
The Sign of the Cross
1932

1923
PassedDirector
Cecil B. DeMille
Runtime
136 minutes
Average Rating
No ratings yetSynopsis
The first part tells the story of Moses leading the Jews from Egypt to the Promised Land, his receipt of the tablets and the worship of the golden calf. The second part shows the efficacy of the commandments in modern life through a story set in San Francisco. Two brothers, rivals for the love of Mary, also come into conflict when John discovers Dan used shoddy materials to construct a cathedral.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film maintains a strictly heteronormative structure. There are no depictions of non-cisnormative identities or same-sex intimacy within the narrative.
Gender Representation
Narrative agency is concentrated almost exclusively in male figures like Moses and the modern-day brothers. Female characters primarily serve as catalysts for male conflict rather than independent drivers of the plot.
Racial & Ethnic Diversity
Representation is filtered through the racial hierarchies of the 1920s studio system. While depicting Hebrew and Egyptian classes, the film does not challenge the era's dominant racial norms.
Religious & Cultural Diversity
The story promotes a singular religious morality centered on divine authority. It presents a rigid dichotomy between divine law and pagan lawlessness, rejecting moral relativism.
Disability Representation
There are no prominent depictions of physical or neurodivergent disabilities used as central character traits or plot devices.
Strengths
Areas for Improvement
AI Analysis
The film functions as a traditionalist epic designed to uphold established religious and patriarchal hierarchies. Its structure prioritizes divine mandate and moral absolutes over diverse perspectives. While the dual-timeline approach offers historical and modern settings, both segments reinforce conventional Western values. The narrative focuses on the reinforcement of social and religious authority rather than the exploration of marginalized identities. Ultimately, the work serves as a cornerstone for traditional moral structures, offering little room for the disruption of established social norms.

1932

1927

1935

1958

1906

1955

1960

1903

2010

2012

1923

2000
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