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From my favorite movies..

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

By the time the dramatic fireworks start popping off, each one feels earned.

In spite of a stellar cast, this 1974 TV mini-series movie based on a Bible story misses the mark. "Moses the Lawgiver" does focus on Moses and his struggles with teaching the Israelites the covenant that God has established with them. But, because it relates to the Bible account of the exodus, and takes place in that setting, we should expect it to give a fair portrayal of the exodus. Unfortunately, it fails in much of its Bible tracking and technical production. And, it's also a weak modernist approach to the Bible story.The special effects are amateurish. We see the signs and phenomenal events with blurred and changing pictures. Examples are Moses' staff turning into a snake and back, his hand having leprosy and then being cleared, and the opening of the Red Sea for the people to cross. Other movies have much better and more realistic special effects. The script, camera work and editing are poor. Many camera shots use very close scenes with just a few people in them. That's probably because so few extras were used to represent the two to three million people of the exodus (based on Ex. 12: 37-38). Even when the movie shows the people beginning their exodus from wider angles, no more than a few dozen people are visible. They often are spread out, or in a winding column of only one or two abreast. The Israelites left from Pi-Rameses on the exodus, and the Egyptians gave them gold, jewelry and valuables. But this film just shows people leaving a poorer housing area, with no sign of the grand city that they were building at the time. The spectacle of a mass migration of people fleeing Egypt is just not there; and that, in itself, is part of the phenomenal story from the Bible. The film does cover five of the 10 plagues – the water turning to blood, the frogs, locusts, famine and the death of the first-born. But with the poor special effects, the water changing is hardly noticeable, and the film just touches on the other plagues – until the death of the first-born. But that takes place in clear daylight in the film, where it occurs at night in the Bible. The court setting of the pharaoh seems quite stark and not what antiquity says of the grandeur of the Egyptian rulers. And the pharaoh here is Merneftah who ruled but a couple of years. Most sources, based on the scant historical records there are, name Rameses II as pharaoh at the time of the exodus.To its credit, this film does include the scouting party that checks out the Promised Land. It makes clear that the Israelites are condemned to roam another 40 years because they didn't trust in God to lead them to conquer the land. The film includes the Ten Commandments, the people rebelling and making the golden calf, the earthquake that swallows up the dissident Dathan, and the killing of the families of the dissidents. It shows Moses striking a rock to bring forth water, but he doesn't strike it twice. And, at the end of the film, Moses wonders why God wouldn't let him enter the Promised Land. The answer is quite clear in the Bible. The movie has a number of other things that are in the Bible, but it only shows them briefly with no explanation for what they are or why. Examples are the Ark of the Covenant, the meeting tent, and the tabernacle. God gives Moses instructions for each of these in the Bible. Finally, this film downplays the miraculous aspects of the signs God gave the people on their journey. As I mentioned, many others signs are left out (Miriam's leprosy and healing, seraph snakes biting and killing thousands, and then erection of a bronze snake to heal the people). But two signs take modernist approaches in the film that seem more preposterous than believing in intervention by God as in the Bible.Moses tells Miriam about the quail that will be the source of meat, and he tells her that there is a manna that comes from a tamarisk tree that will be the bread. In the Bible, he promises them that God will send them quails in the evening and bread from heaven in the morning. He doesn't call it manna. When the people see it in the morning, they ask "What is it?" Translated from the Hebrew to the Greek, that is "manna" (Ex. 16:15).The film has a scene with a lone tree and large flakes of white stuff floating around it. It's similar to what one sees when cottonwoods shed their cotton. There is such a tree that grows in arid regions, but it puts off a very small amount of resin drops a few weeks each year – beginning in June. They appear pearly and are about 1/8-inch in size. Moses tells the people to collect two liters (omers) for each person to eat each day. That would be four to six million liters each and every day for 40 years. If one tree could feed 100 people, there would have to be hundreds of thousands of such trees. It would take 40,000 to 60,000 for each day, and they would have to produce year round. As the Israelites kept moving, they would need more trees for the manna everywhere they went. So, has anyone ever seen a desert covered by forests? Indeed, does that make more sense than a miracle from God?I can't recommend a film that is supposed to be based on a Bible story when it tries to revise the story so that its lesson is lost.

I saw only the original broadcast mini-series and I was very moved and impressed. Burt Lancaster's portrayal of Moses is very natural, very human unlike the wooden Hollywood versions and I specifically recall Charlton Heston's acting as if he were on-stage in The Ten Commandments. Not Heston'fault though but Cecil B. De Mille's because practically all of the actors and even the extras in that movie acted that way. In some scenes they looked as if they were posing for Rembrandt's Night Watch painting.Not in this Lancaster version though which portrays Moses with all his faults - his short temper and even disobedience to God. But in one scene where the people of the Exodus were celebrating their deliverance and Aaron worried that they were about to fall into orgiastic idolatry again, Moses showed practical wisdom and said: "Not this time" and allowed the festivities to go on. This TV movie mini-series is really more of a religious and philosophical education rather than mere entertainment.

It is completely erroneous (and useless) to try grouping together films totally unrelated like the big—budget Antiquity themed Hollywoodian movies, the Italian muscle-men flicks of the '50—'60s, the various epics, the swashbucklers, the exotic movies about non—European civilizations, history, fantasy, myth, literature and adventure, legends and plays, the religious or religion—themed films, Gibson's movies, the Italian TV Biblical biopics, Ivanhoe, adaptations, historical films, fantasy and mythological productions, Middle Ages outings—in a word, every movie set before the last century, under the pretext that they have something in common. Nothing links them; they are unrelated—Gibson's films, SPARTACUS, BEN—HUR, IVANHOE, the many Maciste/ Hercules/ Samson etc. Italian flicks, BLACK ROBE, MONTE CRISTO, etc.. This is not even eclecticism—it is chaos.This Lancaster epic is a transitional movie—between the big—budgeted blockbusters of the '50s—'60s,and the small decent honest TV Biblical stories of the '90s. The film is not very inspired, nor very appealing; its main merit is the cast. Lancaster performs in a conventional Hollywoodian way the disconcerting and enigmatic Old Testament prophet. Another epic from the same transitional period is MASSADA, which boasts O'Toole's high voltage, decadent, picturesque role. MOSES looks and feels more like the '60s epics. One quality is the feel of the tepid tiring crossing of the desert, the tough experience of dwelling for decades in the wilderness. Quayle also reminds the '60s epic blockbusters. Mrs. Papas is reliable as ever. The atmosphere is not the lesser accomplishment of MOSES. The probably ugly experience of the desert's crossing, after the initial exultation of the glorious escape, is well captured and rendered. In this respect, it's a resolute depart from the previous epics' habits. It's not triumphal in what it depicts; it shares the feel of its subject. The Hollywoodian conception behind all such epics (this one is a TV production, nevertheless ) is objectionable; yet the movies remain interesting and worth--wile.In sum,this is the exodus as seen from below, from the common people involved in the exodus POW.Recommended.

This 2 hour version cuts out a lot of the interplay and character development of the mini-series that helps move the story along, and gives credence to the whole thing. If you can see the mini-series, do so.The best thing about both the short and mini-series versions is the score by Ennio Morricone. He has composed one cue that I, personally, believe is the finest single cue he has ever written, and that is saying a lot, what with OVER 400 scores to his name. And Morricone, himself, called this one of his most difficult works at the time, having to compose, thru modern means, a score that depicts an ancient time and place. The score is magnificent, heart-wrenching, and haunting.