History Awesome / ThePrinceOfEgypt

** The final product is so reverent, that it is widely regarded as a better representation of the story than ''' ''Film/TheTenCommandments'' '''.
*** ''The Prince of Egypt'' has also been held up as a better alternative to ''Film/ExodusGodsAndKings''

* It had been ''ages'' since any studio outside Disney had made a significant profit at the box office with hand-drawn animation, especially once the Disney Renaissance began, as the Mouse House sucked the air out of the competition's sails. However, this film, along with Fox's ''WesternAnimation/{{Anastasia}}'', proved that success could be found with top-flight animators, a strong story, and most importantly, producers and studio brass allowing the filmmakers to see their original vision through, without ExecutiveMeddling. Its successful run is even more impressive than ''Anastasia'''s; while the latter didn't stray too far from the stock animation tropes of the time, the fact that ''The Prince of Egypt'' found success with an unabashedly religious story spoke to the universal power of its storytelling and visuals, even for adherents to non-Abrahamic faiths. [[/note]]

* It had been ''ages'' since any studio outside Disney had made a significant profit at the box office with hand-drawn animation, especially once the Disney Renaissance began, as the Mouse House sucked the air out of the competition's sails. However, this film, along with Fox's ''WesternAnimation/{{Anastasia}}'', proved that success could be found with top-flight animators, a strong story, and most importantly, producers and studio brass allowing the filmmakers to see their original vision through, without ExecutiveMeddling. Its successful run is even more impressive than ''Anastasia'''s; while the latter didn't stray too far from the stock animation tropes of the time, the fact that ''The Prince of Egypt'' found success with an unabashedly religious story spoke to the universal power of its storytelling and visuals, even for adherents to non-Abrahamic faiths.

* Many, but the whale shark scene is one of the first that comes to mind.

* The parting of the Red Sea is a SugarWiki/MomentOfAwesome for both Moses ''and'' [=DreamWorks=] Pictures.

* Miriam is a Hebrew slave, somebody with zero power or agency. Yet she is able to channel the only resource she has -- her faith (and not just the spiritual kind) -- and uses it not only to rise above the despair of her own situation, but she also uses it to push her brother into liberating an entire people. She constantly lifts everyone else's spirits, no matter how badly they treat her. She is Moses' first supporter, the only one who has never doubted him or his mission, and often it seems her unshakeable belief in her brother is what keeps Moses from giving up. No wonder he pulled her aside and thanked her at the end of the movie.

* One for the writers: the entire character of Tzipporah, and her and Moses's relationship. What could have easily been a RomanticPlotTumor is instead handled with maturity and excellent CharacterDevelopment. Tzipporah doesn't even start giving Moses a second thought until he openly declares that he's "done nothing in his life worth honoring." That's when she realizes he has the power to change--and the movie, unlike so many others, makes it clear that it's ''him'' that needs changing, rather than Tzipporah needing to [[DefrostingIceQueen tone down her outspoken nature]]. She comes to love him over a period of months, if not years (we don't know how much time passes during "Through Heaven's Eyes"), and only after he's proven himself with hard work and compassion for others, two qualities he was sorely lacking before. In the end, the two have fallen genuinely in love, and the result is a strong, beautiful depiction of a fair, balanced, equal marriage.
* [[IKnowYoureInThereSomewhereFight How Miriam convinces Moses that he is her brother]]. She sings Yocheved's last lullaby, her voice nearly breaking with the weight of her conviction, love, and sorrow. In the span of 20 seconds, Miriam unmakes Moses' Egyptian identity, proving to him that her tear-stricken face is too familiar, too similar to the first face he ever saw...
* Main/RootingForTheEmpire and Main/DracoInLeatherPants to the nth degree? Yes. But despite being on the receiving end of ''the most devastating plagues, famine, and some of the worst natural disasters ever known to man, and having his people's gods being humiliated right in front of his eyes by a far stronger God that went after him and his people directly'', not to mention losing '''all of his workforce in a single day''', Rameses II went on to become the single most successful pharaoh in Egyptian history, his battles, conquests and accomplishments being usually credited to bringing the Egyptian empire to its apex. Not only does this say tons about his personal resilience, fortitude and leadership skills, but it's nothing short of a '''miracle''' that he pulled it off. [[note]] This is the very same reason most historians agree Rameses II couldn't have been the Pharaoh of Exodus, as his accomplishments would have been ''virtually impossible'' had he been on the receiving end of the plagues. [[/note]]

