The Prince of Egypt (Western Animation) - TV Tropes
This item:The Prince of Egypt by Various Artists Audio CD CDN$ 10 ) ; Number of Discs: 1; Format: Soundtrack; Label: Universal Music Canada; Run Time: 99 minutes; ASIN: BDFTM; Other Editions: Audio --Aaron Tassano end . Careers · Amazon and Our Planet · Investor Relations · Press Releases. The official soundtrack for The Prince of Egypt was released on November 17, It features songs and scoring from the film, as well as songs not used in the . The Prince Of Egypt: Music From The Original Motion Picture Soundtrack Amazon's Choice for "prince of egypt soundtrack cd" .. the slavery of the Iraselilte, back then his people need a Prophet to bring about the end of slavery for his . Careers · Blog · About Amazon · Press Center · Investor Relations · Amazon Devices.
There's a great cry in all of Egypt, all right, but it doesn't come from the Hebrews Moses' reaction to Rameses' statement makes it clear he knows exactly how those words will play out. We get a brief glimpse of her face when she excitedly asks Moses to sit with her at Jethro's banquet table, but otherwise her eyes are the only part of her face not concealed by her oversized headscarf.
The Hebrews are depicted with curly mops of unruly dark hair and many of them have larger noses. They also have lighter skin compared to the darker Egyptians. The Egyptians themselves have round, smooth faces with high cheekbones, narrow eyes and smooth black hair. This was intentional, as explained in the promotional materials.
The Egyptians in general are composed of angular, symmetric, geometric lines in contrast to the Hebrews' rounded, more natural and varied forms. Authentic Egyptian art depicts Semites as bearded and lighter skinned in contrast to the clean-shaven, darker Egyptians.
This is also historically justified; ancient Egyptian priests, nobility and upper classes in general shaved and plucked their entire bodies, which marks Moses out as an outsider from the very beginning: Pharaoh's priests rely on magic tricks to simulate magic powers. Obviously, Moses via God becomes able to do what they pretend to do and more. Despite ordering the mass infanticide among the Hebrew slaves, Pharaoh Seti I gives every sign of being a family man who genuinely loves his wife and sons.
However, this is a rare example that serves to make him creepier rather than sympathetic due to the cognitive dissonance involved; he ignores the obvious implication that he nearly murdered the babe who later became his favorite son Moses because he doesn't seem to consider him a Hebrew at all instead of a Prince of Egypt. Hotep and Huy, respectively. Moses as he is going down the river.
Symbolically in "The Plagues". I send the thunder from the sky, I send the fire raining down I send a hail of burning ice on every field, on every town Flipping the Table: Rameses does this to the priests' table right before he jumps into his half of the emotionally-charged "Plagues" duet. Follow the White Rabbit: Moses finds the burning bush when searching for a lost sheep. It's only moments later when you realize this was the same sheep that Moses helped deliver during the Falling-in-Love Montage.
Foolish Sibling, Responsible Sibling: Rameses is the responsible older brother, while Moses is the freewheeling younger brother. Both grow out of their roles as the movie goes along, but they each remember and refer back to their roles from when they were younger. Several scenes at the beginning of the film obliquely refer to later events, particularly when the Pharaoh is scolding Rameses and Moses, and the conversation Moses and Rameses have afterwards.
The Prince of Egypt
The scenes get numerous call backs later in the film. Also, during the scene when the Queen names Moses. From the angle of the "camera", Rameses as a small toddler is completely covered up by Moses in the Queen's arms. At the climax of "Playing With The Big Boys", the snake created from Moses' staff is swallowing the two brought out by Hotep and Huy whole, practically screaming how well Rameses' refusal to let the Hebrews go will fare.
God as the burning bush. Watching carefully during the final plague the Angel of Death reveals that it takes Rameses' son last, symbolized by a gasp and a small wisp that rises out of the palace and blends into the maelstrom a moment later.
This version of Rameses' reasoning of his obstinacy against freeing the Hebrews. After they are both scolded by Seti, Moses goes to comfort Rameses. During the scene he can be seen idly sewing a piece of cloth without comment or focus. At the end of the scene, having sewn it into a sack, he fills it with liquid from a present dish and drops it on the passing priests as a water balloon.
After Rameses flips the priests' table he orders them to get out, though it is hard to hear over the music in the scene. The priests do not appear again afterwards. Rameses later shouts this at Moses. After Moses and Tzipporah marry, the next scene may or may not take place after their wedding day.
Regardless, we see Tzipporah with her hair all over the place and she looks exhausted, and Moses being particularly affectionate as he slips off to tend the sheep.
Alternatively, she just had a normal case of bed head and Moses does this every morning. It's pretty blatant why Tzipporah was given to Moses and Rameses. The priests make sure to highlight her beauty. Rameses and Moses both seem fairly, um, excited. Rameses somewhat suggestively grabs her by her chin.
