I assume that Delineator Films is really just director and writer , the same man who brought us UFO Top Secret and its spiritual siblings UFO Exclusive and Amazing World of Ghosts. When you watch enough of Dixon’s movies, you start to realize that his filmmaking method is less about directing and more about curating whatever film cans happen to be lying around the room. If there’s a reel of stock footage, a religious educational short or a black-and-white dramatization from the Eisenhower administration, chances are it’s going to show up in one of his movies eventually.

Dixon didn’t shoot any of this, of course. Like most of his work, it’s a cinematic patchwork quilt. The footage comes from productions made by Family Films, pulled from several episodic religious series that were already decades old by the time Dixon got his hands on them. If you want to get technical, and you know I do, the footage seems like it was taken from several episodic series, including The Living Bible, a 26-part series released from 1952-55, and The Old Testament Scriptures, a 14-part mini-series released in 1958 and 1959.

This feels ancient now and probably felt as moldy in 1979.

Narrated by the ever-serious Sidney Paul, this film consists mostly of pantomime reenactments that tell the stories of Moses from the Old Testament and Jesus Christ from the New. If you’ve ever seen those old church-produced Bible films where everyone moves slowly, stares toward heaven and gestures dramatically like they’re trapped in a silent movie, that’s basically the vibe.

The production values scream mid-century religious educational film. The costumes look like something from a church basement pageant. The lighting is flat. The acting is…well, “acting” might be generous. Most of the performers appear to have been instructed to slowly raise their arms, gaze upward, and move around like they’re in a reverent game of charades. The whole thing plays less like a movie and more like a filmed version of a Living Nativity scene your local church would put on in December.

You know the kind. Wooden manger. Plastic sheep. One kid who refuses to stay in character. Someone’s uncle is playing Joseph while trying not to drop his fake beard. Maybe I’m the only one who went to those growing up, but that’s exactly the energy here. Who am I kidding? I was in one of those for almost a decade.

What makes the film fascinating isn’t the storytelling, which is about as straightforward as it gets, but the texture of the footage. The film stock looks faded, as if someone left it sitting in a sunny storefront window for 30 years. Colors bleed, the contrast fluctuates, and every now and then the image looks like it might dissolve into dust right there on the screen.

And somehow that actually adds to the charm.

This whole thing feels like a relic. Not just a movie about biblical history, but a movie that itself feels like a historical artifact. You’re not just watching the story of Moses or Jesus. You’re watching how people in the 1950s imagined those stories should look on film, filtered through the low-budget repackaging instincts of a 1970s exploitation documentarian.

That combination is what makes a Wheeler Dixon production so strangely compelling. He’s the king of the cinematic collage, the patron saint of recycled footage. If he made a movie about aliens, ghosts, the Bermuda Triangle or the Book of Exodus, you can bet that half of it would come from some other movie he found in a bargain bin.

You can watch this on YouTube.