I always thought that the male characters in The Ten Commandments seemed more interested in each other than they did in the beautiful women in flowly clothes who parade around them. Richard Lindsay confirms my suspicions:
Some of the queer subtext of biblical epics comes not from the sexual desirability of the main characters, but from the films’ aesthetic of camp. Camp, a sensibility of theatricality taken to extremes—sometimes knowingly, sometimes unknowingly—has long been a reading strategy of queer audiences. It takes an audience with an eye for the decadent and a gift for seeing double meaning to understand the subversive possibilities of a film like DeMille’s The Ten Commandments of 1959.