īefore you write a letter of disappointment to the creative people at DreamWorks, consider again the film’s introductory mission statement of keeping intact the essence, values and integrity of the Exodus. Other discrepancies exist, enough to possibly spur a broadcast contest of guess the number of fictionalizations. James Kennedy and Pat Robertson-several points of biblical inconsistency emerge.Ī partial list of divergences: Moses is not reunited with his mother as an infant, he speaks flawlessly and therefore does not need Aaron’s eloquence, he kills the Egyptian by accident rather than murdering him, Aaron is reluctant to support Moses and discourages him from speaking to Pharaoh, the particular responsibilities of the Hebrews during the Passover are largely… passed over. So although DreamWorks SKG carefully secured the views of many theologians and religious leaders-including those of NRB president Brandt Gustavson and members Ted Baehr, James Dobson, Billy Graham, D. The film’s introduction states it is “true to the essence, values and integrity” of the story. If you’re expecting a scene-by-scene visual rendering of the biblical account of Exodus, remember that the studio is a Hollywood entertainment company, not a religious broadcaster. But don’t go to the theater with a pocket Bible, a pen light and a yellow highlighter. Awe-inducing, ground-breaking artistic and computer-generated special effects endeavors aside, “The Prince of Egypt” is a good one. Many Hollywood directors insist the key to a successful film is a good story. (Note: The “Prince of Egypt” is in full-color, though these pictures are not)
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