations for her work in movies like “ADVENTURES OF DON JUAN”and “GIANT”, served as the movie’s costume designer. I was somewhat impressed by her designs, especially for the male characters, ironically enough. However, I had a problem with her costumes for Yvonne De Carlo. Nearly dress that the Amantha Starr character possessed a low cut neckline that emphasized her cleavage. Even her day dresses. Really?

After reading a few reviews about “BAND OF ANGELS”, I noticed that some movie fans and critics were not that impressed by the film’s performances. I have mixed feelings about them. Clark Gable seemed to be phoning it in most of the film. But there were a few scenes that made it easy to see why he not only became a star, but earned an Oscar well. This was apparent in two scene in which the Hamish Bond character recalled the enthusiasm and excitement of his past as a sea captain and in another, the “more shameful” aspects of his past. At age 34 or 35, I believe Yvonne De Carlo was too old for the role of Amantha Starr, who was barely into her twenties in the story. Some would say that the role could have benefited being portrayed by a biracial actress and not a white one. Perhaps. But despite the age disparity, I still thought De Carlo gave a very strong performance as the passionate and naive Amantha, who suddenly found her life turned upside down. Ironically, I thought her scenes with Sidney Poitier seemed to generate more chemistry than her ones with Gable. Speaking of Poitier . . . I might as well say it. He gave the best performance in the movie. His Rau-ru bridled with a varying degree of emotions when the scene called for it. And the same time, one could easily see that he was well on his way in becoming the Hollywood icon that Gable already was at the time.

There were other performances in “BAND OF ANGELS”, but very few seemed that memorable. The movie featured solid performances from Rex Reason, who portrayed Amantha’s Northern-born object of her earlier infatuation Seth Parson; Efrem Zimbalist Jr., who not only portrayed Amantha’s later suitor Union officer Lieutenant Ethan Sears, but was already on the road as a television star; Carroll Drake, who portrayed Hamish Bond’s introverted and observant housekeeper Michele; Andrea King, who portrayed Amantha’s hypocritical former schoolmistress Miss Idell; William Schallert, who had a brief, but memorable role as a bigoted Union Army officer; and Torin Thatcher, who portrayed Bond’s fellow sea captain and friend Captain Canavan. Many critics had accused Patric Knowles of bad acting. Frankly, I found his performance as Bond’s neighbor and fellow planter Charles de Marigny effectively slimy . . . in a subtle way. Ray Teal was equally effective as the slimy and voracious slave trader Mr. Calloway, who conveyed Amantha to the slave marts of New Orleans. The only performance that hit a sour note from me came from Tommie Moore, who portrayed one of Bond’s house maids, the loud and verbose Dollie. Every time she opened her mouth I could not help but wince at her over-the-top and if I may say so, cliched performance as Dollie. I think I could have endured two hours in the company of Prissy and Aunt Pittypat Hamilton from “GONE WITH THE WIND” than five minutes in Dollie’s company. I guess I could have blamed the actress herself. But a part of me suspect that the real perputrators were screenwriter and Walsh.

I wish that was all I had to say about “BAND OF ANGELS”. I really do. But . . . despite the movie’s portrayal the ugliness of slavery and racism, it ended up undermining its attempt. Quite frankly, I found “BAND OF ANGELS” to be a very patronizing movie – especially in regard to race. And the figure of this patronization is centered around the character of Hamish Bond. Someone once complained that although the movie initially seemed to revolve around Amantha Starr, in the end it was all about Bond. I do not know if I could fully agree with this, but I found it disturbing that the character “growths” of both Amantha and Rau-ru revolved around Bond and their opinion of him.

