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The Prince of Egypt dared to ask: What if an animated film could be a prayer? The answer, it turns out, was a masterpiece.

“Deliver Us,” the opening number, is a harrowing slave lament. As the Hebrew women sing a call-and-response while staggering under heavy stones, Zimmer’s score introduces a mournful shofar (a ram’s horn). It is a far cry from “Hakuna Matata.” the.prince.of.egypt.1998

First, the dream of the golden calf. In a surreal, nightmarish sequence, a guilt-ridden Moses imagines the Hebrews worshipping the idol he accidentally helped create. The animation distorts into feverish, flowing brushstrokes—a rare moment where the medium admits it is paint, and uses that fact to evoke psychological collapse. The Prince of Egypt dared to ask: What

But the film’s true visual genius is revealed in its two most famous sequences. As the Hebrew women sing a call-and-response while