* In a meta sense, the fact that the film is honest from the start about its artistic license to the original text, while simultaneously showing that they ''really'' did their research, interviewing dozens of scholars from ''all three Abrahamic religions'' in order to portray the events and characters as sensitively and accurately as possible.
** The result is so respectful, that the movie is widely regarded as a better representation of the story than ''' ''Film/TheTenCommandments'' '''.
*** And this movie has also been held up as a better alternative to ''Film/ExodusGodsAndKings''
* A smaller one: While it's usually a bad idea to read [=YouTube=] comments, the ones featured on clips from the film are almost universally positive. Viewers of all belief systems, including atheists, openly voice their respect and love for the movie, and even seem to have an unspoken agreement ''not'' to let the comments section devolve into a mess of arguments. Any movie that can tame the Internet must be doing something right.

* Credit must be given to Ofra Haza (''aleha ha-shalom'')[[note]]"May she rest in peace."[[/note]]. However small her role was, she went on to voice Yocheved in ''18 languages''. Most wouldn't mind hopping over to one country for the foreign translation; she did so for 16 other countries, and her pronunciation was ''spot-on'' for nearly every single one.[[note]]For a few of them, she pronounced the translated lyrics phonetically.[[/note]]

* It had been ''ages'' since any studio outside of Disney had made a large profit at the box office with traditional animation, especially once the Disney Renaissance began, and the Mouse House sucked the air out of the competition's sails. However, this film, along with Fox's ''WesternAnimation/{{Anastasia}}'', proved that success could be found with top-flight animators, a strong story, and perhaps most importantly, producers and studio brass allowing a team to see their original vision through, without ExecutiveMeddling. Its successful run is even more impressive than ''Anastasia'''s; while the latter didn't stray too far from the stock animation tropes of the time, the fact that ''The Prince of Egypt'' found success with an unabashedly religious story spoke to the universal power of its storytelling and visuals, even for adherents to non-Abrahamic faiths.

* Credit must be given to Ofra Haza (''aleha ha-shalom''). However small her role was, she went on to voice Yocheved in ''18 languages''. Most wouldn't mind hopping over to one country for the foreign translation; she did so for 16 other countries, and her pronunciation was ''spot-on'' for nearly every single one.[[note]]For a few of them, she pronounced the translated lyrics phonetically.[[/note]]

* In a meta sense, the fact that the film is honest from the start about its artistic license to the original text, while simultaneously showing that they ''really'' did their research, interviewing dozens of religious scholars from ''all three Abrahamic religions'' in order to portray the events and characters as sensitively and accurately as as possible.

* You have to give credit to the late Ofra Haza. However small her role was, she went on to voice Yocheved in ''18 languages''. Most wouldn't mind hopping over to one country for the foreign translation. She did so for 16 other countries, and her speech was ''spot-on'' for nearly every single one.[[note]]For a few of them, she pronounced the translated lyrics phonetically.[[/note]]
* The fact that the film doesn’t portray the characters as being white or having European features, unlike certain other tellings of the story...