One aspect of “BAND OF ANGELS” that I found particularly bizarre was Amantha’s opinion of Hamish Bond’s connection to slavery. At first, she simply resented him for being her owner. But she eventually fell in love with him and opened herself to being his mistress. Amantha certainly had no problems with that ridiculous scene that featured Bond’s field slaves lined up near the river side to welcome him back to his plantation with choral singing. Really? This was probably the most patronizing scene in the movie. Yet, when Amantha discovered that his past as a sea captain involved his participation in the Atlantic slave trade, she reacted with horror and left him. Let me see if I understand this correctly. Once she was in love with Bond, she had no problems with being his slave mistress or his role as a slave owner. Yet, she found his participation in the slave trade to be so awful that she . . . left him? Slave owner or slave trader, Hamish Bond exploited the bodies of black men and women. Why was being a slave trader worse than being a slave owner? Not only do I find this attitude hypocritical, I also noticed that it permeated in a good deal of other old Hollywood films set in the Antebellum era. Even more disturbing is that after becoming romantic with an Union officer named Ethan Sears, Amantha has a brief reunion with her former object of desire, Seth Parsons. He reveals knows about her mother’s ancestry and her role as Bond’s mistress, and tries to blackmail her into becoming his. In other words, Seth’s knowledge of her racial background and her history with Bond leads Amantha to run back into the arms of Bond. And quite frankly, this makes no sense to me. Why would Seth’s attempt to blackmail lead Amantha to forgive Bond for his past as a slave trader? The movie never really made this clear.

I found the interactions between Rau-ru and Hamish Bond even more ridiculous and patronizing. Rau-ru is introduced as Bond’s major-domo/private secretary, who also happens to be a slave. Despite receiving education from Bond and a high position within the latter’s household, Rau-ru not only resents Bond, but despises him. And you know what? I can understand why. I noticed that despite all of these advantages given to Rau-ru, Bond refuses to give him his freedom. Worse, Bond treats Rau-ru as a pet. Think I am joking? I still cannot think of the scene in which Bond’s friend, Captain Canavan, visited and demanded that Rau-ru entertain him with a song without any protest from Bond without wincing. This scene was really vomit inducing. What made the situation between Rau-ru and Bond even worse is that the former made an abrupt about face about his former master during the war . . . all because the latter had revealed how he saved Rau-ru’s life during a slave raid in Africa and – get this – some bigoted Union Army officer tried to cheat Rau-ru from a reward for capturing Bond. The former sea captain/planter ended up leaving his estate to Rau-ru in a will. How nice . . . but I suspect he did so after Amantha left him. If not, my mistake. And why did Bond failed to give Rau-ru his freedom before the outbreak of war? Instead, Rau-ru was forced to flee to freedom after saving Amantha from being raped by Charles de Marigny. In Robert Warren’s novel, Rau-ru eventually killed Bond. Pity this did not happen in the movie.

Overall, I see that my feelings for “BAND OF ANGELS” is mixed. There are some aspects of the movie that I found admirable. I might as well admit. The movie especially benefited from Lucien Ballard’s colorful photography, an interesting first act and an excellent performance by Sidney Poitier. Otherwise, I can honestly say that “BAND OF ANGELS” focused too much on the Hamish Bond character and was a bit too patronizing on the subject of race and slavery for me to truly enjoy it.

Advertisements

“BUCCANEER’S GIRL” (1950) Review

11963133_629a_1024x2000

“BUCCANEER’S GIRL” (1950) Review

I have always been a sucker for old films – especially those that are costumed flicks. Between my late teens and late twenties, I had developed a habit of watching old movies on late night television. One of those films was the 1950 comedy swashbuckler, “BUCCANEER’S GIRL”.

Directed by Frederick De Cordova, the movie began with a ship commanded by a pirate named “Frederic Baptiste” attacking and ransacking a trader ship bound for New Orleans during the first decade of the 19th century. One of Baptiste’s victims is a Boston-born young woman named Deborah “Debbie” McCoy who also happens to be a stowaway. Although Baptiste’s first mate had ordered two crewmen to place Debbie in one of the long boats with the passengers, they decide to keep her aboard the pirate’s ship for . . . entertainment. However, Baptiste intercepts them and decides to keep Debbie on board before delivering her to Tortuga.

