Revealing: In the scene when when the Red Sea goes together, if you look behind Pharaoh as his troops are being engulfed by the water notice in the background that there are two boulders floating in the water, not being pushed but floating lightly.

Other: When Rameses places the dead body of his son on the statue next to his throne, watch as it cuts to a shot of the side of the statue. A dummy was used in this scene, and it becomes obvious. Check out his hair, which looks like plastic, and his eyes, which look like little circles.

Continuity: In the scene where Moses leads the Hebrews from Egypt, he pauses before them to deliver a little speech before they head out into the desert. He faces the camera and lifts his staff up with his left hand. But on the cutaway shot from behind, he is holding the staff in his right hand.

Revealing: When Rameses is casting Moses out into the desert the place where the real set ends and a painted panel starts is noticeable: The yellow sand becomes dark brown and the sea behind remains still all the time.

Factual error: When Moses is received by the Pharaoh after his Ethiopian campaign, he greets the Pharaoh with a Roman salute (right fist on left shoulder).

Revealing: When Rameses is casting Moses out into the desert, he stands in his chariot and delivers his speech about ruling over the scorpions. The pyramids behind him are 20th century photos, i.e. they look 4000 years old. In the time of Rameses, they would have been almost brand new.

Other: When Moses' wife Sephora is out guarding the sheep, Moses is with his son at a tent. Sephora calls him because there is a stranger behind the rocks. When she calls you can hear that the sound is indoor-sound from a set, not outdoors. This continues when Moses call, the dogs bark and so on. And also Sephora looks into the camera for a few moments.

Revealing: All of the women in the film have 1950's-style haircuts.

Continuity: In the scene where Moses confronts his Egyptian mother Bithiah with the Hebrew piece of cloth, she is beading on an Egyptian loom. During this scene, the string that she is beading (the farthest to our right) first matches the height of the other strings. One shot later, there is suddenly more beads, making the string higher than the others.