* It had been ''ages'' since any studio outside of Disney had made a large profit at the box office with traditional animation, especially once the Disney Renaissance began, and the Mouse House sucked the air out of the competition's sails. However, this film, along with Fox's ''WesternAnimation{{Anastasia}}'', proved that success could be found with top-flight animators, a strong story, and perhaps most importantly, producers and studio brass allowing a team to see their original vision through, without ExecutiveMeddling. Its successful run is even more impressive than ''Anastasia'''s; while the latter didn't stray too far from the stock animation tropes of the time, the fact that ''The Prince of Egypt'' found success with an unabashedly religious story spoke to the universal power of its storytelling and visuals, even for adherents to non-Abrahamic faiths.

* Main/RootingForTheEmpire and Main/DracoInLeatherPants to the nth degree? Yes. But the fact that after being on the receiving end of ''the most devastating plagues, famine, and some of the worst natural disasters ever known to man and having his Gods being humiliated right in front of his eyes by a far stronger God that went after him and his people directly'', not to mention losing '''all of his workforce in a single day''', Rameses II went on to become the single most successful pharaoh in Egyptian history, his battles, conquests and accomplishments being usually credited to bringing the Egyptian empire to its highest, most stable point, says not only tons about his personal resilience, fortitude and leadership skills, but is also nothing short of a '''miracle''' that he pulled it off. [[note]] This is the very same reason most historians agree Rameses II couldn't have been the Pharaoh of Exodus, as his accomplishments would have been ''virtually impossible'' had he been on the receiving end of the plagues. [[/note]]

* In a meta sense, the fact that the film is honest from the start about its artistic license to the original text.
** While at the same time they tell you that they ''really'' did their research; interviewing dozens of religious scholars from three different faith groups in order to portray the events as best as possible.
** The result is so accurate, and so respectful, that the movie is widely regarded as a better representation of the story than ''' ''Film/TheTenCommandments'' '''.

* A smaller one: while it's usually a bad idea to read [=YouTube=] comments, the ones featured on clips from the film are almost universally positive. Viewers of all belief systems, including atheists, all openly talk about their respect and love for the movie, and even seem to have an unspoken agreement ''not'' to let the comments section devolve into arguing and fights. Any movie that can tame the Internet must be doing something right.

* You have to give credit to the late Ofra Haza, who played Moses' mother, Yocheved. However small her role was, she went on to play that same character in ''18 languages''. Most wouldn't mind hopping over to one country for the foreign translation. She did so for 16 other countries, and her speech was ''spot-on'' for nearly every single one.

* The film's box office success. It had been ''ages'' since any studio outside of Disney had broke through any success at the box office with traditional animation, especially once Disney ushered in their new Renaissance and sucked the air out of the competition's sails, but this film, along with Fox's ''Anastasia'', proved success could be had with top-flight animators, a strong story, and perhaps most importantly, producers and studio brass allowing a team to see their original vision through, without ExecutiveMeddling. Its successful run is even more impressive than ''Anastasia'''s; while the latter didn't stray too far from archetypical animated tropes, the fact that ''Egypt'' found success with an unabashedly religious story spoke to its universal power of its storytelling and visuals, even for those whose religions vary from what is portrayed here.

* One for the writers: the entire character of Tzipporah, and her and Moses's relationship. What could have easily been a RomanticPlotTumor is instead handled with maturity and excellent CharacterDevelopment. Tzipporah doesn't even start giving Moses a second thought until he openly declares that he's "done nothing in his life worth honoring." That's when she realizes he has the power to change--and the movie, unlike so many others, makes it clear that it's ''him'' that needs changing, rather than Tzipporah needing to [[DefrostingIceQueen tone done her outspoken nature]]. She comes to love him over a period of months, if not years (we don't know how much time passes during "Through Heaven's Eyes"), and only after he's proven himself with hard work and compassion for others, two qualities he was sorely lacking before. In the end, the two have fallen genuinely in love, and the result is a strong, beautiful depiction of a fair, balanced, equal marriage.

*** The Fifth Plague, the disease of the livestock, hits a soft point: the cult of Apis, an avatar of Ptah -- the Maker, in the creation myth of Egypt's legislative capital, Memphis -- and intermediary between men and the gods, who appears on Earth as a bull (the Egyptians also built graves for these bulls). Because Moses is now the intermediary, Apis dies, and no other bull with the proper markings shall be found.