Although Debbie gets to know Baptiste’s crew, she stows away aboard the pirate’s long boat, when his ship arrives in New Orleans. Not long after her arrival in the Crescent City, Debbie is taken in by one Mademoiselle Brizar, the proprietor of a “School for Genteel Young Ladies”, who also serves as an agent for young women like Debbie with musical talent. After a few months of training, Debbie performs at a local tavern, where she learns that the pirate “Baptiste” is actually a local sea captain and trader named Captain Robert Kingston who has been using his piratical activities to plunder the ships of another wealthy shipping magnate named Alexander Narbonne, who had earlier used the real Baptiste (killed by Kingston) to get rid of his business competition. Debbie also discovers that Captain Kingston is engaged to the Governor’s niece, Mademoiselle Arlene Villon, who is also coveted by Narbonne.

One has to be blind, deaf and dumb not to realize that “BUCCANEER’S GIRL” is basically a B-movie. The plot, written by Samuel R. Golding, Joseph Hoffman, Joe May and Harold Shumate; does not exactly possess any real depth. In fact, I am rather surprised that so many writers had worked on screenplay for this movie. Nevertheless, “BUCCANEER’S GIRL” proved to be a very entertaining movie.

Did the movie have any faults? Well, since it is a B-movie, I would not describe the sets and production values as particularly top notch. And although I found Yvonne Wood’s costume designs very colorful and attractive, I cannot help but wonder if they were accurate depictions of fashion from the first decade of the 19th century.

However, I do have one major complaint about the film. But I do not really consider that to be a fault. I will admit that I found the movie’s ending rather vague and slightly confusing. The majority of the film centered on the conflict between Captain Robert Kingston aka the fake Baptiste and his business/romantic rival, Alexander Narbonne. Both men sought the hand of the Governor’s niece, Arlene Villon. Kingston used the “Captain Baptiste” persona to go after Narbonne’s ships in revenge for the latter using the real Baptiste to destroy shipping rivals. Well, Kingston eventually achieved his goal when he destroyed the last three ships in Narbonne’s fleet during a two-to-three minute montage in the movie’s second half. Unfortunately, the movie’s last act focused on Kingston being arrested for piracy and a scheme to spring him out of jail. And I found this last sequence rather anti-climatic and a little disappointing, if I must be frank.

But despite the film’s ending, I must admit that I enjoyed “BUCCANEER’S GIRL”. Very much. It is a very entertaining film, thanks to a rather clever screenplay. The 1950 film is one of the very few swashbucklers that starred a woman. And get this, the movie’s main protagonist – one Debbie McCoy – is not a pirate or a seaman of any kind. And . . . she is certainly no swordsman. Instead, Debbie McCoy is that rare protagonist in a swashbuckler film, whose possess a talent for singing, witty repartees, stowing aboard ships and clever thinking. Universal Studios was wise to cast Yvonne De Carlo in this role. Not only did the actress gave an excellent and entertaining performance, she also seemed to be up to the task for her musical numbers. I did notice that of the three songs she performed, only one of them were lip synced by a sorprano.

Since the movie’s protagonist turned out to be a singer from Boston, naturally she required a leading man who is more of a swashbuckling type. In another act of clever acting, the screenwriters created Captain Robert Kingston, a respectable sea captain who doubled as the pirate “Baptiste”. Due to her penchant for stowing away, Debbie not only becomes familiar with Kingston and his crew, she also becomes one of the few people who knows about his double act. The filmmakers went out of their way to hire Philip Friend, an actor with a credible screen presence, but one not as strong as the leading lady’s. The odd thing about “BUCCANEER’S GIRL” is that although the leading protagonist is a woman and entertainer, the movie’s narrative focused upon the conflict between the protagonist’s leading man and the film’s main villain.

