The Prince of Egypt (1998)
The Prince of Egypt unyieldingly commits to its identity as a religious story, but its strength is not only rooted in its source. The film is a fantastic display of visual dynamism organized around a stable narrative that is rooted in scriptural fidelity.
Despite its religious identity, one central theme is universal: "No kingdom should be built on the backs of slaves." The Biblical account of the slaughter of Hebrew children is harrowing but well handled for a children's movie. The image of Rameses’ son at the base of the artwork depicting the slaughtered children was powerful visual foreshadowing.
Strong visual storytelling is found throughout the film. The scene of the hieroglyphics becoming animated in Moses’ dream is extremely novel and brought the Egyptian lore to life in its own language. Cruelty is also depicted without compromise, as the suffering of the Hebrew people is central to our story.
Some images stand out simply as striking testaments to the power of the moment. The illusion work on display by the Pharaoh's high priests is creative and colorful but also very deliberate in telegraphing that it is all smoke and mirrors. The silhouettes of the underwater animals seen through the wall of the sea, illuminated by lightning, are simply fantastic.
The most powerful scene, in almost every regard, is the plagues sequence, which will be seared into the memory of the viewer through both vision and voice. The music is forceful and dramatic, the imagery is appropriately cataclysmic, and the ultimate high at the end as Rameses and Moses face each other is sonically superb.
With scenes ripped directly from scripture and themes of God's holy wrath, the film leaves no room for ambiguity, its authenticity remaining a real strength. Unwilling to secularize, The Prince of Egypt shows affection and devotion to the source material; that love pours out through the screen.
With wonderful music, Biblical intensity, and a story thousands of years in the making, The Prince of Egypt is a must-watch.