Worldwide Workers Made A Ground Breaking Discovery Of As They Dug Out An Untouched Egyptian Tomb

It’s A Prop

The sphinx head was first thought to be from Charlton Heston’s role
in Cecil B. DeMille’s 1956 film The Ten Commandments.

The head, on the other hand, had to come from an even older film,
which it did, thanks to the film’s groundbreaking visual effects.

 

For Special Effects

It wasn’t DeMille’s first time adapting The Ten Commandments, which he did in 1956.

In 1923, he attempted to adapt the biblical story into one of the first “epic” films.

He won’t be able to rely on computer-generated effects like he could in the 1956 version of the movie.

 

Guadalupe-Nipomo Dunes

The Guadalupe-Nipomo Dunes in Santa Barbara were used to film DeMille’s 1923 adaptation,
which he thought looked like the Egyptian desert.

Set designers built Moses’ world entirely by hand, and it was massive.


Massive Props Were Used

Four 35-foot Pharaoh statues, 110-foot gates, eight lions, an Egyptian temple
, and, of course, 21 sphinxes were reportedly built by over 1,600 people.


it Was A Strange Sphinx

The set was one of the largest and most expensive ever built at the time.
It stood 12 stories tall and 800 feet wide and was constructed with 25,000 nails
and 250 tons of plaster.

The strangest aspect of all was the way the sphinx heads were decorated.


After 100 Years

The sphinxes were colored in such a way that when the lighting and shadows are applied,
they will also stand out without the use of Technicolor,
which was necessary because much of the film was shot in black and white.

In person, they appeared to be a little different than they did on film
when they were found nearly a century after they were captured on film.

 

Important Scenes Were Filmed In Technicolor

Archaeologists were taken aback by the “extremely intense” colors used to color the sphinx heads.
The majority of the movie was shot in Technicolor, with the exception of one of the most crucial scenes,
which was shot in B&W.


Using Jell-O

In both versions, the Red Sea must be parted,
but the ’23 film was forced to think outside the box to make this happen.

While making waves in a slab of Jell-O, the “parted sea” effect was captured on film.

 

What Now?

Cecil B. DeMille was pleasantly surprised to complete filming
despite putting his daring ideas into action in three months.

At this juncture, he was faced with the question: what to do with the set.



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