One More Bible Film Related to the British Museum

Following on from last week's post Bible Films and The British Museum I managed to think of one more Bible film that had been influenced by artefacts such as we find in the British Museum. 1998's The Prince of Egypt contains a memorable sequence where Moses dreams about hieroglyphics coming alive to portray his childhood escape from death. It's true that the sequence could have been influenced by any display of hieroglyphics, or even just the knowledge of them that exists in the wider culture, but nevertheless...

The trio went well by the way. In the end there were 7 of us including me, and whilst the New Testament items are less impressive that those from Assyria and Babylon, and we were flagging a bit by that part (not to mention being shut out of the crucial rooms just as we were closing in on a jar from Qumran), it was an enjoyable and successful trip.

Alex von Tunzelmann on Prince of Egypt and Greatest Story Ever Told

I've mentioned before Alex von Tunzelmann's hugely enjoyable Guardian series Reel History. (In fact, I may as well give it its own label). Well, as with last Christmas she celebrated the festive season by review two Bible films - The Prince of Egypt and The Greatest Story Ever Told.

She's a bigger fan of Prince of Egypt (Entertainment grade: A– to Greatest Story's E), but ranks the Jesus epic higher in terms of it's history (C as compared to the Moses film's D). As ever they are written in style that manages to be light-hearted, perceptive, history geeky and enjoyable all in one go. Take for example her shrewd take on the depiciton of Mircales in Greatest Story:

Lazarus is raised from the dead in long shot, so you can't really see what's going on. The feeding of the 5,000 and turning water into wine are mentioned, but not shown. "The next thing we know, they'll be calling him the Messiah," complains a Jewish leader. "And that's not all." "What else?" asks Pontius Pilate. "He walked on water." "Get out!" Historically speaking, this is fine: there's no independent evidence for any of the miracles. Cinematically, it's more of a problem. If the director was concerned about excluding the sceptical audience, you've got to wonder why he picked this subject. Because, if you don't go in for God, this is just three hours of the musings of a first-century Middle Eastern hippie. A few whizz-bang moments would really have livened things up.

These are two films which have been criminally under-discussed by this blog. The Prince of Egypt didn't even have it's own label until just now. The Greatest Story Ever Told does, but there's precious little there except my podcast review.