And four, the real cinch: Rameses has her sent to Moses' bedchambers. After the Chariot Race: You don't think we'll get in trouble for this, do you?
Why do the gods torment me with such reckless, destructive, blasphemous sons!?
The Prince of Egypt () - Soundtracks - IMDb
The one who commands Moses to free the Hebrews, and who uses his power to punish the Egyptians until they consent. A God Am I: Rameses repeatedly refers to himself as "the morning and the evening star," pointing to the fact that as Pharaoh, he is supposed to be a god incarnate.
The all-knowing, all-powerful creator of the universe is here represented by a soft, beautiful white fire. The fire speaks to Moses in the most familiar, soothing voice it can must: Not only that, but the fire surrounds Moses without hurting him and leaves him in a blissful state of awe.
Go Look at the Distraction: Mozes helps Tzipporah escape from Egypt by quickly summoning two guards that otherwise would have caught her in the act to him, and send them to his room to investigate the man Tzipporah left tied up there. Good Is Not Nice: God is working to free His enslaved people as promised, but the film does not gloss over how thorough His vengeance on Egypt was, especially in the eye-for-eye smiting of the Firstborn even down to the young children.
In the opening massacre of the Hebrew sons, we follow an Egyptian soldier as he shoves his way into a woman's house and raises his blade above her child's crib, before a rather disturbing Smash Cut to him calmly walking out of the house, past the sobbing mother. Moses was this until he learned the truth. The film stops immediately after the Red Sea Crossing, with a brief subsequent image of Moses bringing down the Ten Commandments, leaving out all mention of the Golden Calf, the destruction of the original tablets, or subsequent hardships for the fleeing Hebrews.
Kilmer also provides the uncredited voice of God Amick Byram provides Moses' singing voice. Michelle Pfeiffer as TzipporahJethro's oldest daughter and Moses' wife. Sandra Bullock as MiriamAaron's sister and Moses' biological sister. Sally Dworsky provides Miriam's singing voice. Eden Riegel provides the voice of a younger Miriam. Jeff Goldblum as AaronMiriam's brother and Moses' biological brother.
Danny Glover as JethroTzipporah's father and Midian's high priest. Brian Stokes Mitchell provides Jethro's singing voice. Patrick Stewart as Pharaoh SetiRameses' father and Moses' adoptive father, the Pharaoh in the beginning of the film. Linda Dee Shayne provides Tuya's singing voice.
Steve Martin as Hotepone of the high priests who serves as advisor to Seti, and later Rameses. Martin Short as HuyHotep's fellow high priest. She also sang her character's number, " Deliver Us ", in seventeen other languages for the film's dubbing  Bobby Motown as Ramses' son Director Brenda Chapman briefly voices Miriam when she sings the lullaby to Moses.
The vocals had been recorded for a scratch audio track, which was intended to be replaced later by Sally Dworsky. The track turned out so well that it remained in the film. Once the storyboards were approved, they were put into the Avid Media Composer digital editing system by editor Nick Fletcher to create a "story reel" or animatic.
The story reel allowed the filmmakers to view and edit the entire film in continuity before production began, and also helped the layout and animation departments understand what is happening in each sequence of the film. For the film, the actors record individually in a studio under guidance by one of the three directors.
The voice tracks were to become the primary aspect as to which the animators built their performances. As someone who has an interest and appreciation of animation, I can say that this is the first film I've seen that successfully integrates computer-generated animation and traditional animation and I've seen many attempts.
The Prince of Egypt (soundtrack) - Wikipedia
More importantly, as someone who has eyes, I can say that the result is a visual experience of intense style and beauty. In fact, the initial depiction of Egypt is so breathtaking, that it seriously hinders the film's later efforts to vilify it. Comparisons with Disney are inevitable, especially because Prince of Egypt employs tired Disney formula in an attempt, I assume, to remain economically viable.
What a shame, since Disney hasn't made a decent film since Aladdin. I am referring, of course, to the unnecessary musical numbers and the two high priests, the film's comic relief, who are drawn grossly out of proportion to the other characters. Even worse than their unoriginality, however, is the open mockery of ancient Egyption religion and culture, which these two characters embody.
I found their musical number especially appalling. On the other hand, it's a story in which the protagonists succeed only through a greater capacity for cruelty and destruction and the slaughter of innocent children, so it's kind of hard to nail down any concrete moral standard here. In general, I thought the story was well told, with solid direction and a good script.
The only complaint I have about the voice acting is that Jeff Goldblum's unmistakable mannerisms seriously distract from his character. I suspect that I wasn't really bothered by the others only because I hadn't seen a cast list before seeing the film.