* You have to give credit to the late Ofra Haza, who played Moses' mother. However small her role was, she went on to play that same role in ''18 languages''. Most wouldn't mind hopping over to one country for the foreign translation. She did so for 16 other countries, and her speech was ''spot-on'' for nearly every single one.

* The film's box office success. It had been ''ages'' since anyone outside of Disney had broke through any success at the box office with traditional animation, especially once Disney ushered in their new Renaissance and sucked the air out of the competition, but this film, along with Fox's ''Anastasia'', proved success could be had with top-flight animators, a strong story, and importantly, producers and studio brass allowing a team to see their original vision through instead of meddling. Its successful run is even more impressive than ''Anastasia'''s; while the latter didn't stray too far from archetypical animated tropes, the fact that ''Egypt'' found success with an unabashedly religious film spoke to its universal power of its storytelling and visuals, even for those whose religion vary from what is portrayed here.

*** The Fifth Plague, the disease of the livestock, hits a soft point: the cult of Apis, an avatar of Ra and intermediary between men and the gods, who appears on Earth as a bull (the Egyptians also built graves for these bulls). Because Moses is now the intermediary, Apis dies, and no other bull with the proper markings shall be found.

*** The Seventh Plague, the storm of hail and fire, is personal for the Pharaoh and the royal family: Storms are the dominion of Seth, lord of chaos. In this time, not only is Seth not yet demonized (that would happen only from the Twenty-First dynasty, and the names of the Pharaohs indicate the Nineteenth), but he's ''one of the most important gods'', with Ramses' own father being named after him and the current capital of Pi-Ramses (cited by name in the Bible as the starting point of the Exodus) is a center of Seth's worship. Ouch...

*** The staff-to-cobra transformation caused such a panic because it's a symbol of two goddesses: Meretseger, the guardian of the royal tombs, and, more importantly, Wadjet, the ''symbol of the royal power of life and death'' (hence why the pharaohs and a few other members of the royal family wore a stylised cobra on their heads). That's also why Hotep and Huy could pull it: they ''are'' the court mages, playing with cobras is part of their job. Not only that, but Moses' staff-turned-snake manages to consume the other two cobras whole;
*** The First Plague, transforming the Nile in a river of blood, is a mockery of a good omen: the Nile would become red ''once'' per year, filled with the fertile silt that the incoming flood would deposit on the earth. And yet, this time not only do the red waters appear at the wrong time of the year and bring no silt, but they also cause the death of all the fish of Egypt. [[FridgeBrilliance And comes to think, silt is probably how Hotep and Huy replicated the trick on smaller scale]].

