Ben-Hur: A Tale of the Christ

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1. ›Film Review: Ben-Hur: A Tale of Christ (1925)@drax1145d

   

   Ben-Hur is considered to be the most successful of all old school Hollywood historic epics and one of the greatest films of Metro-Goldwyn-Meyer, studio that in many way epitomised Classic Hollywood in all of its glory. This achievement is greater considering long, difficult and financially demanding production. Those difficulties could have been even bigger if MGM executives hadn’t got fortune to learn on some of their previous experiences when covering the same story decades earlier in Ben-Hur: A Tale of Christ, 1925 film directed by Fred Niblo, known as the most expensive silent film ever made.

   The film is based on the eponymous novel by Lew Wallace, known as the most popular work of 19th Century American literature. Its popularity was maintained in first decades of 20th Century through stage play. In 1907 it served as basis for short silent film that gave extremely shortened version of the events from the source and was later subject to copyright infringement lawsuit. 1925 version was, on the other hand, first “proper” adaptation of the novel with film rights obtained for a hefty sum from theatrical producers Marc Klaw and Abraham Erlanger. Plot begins by depicting events related to birth of Christ and visit by Three Wise Men. Many years later we are introduced to protagonist, Judah Ben-Hur (played by Ramon Novarro), the last heir of rich and respectable Judean family in Jerusalem. He is in love with Esther (played by May McAvoy), daughter of his family’s trusted slave and accountant Simonides (played by Nigel De Brulier). Trouble for Judah arise with an arrival of Messala (played by Francis X. Bushman), Roman officer who used to be his best childhood friend but now treats Judah and his Jewish people with disdain and hostility. When a tile from Judah’s house accidentally falls off and nearly kills Roman governor, Messala is quick to put not only his friend to prison, but also Judah’s sister Tirzah (played by Kathleen Key) and mother (played by Claire McDowell). Messala is sentenced to work as slave on Roman galley and spends years dreaming of revenge. When the galley takes part in battle against pirates, Judah saves the life of Roman commander Quintus Arrius (played by Frank Currier) who, as a sign of gratitude, not only gives him freedom but adopts him as his son. After many years, during which he won affection of Rome’s masses as charioteer, he ventures to Antioch to seek Simonides and Esther. There he finds that Messala is going to take part in spectacular chariot race so he accepts offer of Sheikh Ilderim (played by Mitchell Lewis) to race for him and thus get his revenge.

   When it comes to comparing 1959 version with this film, it is very easy to notice that the older film looks inferior, even with its technical limitations – lack of sound and colour (except in few scenes, mostly of religious nature, that were made through primitive two-strip Technicolor) – taken into account. Old Ben-Hur is shorter, but, like so many silent films, suffers from melodramatic anoveracting of its cast, which is probably most visible in the scene when old childhood friends Judah Ben-Hur and Messala reunite; Ramon Novarro and Francis X. Bushman look quite weak and uninspired compared with Charlton Heston and Stephen Boyd in their respective roles. However, for those who have seen this film for the first time in mid 1920s, Ben-Hur was truly amazing and breathtaking experience. That was especially so in the scenes delivering unprecedented visual spectacle, most notably in naval battle which had been shot near coast of Italy number of large custom-made replica of ancient galleys and featuring hundreds of extras (some of them actually rumoured to be killed or drowned during the chaotic shooting). This scene is quite impressive even today, when it is difficult to imagine that Hollywood can handle such spectacular content even with the help of CGI. Same can be, to a certain degree, said for chariot race, which included large number of extras, plenty of action, good stunt work, superb editing (and, sadly, large number of horses actually being deliberately killed), but that scene still looks inferior to 1959 version. But, like in the latter film, chariot scene in silent version ends too early in the film, and the audience has to watch rather uninspired reconstruction of the events from the New Testament. The only thing that old version might be slightly superior to the new is due to lack of censorship standards later imposed by MPAA Production Code. In silent Ben-Hur there are brief scenes of both male and female nudity.

   1925 version of Ben-Hur, on the other hand, had really difficult and troubled production that took several years. Originally produced by Goldwyn Pictures, it was written by highly renowned screenwriter June Mathis, directed by Charles Brabin and had George Walsh, brother of famous director Raoul Walsh, in the title role. Shooting took place in Italy, but it was all but abandoned due to skyrocketing costs and Goldwyn being absorbed into Metro-Goldwyn-Meyer. New studio boss Irving Thalberg had Mathis and Brabin fired, main role recast by Mexican actor Roman Novarro and the famous chariot scene reshot at studios in Culver City, California. This resulted in budget of Ben-Hur rising to 4 million US$, which is a record that won’t be surpassed until the end of silent era. However, skilful direction of veteran Fred Niblo and clever promotional campaign, which included slogan “The Picture Every Christian Ought To See!” resulted with even more impressive box office results, although MGM had to wait for few years before actually covering all expenses. MGM nevertheless learned for the problematic production and in 1959 William Wyler, one of the young assistant directors, has put his experiences to a very good use in technically and artistically superior new version.

