The Prince of Egypt turns the story of Moses into an animated musical, and mostly succeeds at making a familiar tale feel new again. This is a film built around spectacle and song, and it delivers both with confidence.
Trailer, via YouTube Movies.
Moses as the Star
Val Kilmer voices Moses, and he carries the weight of the film. His performance grounds the story in human stakes even as the world around him grows ever more elaborate. Michelle Pfeiffer plays Tzipporah, and her scenes with Kilmer sell the romance at the heart of the story. Patrick Doyle’s score fills out the picture, giving each scene its own tone without drowning out the dialogue.
The Animation That Carries It
The animation is the star here. The film uses a style that mixes watercolor with computer effects, giving the desert and the Nile a sense of scale and wonder. The sequence where the plagues arrive is the best example of this work paying off. The visuals are the reason this version of the story still holds up.
Songs That Land or Miss
The songs are the weakest link. Some land hard, becoming moments audiences will remember:
- “Through Heaven’s Eyes” sets the story’s stakes early and earns its place
- “When You Believe” closes the film on a note that feels earned, not forced
Others sit flat, and a few feel like filler rather than service to the plot. The film leans on song too often, and some numbers exist simply to fill space between action.
The Plague Sequence
The sequence showing the plagues is the film’s high point. Each plague arrives with force, and the animation sells the horror without relying on gore. It is the moment the film finds its footing.
A Familiar Story, Told Again
The Prince of Egypt tells a story audiences know well, and it does not try to surprise them with twists. What it offers instead is a fresh look at characters and settings, and in that respect it succeeds. The story moves quickly, and the pacing keeps the middle sections from dragging.
Final Word
The Prince of Egypt is a strong animated film that struggles with its own ambitions. Its music overreaches at times, and its script occasionally repeats itself. But the animation and the performances carry it through. Val Kilmer’s Moses and Patrick Doyle’s score make this version worth remembering.
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