*** The Fifth Plague, the disease of the livestock, hits a soft point: the cult of Apis, intermediary between men and gods, with a living incarnation as a bull (the Egyptians also built graves for these bulls). Because Moses is now the intermediary, Apis dies, and no other bull with the proper markings shall be found.
*** The Sixth Plague, the boils, hits particularly hard: boils and other illnesses fall under the dominion of Thoth, the God of Science and Knowledge, Medicine and, what's worse, the ''Arbitrator of the Gods'', who would bring justice and properly administer the law. Between the epidemics and the priests having no knowledge on how to cure this, this one is a warning that Egypt has brought itself outside of the law of ''Maat'', its greatest moral value.
*** The Seventh Plague, the storm of hail and fire, is personal for the Pharaoh and the royal family: storms are the dominion of Seth. In this time, not only is Seth not yet demonized (that would happen only from the Twenty-First dynasty, and the names of the Pharaohs indicate the Nineteenth), but it's ''one of the most important gods'', with Ramses' own father being named after him and the current capital of Pi-Ramses (cited by name in the Bible as the starting point of the Exodus) is a center of Seth's worship. Ouch...
*** The Eighth Plague, the locusts, is pure nightmare: while in small numbers they were considered symbols of luck alongside grasshoppers, in large numbers they were rightly feared, and by being brought by the wind this plague entered the dominion of one of the most important gods, Amun.
*** The Ninth Plague, the Darkness, is again personal with the Pharaoh and his family: not only the authority of the Pharaoh is associated with the Sun God Ra and the Sky God Horus, but the reigning Pharaoh is ''Ra''mses, meaning "Born from Ra". A message of paternal and divine rejection?
*** The Tenth Plague is linked to a specific Egyptian myth, the Eye of Ra. In that myth, the men had disrespected Ra and planned to rebel and kill him, so he sent his Eye (identified with either the war goddess Sekhmet or the [[BewareTheNiceOnes gentle Hathor]] [[DependingOnTheWriter Depending on the Version]]) to punish them with a slaughter... And in one day she killed ''half of mankind'', all the guilty and many innocents, and to stop her from finishing the job, the gods had to get her drunk. The message here is: "Let My people go, for if you continue to sin all of Egypt shall die in a heartbeat". No wonder Rameses finally relented...
*** And the worst part of it all? ''It's during the day'' one of the most important parts of Egyptian cosmology is how Ra governs during the day, and when night falls he fights against the serpent-dragon Apep, so that he won't consume the world. This isn't even remotely subtle on God's part; he is directly saying, "''Your greatest protector is'' '''nothing''' ''compared to'' '''''Me'''''"
*** Furthermore, at the end of the Final Plague, when the Angel of Death and/or souls of the dead firstborn dissipate into the sky, the constellation we know as Orion is shown prominently in the night sky. [[GeniusBonus To ancient Egyptians, that constellation was associated with Osiris]], King of the Underworld. ''That'' is [=The Hebrew God=]'s final assault on the gods of Egypt: He declares "''Even Life itself is mine and mine alone to give and rescind.''" An alternate way to interpret it is that Osiris ''is'' the Angel of Death, and [=The Hebrew God=]'s message to the ancient Egyptians is that ''their'' god is taking their firstborn on '''His''' behalf.

