A wild stallion is captured by humans and slowly loses the will to resist training, yet, throughout his struggles for freedom, the stallion refuses to let go of the hope of one day returning home to his herd.
The sailor of legend is framed by the goddess Eris for the theft of the Book of Peace, and must travel to her realm at the end of the world to retrieve it and save the life of his childhood friend Prince Proteus.
This is the extraordinary tale of two brothers named Ramses II and Moses, one born of royal blood, and one an orphan with a secret past. Growing up the best of friends, they share a strong bond of free-spirited youth and good-natured rivalry. But the truth will ultimately set them at odds, as one becomes the ruler of the most powerful empire on Earth, and the other the chosen leader of his people. Their final confrontation will forever change their lives and the world.Written by
Anthony Pereyra <email@example.com>
During Moses's nightmare, Miriam is wearing pink (like she does throughout the rest of the film). When they arrive at the water's edge and the adult Moses sees his mother put his baby counterpart in the basket, Miriam is wearing orange. See more »
Mud... Sand... Water... Straw. Faster! Mud... and lift... sand... and pull... water... and raise up! Straw... Faster!
With the sting of the whip on my shoulder, with the salt of my sweat on my brow... Elohim, God on high, can you hear your people cry? Help us now, this dark hour... Deliver us, hear our call, deliver us, Lord of all! Remember us, here in this burning sand! Deliver us, there's a land you promised us! Deliver us to the promised land!
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At the end of the closing credits, there are verses from religious texts - the Hebrew Bible, the New Testament and the Koran - in praise of Moses. See more »
As the author of THE WORLD OF ANIMATION, an Eastman Kodak book which won three international book festival awards and as an animation writer-director, I have for many years longed for the U.S. animation industry to remember that Walt Disney, nor any of the pioneers of animation limited their art to children's audiences.
With THE PRINCE OF EGYPT, the DreamWorks animation team has finally taken us full circle and helped the United States join the rest of the world in offering us the first U.S. animated feature since, perhaps, FANTASIA, created for mature audiences while remaining child-friendly. If you aspire to art in any form, and/or specifically love line art and graphics as I do, you must not miss seeing this film on the big screen. I applaud DreamWorks for this triumph in graphic excellence.
Two brief critiques: First, the choice of story. The story is based on Exodus from the Old Testament (and other Scripture) which is scanty, to say the least. Although the studio made an effort to flesh out the story with the Ramses/Moses relationship there is simply not enough meat to go around. This opinion is debatable, a very minor aspect and only my view as a story teller. At the bottom line the overall work is so extraordinary any possible lack in literacy is more than made up for in the visual mounting and production of the film, something which is nothing less than inspiring.
The other criticism is in the highly questionable use of "name" voices for casting, a puzzling development since there is no meaningful box office data supporting it. This practice is known to conflict the viewer psychologically as the drawn images begin to do battle with the ones in the audience memory with the cerebral bridge of highly recognizable photo images of known voices. Walt Disney knew this quite well and avoided it. Indeed, he used the voice of a complete unknown for Snow White, Adriana Caselotti, (who passed away in 1997). Disney was careful to avoid the existing Hollywood queens of song of the period, Judy Garland and Deanna Durbin, the latter, whose prodigious vocal talent actually saved Universal Pictures from going belly up a short time later.
However, at the bottom line, THE PRINCE OF EGYPT will become a true classic and has taken the art of animation up to a new threshold, a model to which future animators will aspire.
Raul daSilva, New Haven, CT, USA
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