The movie also featured very entertaining performances from Elsa Lancaster, who portrayed Debbie’s mentor Madame Brizar and Jay C. Flippen, who portrayed Kingston’s first mate, Jared Hawkens. Robert Douglas made an effective villain as shipping magnate Alexander Narbonne. Norman Lloyd, who eventually became well known to television audiences on NBC’s “ST. ELSEWHERE”, gave a sly performance as Narbonne’s slimy assistant, Patout. And Andrea King was sufficiently haughty as Kingston’s well born fiancée Arelene Villon. I was surprised to see Henry Daniell in this film as the local militia’s commander, Captain Duval. Five to ten years earlier, Daniell would have been cast as the main villain.

However, there is more to appreciate about “BUCCANEER’S GIRL”. It has a funny and very witty narrative, thanks to its four screenwriter. And although I found the historical accuracy of Yvonne Wood’s costumes a bit questionable, I cannot deny that I also found them colorful, as seen in the images below:

The movie also featured some mildly entertaining songs written by Walter Scharf and Jack Brooks. I especially enjoyed the last song performed in the film, “A Sailor Sails the Seven Seas”. Very jaunty. I was especially impressed by Russell Metty’s photography. It was unusually sharp and beautiful for B-movie. Metty put a lot of care into it.

In the end, “BUCCANEER’S GIRL” proved to be a surprisingly entertaining film. Yes, the ending struck me as slightly vague and anti-climatic. But everything else about the movie have so much to offer, including energetic direction from Frederick De Cordova, a clever narrative and excellent performances from a cast led by Yvonne De Carlo and Philip Friend. This is one film I have never grown tired of watching.

“RIVER LADY” (1948) Review

“RIVER LADY” (1948) Review

While perusing the Internet on the career of actress Yvonne De Carlo, I noticed that she made a handful of conventional costume pictures for Universal Pictures, after she had signed a long-term contract with them in 1946. One of those films was the 1948 movie, “RIVER LADY”.

Set in the upper Mississippi River Valley during the decade after the Civil War, “RIVER LADY” is an adaptation of Frank Waters and Houston Branch’s 1942 novel. It told the story of a conflict between the citizens of a Minnesota mill town, the loggers who worked downstream and the lumber mill owners. The representative of a local lumber syndicate named Bauvais wants to purchase a struggling lumber mill from its owner, H.L. Morrison. But the latter refuses to sell. However, the owner of a gambling riverboat owner named Sequin manages to purchase the mill in order to provide a reputable job for her boyfriend, Dan Corrigan, a lumberjack whom she loves. However, Sequin has a rival in Morrison’s only daughter, Stephanie. When the latter learns about Dan and Sequin’s engagement, she exposes Sequin’s purchase of the Morrison mill. Dan becomes enraged when he realizes that his fiancee has manipulated his life and in a drunken fit, rejects the riverboat owner and marries Stephanie. Business sparks eventually ignite between a vengeful Dan and an angry Sequin, who has aligned herself with the mercenary Bauvais.

What can I say about “RIVER LADY”? I have seen my share of minor period dramas from “Golden Age of Hollywood” over the years. Some of them have been decent. Some of them have been surprisingly pretty good. Others have been . . . well, a waste of my time. “RIVER LADY” was a waste of my time.

Did “RIVER LADY” have the potential to be a pretty good movie? I do not think so. Frankly, I found it difficult to summon the energy to get excited over a messy rivalry involving the lumber business in 1870s Minnesota. And I am confused over Sequin’s role in this story. She purchased part of the Morrison lumber mill for lumberjack Dan Corrigan. But once he had dumped her, why was there no conflict between her and Morrison over Dan’s role in the business? Instead, she sat back and watched him use the business to engage in a conflict with her other business partner, Bauvais. Would it have not been easier if the writers could have found another reason for Sequin and Dan’s breakup? And why would Dan be so upset over Sequin manipulating him into a major position with the Morrison lumber mill . . . and not express any anger over the ugly manner in which Stephanie Morrison had interfered in his upcoming marriage? Odd.