* From the very first scene, the camera pulls back to reveal the stone head of pharaoh being pulled by hundreds of animated Hebrews. At that moment, you know this is going to be an EpicMovie.
* The plagues is one. Not only is it LaserGuidedKarma for an entire culture of [[SlaveryIsASpecialKindOfEvil abusive slavers]], but God lets loose with His full power. And there is not a thing the Egyptians can do to stop Him. The climax would be the scene where God kills all of the firstborns of Egypt--including Rameses' own son, which is finally what breaks Rameses and causes him to free the Hebrews.
** A little digging into Egyptian beliefs brings out a new level to this. God isn't just using generic plagues to attack the Egyptians. He is mocking the Egyptian gods in the process, who tended to be patterned after animals, as well as the concept of Pharaoh being a god himself since this entire time he is powerless. Essentially, He is breaking the Egyptians by saying "See how your gods tremble before Me?" in addition to suffering.
*** Their gods don't just tremble; they ''flee''. He has full authority and power, and the various Egyptian gods can't do a damn thing to stop Him. Here's a brief breakdown of how every single prodigy before the Exodus hit Egyptian beliefs and their very way of life:
*** The staff-to-cobra transformation caused such a panic because it's a symbol of two goddesses: Meretseger, the guardian of the royal tombs, and, most importantly, Wadjet, the ''symbol of the royal power of life and death'' (hence why the pharaohs and a few other members of the royal family wore a stylised cobra on their heads). That's also why Hotep and Huy could pull it: they ''are'' the court mages, playing with cobras is part of their job. Not only that, but Moses' staff-turned-snake manages to consume the other two cobras whole;
*** The First Plague, transforming the Nile in a river of blood, is a mockery of a good omen: the Nile would become red ''once'' per year, filled with the fertile silt that the incoming flood would deposit on the earth. And yet, this time not only the red waters appeared at the wrong time of the year and brought no silt, but they also caused the death of all the fish of Egypt. [[FridgeBrilliance And comes to think, silt is probably how Hotep and Huy 'replicated' the trick on smaller scale]]';
*** The Second Plague, the frogs overrunning Egypt, continues the mockery of a good omen: the frog is a symbol of fertility and the god Hapy, a personification of the flooding of the Nile and its fertile silt, and smaller 'invasions' of frogs would come right after the flooding;
*** The Third and Fourth Plagues, the mosquitoes and the fleas, are a direct consequence of the end of the Second: there were no frogs to eat them anymore. What's worse, the Egyptians were used to dealing with them, but this time there were too many;
*** The Fifth Plague, the disease of the livestock, hits a soft point of the Egyptian believes: the cult of Apis, intermediary between men and gods, with a living incarnation as a bull (the Egyptians also built graves for these bulls). Because now Moses is the intermediary, Apis dies, and no other bull with the proper markings shall be found;
*** The Sixth Plague, the boils, hits particularly hard: boils and other illnesses fall under the dominion of Thoth, the God of Science and Knowledge, Medicine and, what's worse, the ''Arbitrator of the Gods'', who would bring justice and properly administer the law. Between the epidemics and the priests having no knowledge on how to cure this, this one is a warning that Egypt has brought itself outside of the law of Maat, its greatest moral value;
*** The Seventh Plague, the storm of hail and fire, is personal for the Pharaoh and the royal family: storms are the dominion of Seth. In this time not only is Seth not yet demonized (that would happen only from the Twenty-First dynasty, and the names of the Pharaohs indicate the Nineteenth), but it's ''one of the most important gods'', with Rameses's own father being named after him and the current capital of Pi-Ramses (cited by name in the Bible as the starting point of the Exodus) is a center of Seth's worship. Ouch...;
*** The Eighth Plague, the locusts, is pure nightmare: while in small numbers they were considered symbols of luck alongside grasshoppers, in large numbers they were rightly feared, and by being brought by the wind this plague entered the dominion of one of the most important gods, Amon;
*** The Ninth Plague, the Darkness, is again personal with the Pharaoh and his family: not only the authority of the Pharaoh is associated with the Sun God Ra and the Sky God Horus, but the reigning Pharaoh is ''Ra''meses, meaning "Born from Ra". A message of paternal and divine rejection?;

*** And the worst part of it all? ''It's during the day'' one of the most important parts of the Egyptian Mythology is how Ra governs during the day, and when night falls he fights against Apophis, so that he won't consume the world, this isn't even remotely subtle from God's part, he is directly saying "''your greatest protector is'' '''nothing''' ''compared to'' '''''Me'''''"
*** Furthermore, at the end of the Final Plague, when the Angel of Death and/or souls of the dead firstborn dissipate into the sky, the constellation we know as Orion is shown prominently in the night sky. [[GeniusBonus To ancient Egyptians, that constellation was associated with Osiris]], their god of life and death and judge of the underworld. ''That'' is [=The Hebrew God=]'s final assault on the gods of Khem: He declares "''Even Life itself is mine and mine alone to give and rescind.''" An alternate way to interpret it? Osiris ''is'' the Angel of Death, and [=The Hebrew God=]'s message to the ancient Egyptians is that ''their'' god is taking their firstborn on '''His''' behalf.

* The parting of the Red Sea is a SugarWiki/MomentOfAwesome for both Moses ''and'' the animation studio.

** A tribute to the animator's sense of detail: as the Hebrews are leaving during the song, two Egyptian guards throw down their spears and join the group. What could have been a throwaway moment of two guys turning sides ends up being a detail that sticks; they're occasionally seen in crowd scenes until the end of the film.

