Exodus Gods and Kings (2014)
Directed by Ridley Scott
Written by Adam Cooper, Bill Collage, Jeffrey Caine, Steven Zaillian
Starring Christian Bale, Joel Edgerton, John Turturro, Aaron Paul, Ben Mendelsohn
Release Date December 12th, 2014
Published December 11th, 2014
Ridley Scott's "Exodus: Gods and Kings" is a dull slog through a Bible story too familiar to be of much interest. Putting aside, for a moment, the awful casual racism involved in the film's casting, "Exodus" just simply isn't a very good film. Despite the special effects that render the seven plagues of Egypt in spectacular fashion, the grim story and wooden characters make "Exodus" a dreadful movie-going experience.
Christian Bale stars as Moses and Joel Edgerton is Ramses, the Egyptian pharaoh, soon to be king. When we first meet them, Moses is Ramses' right-hand man. The two were raised as brothers by the Egyptian King Seti (John Turturro). Moses' origin story, however, is a lingering mystery that will become a definitive part of his life. He is an Israelite, and not an Egyptian.
In fact, Moses isn't merely Jewish. He may be the Jewish savior who leads his people to freedom in Canaan, which will later become Israel. But first he and Ramses have to go to war. Moses has to prove that he is the greater warrior and more worthy heir to the throne of Egypt than the sniveling Ramses, who will poison his father to make sure his ascension to the throne happens without interruption.
Ramses' paranoia eventually extends to his feelings for his brother Moses, whom he suspects will usurp his throne. When Ramses is informed by spies that Moses is, in fact, Jewish, he banishes Moses from the kingdom. Nine years pass, and Moses has begun to raise a family. Then he has a vision: A child, a stand-in for God, orders Moses to return to Egypt and lead his people out of slavery.
If you don't already know this story then you have likely lived under a rock since birth. It's among the most familiar Bible stories in history, thanks to the violence and death unleashed by God in seven plagues. The plagues are the main reason why "Exodus: Gods and Kings" exists. Special effects have advanced so much in the past two decades that making the Nile River run red with blood, the arrival of millions of frogs, and an attack of locusts now can be rendered realistically in CGI.
There is no denying that the special effects are impressive, especially late in the film, when God parts the Red Sea and then un-parts the Red Sea in even more spectacular and deadly fashion. But special effects alone are not enough to overcome the grim story, dour performances and general tedium of sitting through nearly three hours of this.
And then there is the racism at the heart of the film. Both director Ridley Scott and 20th Century Fox owner Rupert Murdoch have weighed in on the casting of Scottish actor Joel Edgerton, saying that it was a business decision to cast a white actor as an Egyptian king. Scott claims that an actor with a name like Muhammad would not sell tickets, as if the name of Joel Edgerton ever has sold a ticket anywhere outside his Scottish home town.
Bale, at the very least, has the powerful presence and charisma to render a Moses we can appreciate. Edgerton's sneering, sniveling Ramses is an over-the-top bore who is completely overmatched opposite Bale's imposing performance. Of course, even if Edgerton had delivered an Oscar-worthy turn, it still would not justify his casting over that of an actual Egyptian actor in the role.
Scott's attempt to mask this racism as a business decision only makes it more insidious and cynical. It's impossible to watch "Exodus: Gods and Kings" and not see the casting of Edgerton – and, to an extent, Bale and Turturro -- as the latest example of Hollywood's historic offhand bigotry that dates back to Al Jolson and D.W Griffith. Nearly 100 years after Griffith, one might think we've evolved, especially with Hollywood's well known leftist politics. Yet here we are with white actors imitating Arabs and Israelites while wearing brown-face.
In the end, even if "Exodus: Gods and Kings" hadn't been an overly familiar slog made solely to exploit modern special effects, the film still would have stunk because of its blasé’ attitude toward its own bigotry.