Then again, I also realized that I did not really like most of the characters in this movie. To be honest, I just did not find them that interesting. Except for two . . . namely Sequin and Bauvais. I would never regard either of them as nice, but Yvonne De Carlo and Dan Duryea did such excellent jobs in making both of them interesting and dynamic that it seemed a pity that neither ended the movie on a happy note. Rod Cameron and Helena Carter gave solid performances as lumberjack-turned-businessman Dan Corrigan and his bride, Stephanie Morrison. But to be honest, their performances seemed like a walk in the park in compare to DeCarlo and Duryea. And as a leading man, Cameron did not exactly rock my world . . . if you know what I mean. The movie also featured solid performances from John McIntire, Lloyd Gough, Florence Bates and Anita Turner. Only Turner really impressed me, for I found her portrayal of the Morrisons’ maid Esther rather witty. However, none of the cast members were not helped by D.D. Beauchamp and William Bowers’ dialogue, which seemed more appropriate for a 1940s crime melodrama, instead of a film set in the mid-to-late 1800s.

I have no idea on whether “RIVER LADY” was a “B” movie or not. It feels like a “B” movie, despite having a cast that featured the likes of De Carlo, Duryea, Cameron and McIntire. As a frequent visitor of the Universal Studios Hollywood Theme Park, it is pretty obvious that a good deal of the movie was filmed on that studio’s back lot. And although the costumes designed by Yvonne Wood struck me as pretty colorful, a bit too much of late 1940s fashion seemed to have crept into some of De Carlo and Carter’s 1870s costumes.

What else can I say about “RIVER LADY”? Despite first-rate performances from Yvonne De Carlo and Dan Duryea, along with the colorful production; this is a movie that I doubt I would be interested in watching again. Once was enough.

“THE TEN COMMANDMENTS” (1956) Review

 

“THE TEN COMMANDMENTS” (1956) Review

It has been a long time since I saw Cecil B. DeMille’s 1956 movie, “THE TEN COMMANDMENTS”. A long time. When I was young, my family and I used to watch the film on television, every Easter Sunday. By the time I reached my early to mid-twenties, I stopped watching the movie.

I spent the next decade or two deliberately ignoring “THE TEN COMMANDMENTS”. One, I had pretty much burned out on the 1956 film by then. Two, I had very little interest in Biblical films. I still do to a certain extent. And three, my opinion of DeMille’s movie had pretty much sunk over the years. By the time, I reached my thirties, I came to the conclusion that it was an overrated film. So . . . what led me to change my mind for a recent viewing of “THE TEN COMMANDMENTS”? To be honest, the recent release Ridley Scott’s Biblical film, “EXODUS: GODS AND KINGS”. Both the 1956 and 2014 movies pretty much told the same story – the exodus of Hebrews from Egypt, under the leadership of Moses. I eventually plan to watch “EXODUS: GODS AND KINGS”. But out of curiosity, I decided to watch “THE TEN COMMANDMENTS” first.

Anyone who has seen or heard about “THE TEN COMMANDMENTS” knows the story. Pharaoh Rameses I of Egypt orders the death of all firstborn Hebrew males upon hearing a prophecy in which a “Deliverer” will lead Egypt’s Hebrew slaves to freedom. A Hebrew woman named Yochabel saves her infant son by setting him adrift in a basket on the Nile River. The Pharaoh’s daughter Bithiah, who recently lost her husband, finds the child and adopts him as her own, despite the protests of her servant Memnet. Prince Moses grows up to be a part of Egypt’s royal family. He becomes a successful general who wins a war against Ethopia and forms an alliance with the country. Moses falls in love with loves Nefretiri, who is the throne princess and must be betrothed to the next Pharaoh. He also becomes in charge of constructing a new city in honor of Pharoah Sethi’s jubilee. But when his rival for the throne and Nefretiri’s hand, Prince Rameses accuses him of being the Hebrew slaves’ “Deliverer” after he institute reforms in regard to the slaves’ treatment. Moses responses by showing the completed city and claiming that he wanted the slaves more productive in order to finish the project. Despite being on top of the world following his construction of the new city, Moses’ privileged world is threatened when Nefretiri learns from a royal slave named Memnet that Moses is the son of a Hebrew slave.

