‘Testament: The Story Of Moses’
Joseph Holmes
4 min read ⭑
Given how many of the world’s religions revere Moses, it’s no surprise that the Bible story has been adapted so many times. Whether it’s “The Ten Commandments,” “The Prince of Egypt” or “Exodus: Gods and Kings” on film and even stage adaptations of “Prince of Egypt” (which I reviewed here), Moses is probably the most popular Biblical figure outside of Jesus. Due to that, it’s hard to think about what ground there would be left to cover in another adaptation.
But that is just what Netflix has chosen to do. Just in time for Passover, “Testament: The Story of Moses” is the latest docu-drama series about the famous ancient figures from Netflix. Previously they did one on Alexander, which gained attention and controversy for portraying him in a homosexual relationship. Now, they have turned their attention to one of the biggest heroes of the Abrahamic religions in Moses.
Netflix
Given how often Moses’s story has been told, the narrative portions of this adaptation often surpasses expectations. Many of the creative choices are ones we haven’t seen before, such as a heightened focus on Moses’s brother Aaron (whose role in the story is typically deleted or minimized in narrative adaptations) and that of his other family members, including his mother, wife and sister.
The quieter, more intimate moments are often the most effective. That’s likely because they didn’t have the budget for the more sweeping shots of the huge sets and miracles, they focus instead a lot more on the smaller moments and conversations. When those work, they really work. In one example, the way Moses’s killing of the Egyptian guard is set up and framed, with the final moments close up on Moses’s face, puts the viewer there in a way that is unusual and strikingly effective.
Mehmet Kurtulus in particular shines as Pharaoh. The drama decides to portray him as an insecure tyrant who thinks of himself as better than his father because he keeps the Hebrews as slaves rather than killing them. He desperately wants to hang on to his power. Kurtulus portrays every layer of him to perfection, whether it’s his calmly self-satisfied justification of himself, to his fear of Moses and Moses’s God or his megalomaniacal stubborn defiance of said God. Kurtulus and the script unite these elements to Pharaoh seamlessly, making him the most magnetic and interesting character in this story. While it’s hard to top “The Prince of Egypt,” at times, I wondered if this interpretation of Pharaoh might be even better.
The average religious viewer will likely also find little offensively objectionable in the portrayal of the Biblical story. They take the story, with its miracles and supernatural elements, as if they all really happened. The flaws in Moses’s character are all ones that come from the Biblical accounts. Most of the alterations are done by incorporating things from traditions like the Midrash, such as having Moses’s Egyptian mom join the Hebrews when they leave, or giving Moses’ wife more speaking parts. But it’s nothing that changes most orthodox beliefs of any faith. For example, some may dislike the fact that other faiths are represented in the discussion at all. Jews may not like seeing a pastor interpret Passover in the light of Jesus and a Christian might not like hearing the Exodus story as affirming Islam.
But the movie certainly doesn’t rise to the dramatic heights of previous adaptations. It does, at times, feel like a low-budget film with a lot of slow pacing and melodramatic acting that never quite hits an emotional fever pitch. Part of that is the constant interruptions by the scholars who will often cut into a dramatic moment to “tell” you what is going on or what you should think about a moment, breaking the “show don’t tell” rule of storytelling.
Meanwhile, those looking at the documentary parts as the main event are likely to be left unsatisfied, too. The scholars and theologians do not go very deep into the text, giving mostly surface-level interpretations or speculations. The experts range from giving basic-level context to their personal opinions about the text, often without clearly delineating between the two. There are also many times they will say that something happened in the story, but not clearly say whether it’s in the Bible. This often causes confusion as to where this information is coming from.
The series seems to anticipate this issue with this opening disclaimer: “This series is a dramatic exploration of the story of Moses and the Exodus, incorporating the view of theologians and historians from various faith and cultural backgrounds. Their contribution is meant to enrich the narrative, but should not be understood as consensus.”
I can attest to this given that one Biblical scholar practically rolled his eyes at Peter Ennes being a chief voice on this topic before recommending the work of Leon Cass and Carmin Imes to better understand Exodus. This is a tacit admission that the bringing on of scholars is not really as a form of education, but also entertainment. It’s, in effect, a special effort to add to the drama because they can’t afford any truly impressive special effects in the movie. Unfortunately, those who love scholarship will likely be unimpressed, while those who are here for entertainment might be made to think they are more knowledgeable of the facts of the matter than they are.
For those who want another opportunity to see the classic Exodus story dramatized, there’s a lot to enjoy here, and does little to offend. Those looking for education or greater scholarship will likely be less satisfied. Hopefully, it will inspire at least a few people with the power of the story and prompt them to investigate more regarding the greatest stories ever told.
Joseph Holmes is an award-nominated filmmaker and culture critic living in New York City. He is co-host of the podcast The Overthinkers and its companion website theoverthinkersjournal.world, where he discusses art, culture and faith with his fellow overthinkers. His other work and contact info can be found at his website josephholmesstudios.com.
This article is republished from Religion Unplugged under a Creative Commons license.