* Speaking of the animation, there are several moments where there is [[TwoDVisualsThreeDEffects CG]] included in parts of the film, including the chariot scene, several of the plagues, and even ''the Burning Bush''. Both first-time and hardcore viewers don't notice this unless they view the [[http://m.youtube.com/watch?v=mTX_qo0xRFs Behind the Scenes]] for the film. Yes, Dreamworks combined both 3D and 2D animation into their film '''and successfully pulled it off'''.
* Tziporah ''openly'' biting the hand of a ''prince of Egypt''! Why is this badass? Because she probably knew that doing so could get her beaten or killed, but she does anyway because she's a woman who ''won't'' take crap from anyone! Including a prince.

** A little digging into Egyptian beliefs brings out a new level to this. God isn't just using generic plagues to attack the Egyptians. He is mocking the Egyptian gods in the process, who tended to be patterned after animals, as well as the concept of Pharaoh being a god himself since this entire time he is powerless. Essentially, He is breaking the Egyptians by saying "See how your gods tremble before me?" in addition to suffering.

** A tribute to the animator's sense of detail: as the Hebrews are leaving during the song, two Egyptian guards throw down their spears and join the group. What could have been a throwaway moment of two guys turning sides ends up being a detail that sticks; they're occasionally seen in crowd scenes until the end of the film.

** And afterward when Moses runs back to Zipporah to tell her what happened. No dialog at all for a full 30 seconds, but the joy of one man telling of his experience of God is conveyed utterly and emotionally all in that wonderful music and the way Moses moves to tell the story of his new divine calling. Just [[SugarWiki/AwesomeMusic Hans Zimmer's sweeping score]] and Moses telling what happened through gesture.

* Tzipporah ''openly'' biting the hand of a ''prince of Egypt''! Why is this badass? Because she probably knew that doing so could get her beaten or killed, but she does anyway because she's a woman who ''won't'' take crap from anyone! Including a prince.

* You have to give credit to the late Ofra Haza, who played Moses' mother. However small her role was, she went on to play that same role in ''26 countries''. Most wouldn't mind hopping over to one country for the foreign translation. She did so for 25 other countries, and her speech was ''spot-on'' for nearly every single one.

* Speaking of the animation, there are several moments where there is ConspicuousCG included in parts of the film, including the chariot scene, several of the plagues, and even ''the Burning Bush''. Both first-time and hardcore viewers don't notice this unless they view the [[http://m.youtube.com/watch?v=mTX_qo0xRFs Behind the Scenes]] for the film. Yes, Dreamworks combined both 3D and 2D animation into their film '''and successfully pulled it off'''.

* [[IKnowYoureInThereSomewhereFight How Miriam convinces Moses that he is her brother]]. She sings Yocheved's last lullaby, her voice nearly breaking with her depth of her conviction, love, and sorrow. In the span of 20 seconds, Miriam unwrites Moses' Egyptian identity, proving to him that her tear-stricken face is all too familiar, like the first face he ever saw...

* The plagues is one for God. For once, He lets loose with His full power. And there is not a thing the Egyptians can do to stop Him. The climax would be the scene where God kills all of the firstborns of Egypt--including Rameses' own son, which is finally what breaks Rameses and causes him to free the Hebrews.

*** The Seventh Plague, the storm of fire, is personal for the Pharaoh and the royal family: storms are the dominion of Seth. In this time not only Seth is not yet demonized (that would happen only from the Twenty-First dynasty, and the names of the Pharaohs indicate the Nineteenth), but it's ''one of the most important gods'', with Rameses's own father being named after him and the current capital of Pi-Ramses (cited by name in the Bible as the starting point of the Exodus) is a center of Seth's worship. Ouch...;

* [[IKnowYoureInThereSomewhereFight How Miriam convinces Moses that he is a Hebrew]]. She sings Yocheved's last lullaby, her voice nearly breaking with her depth of her conviction, love, and sorrow. In the span of 20 seconds, Miriam unwrites Moses' Egyptian identity, proving to him that her tear-stricken face is all too familiar, like the first face he ever saw...