I now realized why I had stopped watching “THE TEN COMMANDMENTS” for so many years. I had simply burned out on the film. My refusal to watch the movie for so many years had nothing to do with its quality. I am not saying that “THE TEN COMMANDMENTS” is one of the best films ever made. Not by a long shot. “THE TEN COMMANDMENTS”, quite deservedly, is known for its over-the-top melodrama, bombastic style and preachiness. But the one thing the movie is known for it is the turgid dialogue that seemed to permeate the film. I cannot help but wonder if the screenwriters had disliked actress Anne Baxter or her character, Nefretiri. After hearing her spout lines like – “You will be king of Egypt and I will be your footstool!” – throughout the entire film, I am beginning to suspect that I may be right. Even the other performers – including Charlton Heston, Yul Brenner, Yvonne DeCarlo, Edward G. Robinson, Vincent Price, Debra Paget, John Derek, Judith Anderson, John Carradine, Martha Scott, Nina Foch and Sir Cedric Hardwicke – spoke their lines with a ponderous style that left me wondering if this movie had been shot at a slower speed. And to think, movie fans had to endure this ponderous style and turgid dialogue for slightly over three-and-a-half hours. Whew!

However, my re-watch of “THE TEN COMMANDMENTS” made me appreciate it a lot more. I appreciated the epic feel of DeMille’s movie, as he guided audiences into Moses’ life – from Moses’ birth to his glory years as an Egyptian prince, to his years as an outcast and shepherd and finally to his years as a prophet and conflicts with Rameses – all in great detail and glorious Technicolor. DeMille even took the time to delve into the romance of supporting characters like Joshua and Lilia. There are some epic films that can bore me senseless with a ponderous style and equally ponderous pacing. Yes, the dialogue for “THE TEN COMMANDMENTS” can be quite ponderous. But I cannot say the same for DeMille’s pacing. I found his direction well-paced, despite the movie’s 220 minutes running time. One of the aspects of “THE TEN COMMANDMENTS” that I found truly impressive was Loyal Griggs’ cinematography for the film. Shot in glorious Technicolor, Griggs’ Oscar nominated photography left me breathless, especially while viewing scenes such as those shown below:

tumblr_nmcp7rgyxl1qetb0ho1_1280

1956-Ten-Commandments-The-08

I was also impressed by other technical aspects of the film. That last scene, which featured the parting of the Red Seas, led to an Academy Award for John P. Fulton, who had created the movie’s special effects. That scene hold up pretty damn well after 59 years. “THE TEN COMMANDMENTS” earned Oscar nominations for Edith Head’s colorful costume designs, Anne Bauchens’ film editing, Sam Comer and Ray Noyer’s set decorations; and for art directors Hal Pereira, Walter H. Tyler, and Albert Nozaki.

What can I say about the movie’s performances? Despite the ponderous dialogue, the performances seemed to hold up . . . okay. Charlton Heston earned a Golden Globe nomination for his portrayal of Moses. Granted, Heston projected a strong presence in his performance. But honestly . . . I would not regard Moses as one of his greatest performances. I merely found it solid. I was a little more impressed by Yul Brenner’s portrayal of Ramses. He won the Best Actor National Board Review Award for his performance. Then again, Ramses proved to be a more complex and ambiguous character than Moses. As much as I liked Brenner’s performance, it did not exactly blow my mind. Anne Baxter, who was already an Oscar winner by the time she did “THE TEN COMMANDMENTS”, was saddled with some of the movie’s worst dialogue. And there was nothing she could do to overcome the bad dialogue . . . well, except in two particular scenes. One of those scenes featured Nefretiri’s discovery of Moses’ origin as a Hebrew slave. And the other featured her character’s angry goading of Ramses to take action against the Hebrews, following their son’s death.

