Ridley Scott adds his unique touch to the tale of Moses in Egypt in Exodus: Gods and Kings. Photo/blackfilm.com
[dropcap]R[/dropcap]idley Scott, director of classics such as Alien and Blade Runner, shows us his version of the classic biblical tale in Exodus: Gods and Kings. And if you thought there was nothing new to add after DeMille and Charlton Heston, you’d be wrong.
The story should be familiar: Moses (Christian Bale) is a prince of Egypt who finds out he is Hebrew, and exiled by the Pharaoh, Rameses (Joel Edgerton). He returns, sent by God to free his people from bondage, which happens 12 plagues later.
Again, forget everything you know from The Ten Commandments; Scott’s is a wholly different interpretation, playing up style over theology. And the focus is placed more on the rivalry between Rameses and Moses, who started out like brothers.
As characters, each of them is portrayed in bold ways. Less the courageous and dutiful prophet Heston played, Bale’s Moses – evoking his background as Batman – is more of a boastful warrior and military strategist (handier with a sword than a staff) willing to make sacrifices when needed, and who appears mad to those around him at times.
Edgerton’s portrayal of Rameses strays too, from the clear-cut bad guy rendered by Yul Brynner in 1956. He manages some pathos as a father and conflicted, insecure ruler. This, however, is not the most drastic departure.
That honor goes to the very strange depiction of God – as a small boy (Isaac Andrews), perpetually in a bad mood, only Moses can see. The burning bush image appears once, briefly, when the kid shows up to lecture a prone Moses after a rock slide. Echoing the petulance of his form, the Lord comes off as whiny and more wicked than the Pharaoh, despite the movie’s heavy grey area.
At its heart, Exodus: Gods and Kings is a story of sibling rivalry. Photo/hdwallpapersimages.com
Having said all that, this take on Exodus hits a lot of the right notes in terms of performances, score, editing, action, and especially direction. It’s easy to follow and resonates with modern audiences of varying stripes. The film works as popcorn fare for ordinary moviegoers, and a big-budget epic with star power religious viewers have been waiting on.
A finely crafted spectacle clocking in at over two hours (half as long as the alternative), but that doesn’t drag terribly and can hold your attention, Gods and Kings might be what you’re looking for this season – if you want something sort of faith-based, but with attitude.
Note: the credit sequence begins with a touching dedication to Ridley’s late brother, Tony Scott.