   RATING: 6/10 (++)

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2. ›📽 BEN-HUR : A TALE OF THE CHRIST [Fred Niblo, 1925] - Movie review by Mandibil@mandibil3470d

   The 1959 adaptation of this bestselling book, is a contender for the most academy award winning movie of all time with 11 statues, at a dead heat with Titanic and Lord of the Rings. Now while I can support the decision of the latter two, I am having a lot more trouble with Ben Hur. Actually, I have never sat through a complete viewing. I have started 2-3 times where I fell asleep and 2-3 times where I quit somewhere in the middle. It simply does not get to me. But one thing I did get out of aquiring the lavish 4 disc DVD version of the 1959 movie, was a fine restoration of the 1925 silent adaptation. And having the christmas season and all at the moment, a review of that one would be in good order.

   

   First of all the plot structure of the film, and therefore the book (presumably, since I have not read it), is an excuse for retelling the story of Christ as a struggle against suppressive rule, more than evangelical moralizing. It does quote the evangelists directly to make sure the audience can connect the dots correctly, and to be honest it is kinda revealing, that such a blatant brainwashing is necessary. But I suppose that there is a potentially huge christian audience who will wallow in it. It is not destracting from the cinematography though, and may even be fitting in a weird way, since it is mostly present as the story comes to a close and Christ ends his days at the same time. And since silent movies had a lot of intertitling to help the plot along in the first place, it is somewhat camouflaged.

   

   Secondly this was supposedly the most expensive movie of the whole silent era. I am not sure if this is true. Metropolis was a huge cost for its german company UFA, which failing boxoffice success literally bankrupted the company. But in any case it is in many ways a special effect spectacle that even today, almost a century later, can impress. They also used the latest inventions of technicolor film for certain scenes and other special effects for the epic chariot race, that was bold but turned out really impressive.

   

   A judean prince, Judah Ben-Hur (Ramon Novarro), lives with his mother and sister, and their household slave Simonides and his daughter Esther. His childhood friend, roman Messala (Francis Bushman), returns from military training in Rome and is invited in to his home again as a friend. But Messalahas changed his view on Jews, apparently as a consequence of roman indoctrination, and belittle the race as someone to be ruled over by the superior romans. Ben-Hur is chocked by his prejudice and they become mortal enemies.

   

   Later Messala falsely accuses Ben-Hur of aggression against the romans and he is arrested and put into service in the roman galley fleet. During his deportation he is helped by a carpenter's son at a fountain in the small village of Nazareth. The only part of Christ we see is his hand moving a saw and extending a drinking bowl to the suffering Ben-Hur. Three years have passed for Ben-Hur as a slave in the galleys, when a greek pirate fleet fights back the roman intend on sea domination. In the ensuing gigantic see battle, Ben-Hur manages to save his captains life and as a thanks, he takes Ben-Hur as his son and bring him to Rome. The captain had previously become impressed by the devotion of Ben-Hur and let him work the oars without chains. This serves as a crude metaphor letting people be free of chains to pursue their own interest and ultimately be able to and have an incentive to help others.

   

   But Ben-Hur is openly hell bent on revenging his family and his people and he sees a way of destroying the roman domination of his homeland, by getting the military training from those he wishes to exterminate. Ben-Hur becomes an athletic master and a celebrity. Fate will have it that an opening in a chariot race in Circus Maximus opens which Ben-Hur is offered. At first he declines but upon learning that his mortal enemy Messala will race too he jumps at the opportunity to get revenge.

   

   The chariot race is the mcguffin of this movie in the sense that the inherent urge for revenge, build from the start, comes to fruition in this epic scene. According to the 1980 Docu "Hollywood", there were used 42 cameras for the filming and supposedly the best catches picked for the film. The circus was created as part setting and painting placed in forced perspective, which to my eye is impossible to separate. A truly masterful special effect. The tracking shots of chariots are impressive and even an antseye view is used with chariots running over... though the editing is a bit flickery, if only visible for those who really look closely.

   

   The roman Messala uses cowardly tricks in his effort to win the race but Ben-Hur eventually prevails and wins. Ben-Hur learns that his family's servant is still alive and doing well in Antioch as a nmerchant. When he goes to seek hom out he also learns that his mother and sister may still be alive in his hometown. Trying to seek them out he is unsuccesful since the are still in jail and has been struck with leprecy.

   

   But as luck will have it, the new ruler in the region, Pilate, has to free prisoners, as we kniw from the gospels and the two women are released and let out on their own. At long last, as the messiah carries the cross heading for his own crucifixion, he heals their leprecy and the watching Ben-Hur realizes who the two women are. All during the last hours of the messiahs life, we get the quotes from the bible and sort of intertwined with the plot of the Hur family. In my opinion it is over the top and too christian minded compared to the rest of the movie, where we get huge war battles, nude women and so on.

   

   Overall it has the typical epic silent movie feel to it. None of the acting stands out very much, except maybe for the well scene and the lead up to that, which is my favorite part of the movie. The chariot race is impressive, but from a story and performance point of view this is a highlight, and frankly, the Heston version cannot hold a candle to it. The interior scenes are generally much less epic in feel than their exterior counterparts and it does drag things down a bit since the acting is just sufficient nothing more. The movie is about 2,5 hours long but it does not really feel that way, which is more than can be said of its 1959 competition, or what I have seen of it. It does a good job of keeping the pace most of the time and does not drag.

   

   I would choose this version over the 1959 version any time. The version i have has the tinted and technicolor pieces incorporated and it is a treat to see such early invention seen in action. From a special effects point of view it has its interest and they use reak ships, build in Italy for the epic sea battle, the 1959 version uses miniature models that lack the unique sense of scale that this version delivers. A recommended movie.

   Rating : 7/10

   

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