I read that Paramount had submitted Yvonne De Carlo, John Derek, and Debra Paget as possible nominees for a supporting Academy Award. All gave pretty good performances; especially Yvonne De Carlo, who portrayed Moses’ wife Sephora, and Debra Paget, who portrayed Lilia, the slave woman who seemed doomed to attract the attention from the wrong kind of men. There were other solid performances from the likes of Judith Anderson, Sir Cedric Hardwicke, Nina Foch, John Carradine, Martha Scott, Henry Wilcoxon and Woody Strode. But two particular performances really caught my attention. Ironically, they were portrayed by Vincent Price and Edward G. Robinson, who portrayed characters that proved to be the bane of Lilia’s life. Both gave interesting performances as two very oily men who use Lilia as their personal bed warmer – Price as the well-born Egyptian architect Baka and Robinson as the ambitious Hebrew overseer Dathan, who later proves to be a thorn in Moses’ side.

“THE TEN COMMANDMENTS” proved to be the last film directed by Cecil B. DeMille to be seen in movie theaters. The last in a career that by 1956, had spanned forty-two years. The director passed away over two years following the movie’s release. Frankly, “THE TEN COMMANDMENTS” struck me as a nice high note for DeMille to end his career. Yes, one has to endure the extremely long running time, occasional bouts of over-the-top drama and ponderous dialogue. But the movie’s visual style, first-rate story, excellent direction in the hands of a legend like DeMille and solid performances from a cast led by Charlton Heston; makes this Hollywood classic worth watching over and over again.

Favorite Movies and Television Set During the EARLY AMERICA Period

0

Below is a list of my favorite movie and television productions set during the Early America Period (1783-1828):

 

FAVORITE MOVIES AND TELEVISION SET DURING THE EARLY AMERICA PERIOD

1

“John Adams” (2008) – Paul Giamatti and Laura Linney deservedly won both Emmys and Golden Globes for their excellent portrayals of John and Abagail Adams in this excellent seven-part miniseries about the 2nd U.S. president.

2

“The Journey of August King” (1995) – Jason Patric and Thandie Newton starred in this adaptation of John Ehle’s 1971 novel about a North Carolina farmer on his way home from market, who helps a runaway slave evade her master.

3

“Davy Crockett and the River Pirates” (1956) – This adventure conveyed the experiences of Davy Crockett and George Russel with keelboat riverman Mike Fink and river pirates along the Ohio and Mississippi Rivers. Picturesque and a lot of fun. Fess Parker, Buddy Ebsen and Jeff York starred.

4

“Buccaneer’s Girl” (1950) – Yvonne DeCarlo starred in this entertaining costume romp about a Boston-born entertainer who falls for a pirate with a secret identity as a respectable New Orleans aristocrat. Directed by Fredrick De Cordova, the movie co-starred Philip Friend, Robert Douglas, Andrea King and Elsa Lancaster.

5

“Interview With a Vampire” (1994) – Neil Jordan directed this fascinating adaptation of Anne Rice’s 1976 novel about a pair of vampires during a period of 200 years. Tom Cruise, Brad Pitt, Kirsten Dunst, Antonio Banderas and Christian Slater co-starred.

6

“Brother Future” (1991) – Phil Lewis starred in the PBS movie about a Detroit teen who is transported back in time to 1822 South Carolina, where he finds himself about to participate in a slave revolt instigated by one Denmark Vessey.

7

“Sleepy Hollow” (1999) – Tim Burton directed Johnny Depp and Christina Ricci in this adaptation of Washington Irving’s 1820 short story, “The Legend of Sleepy Hollow”

8

“The Seekers” (1979) – This adaptation of John Jakes’ 1975 novel about the Kent family’s experiences from 1794 to 1814. Randolph Mantooth, Timothy Patrick Murphy and George Hamilton starred.

9

“Many Rivers to Cross” (1955) – Robert Taylor and Eleanor Parker starred in this western-comedy about a footloose frontiersman in early Kentucky, who is targeted by a spirited spinster for marriage. Directed by Roy Rowland.