Ben-Hur

Media:	DVD
Directed by:	William Wyler
Starring:	Charlton Heston, Jack Hawkins, Stephen Boyd
Release date:	14 September, 2004
List price:	~~$19.96~~
Our price:	$14.97 that is 25% off!

Ben-Hur

Average rating: Stars

Wyler at his best

I have always admired the talents of William Wyler. The success of Ben Hur soley rests upon his capable shoulders. If Heston evoked better in this film than others, it was because "forty-take" Wyler demanded it. He knew what worked in cinema. His record 12 Academy Award nominations and three wins demonstrates not just his level of achievement but also the admiration of his peers. Willy only had a few more films left to his career, but he went out on top creating one of the greatest spectacles of all time. I would venture to say Ben Hur set the bar for filmmakers that followed.

From the quiet plucking strings of the overture to the crashing cymbals in the finale, Ben Hur is an adventure in the art of filmmaking. Shot in anamorphic 65mm, this widescreen film was meant to transport its audience into a time long ago. Shot on location and in the studio, Wyler mixes scenes of great vistas like wars at sea and chariot races with tender scenes between characters whose lives are affected by the times.

While the story by Indiana statesman and author General Lew Wallace was inspired by the conversion of a Jewish man to Christianity; Ben Hur still retains its quality of showing how events shaped peoples lives forever. Wyler purposesly did not show the face of Jesus or feature his voice. He felt that since there was no record, it was best to keep it ambiguous. The real story is about Judas, how he deals with the conflict of losing his childhood friend to fanaticism, overcomes imprisonment, and rises to avenge the great wrong done to his family. In the end, it is not vengence but love that is the real message. "I felt the sword leave my hand..." Juda tells his family. That realization leads to a cleansing, symbolized by the curing of leprosy, of both body and spirit by the resurrection, the one element of Christianity which takes the film to its climatic conclusion.

About to be released in September in a special four disc set (long overdue), Ben Hur is a must for film collectors, as this is one film enjoyable with repeated viewings. Also long overdue is a documentary dedicated to William Wyler. No other director, except for John Ford, was as admired in his day as Willy among his peers. Ben Hur was just another feather in his cap.

Ben-Hur - Charlton Heston, Jack Hawkins and more

Ben Hur

One of the landmarks of epic and, arguably world cinema, Wyler's 'Ben-Hur' holds up well today. It was conceived by MGM as an eventual follow up to the success of Quo Vadis? (1951). Almost four hours in length, including substantial overture and entr'acte music by the redoubtable Miklos Rozsa, the film garnered 11 Oscars in its year - a feat echoed recently by Scott's 'Gladiator', to which unsurprisingly it bears some resemblances. (The return of the wronged, or the cathartic role of the arena for instance) But there are vital differences, principal of which is the fact that, while Scott's epic is a pagan film predicated around the expectation of glorious death, Wyler's work is deeply Christian: "a Tale of the Christ" as the titles announce, hinging on the acceptance of eternal life.
'Ben-Hur' has a very considered structure, following Juden Ben-Hur's life and reconstruction, interposed with scenes from the life of Christ. In the first half we see Ben-Hur's fall from wealth and influence as a merchant, onto his fortunes as galley slave, rescuer and friend of a roman consul Quintus Arrius (Jack Hawkins), then successful charioteer before returning to Judea to claim his vengeance. The second half includes the climactic chariot race between him and his enemy Masala, his confrontation with his mother and sister's leprous condition and, finally, Ben-Hur's witnessing of the crucifixion. Thanks to spectacular scenes such as the galley battle, the entry into Rome and, not least, the 20-minute chariot race (which took three months to film), attention in this mammoth epic rarely flags. Having said that, the first half of 'Ben-Hur' has more energy than the second, an issue primarily springing from the source novel. Wallace, its author, had planned his story so Ben-Hur's bitterness peaked just before the great race. Once the competition set piece is over and Massala dispatched, longer contemplative scenes inevitably follow as Ben-Hur broods on injustices. Like the leprosy of his relatives, he has a sickness albeit not physical, which must be cured, whilst in terms of action his rage has effectively exhausted itself.

As the principal male hero, Ben-Hur is one half of three strong male relationships in turn (Ben-Hur/Masala, Ben-Hur/Arrius and Ben-Hur/Sheik Ilderim). Although the relationships are fraternal, Ben-Hur's unmarried status, as well as the closeness of these associations with other single males (Arrius's wife is dead and Ilderim's several remain curiously unavailable) are enough to raise a vague question mark, at least in the minds of modern audiences. Kubrick would explore the homosexual elements prominent in ancient cultures more explicitly in 'Spartacus' a year later). In the more conservative 'Ben-Hur' the closest we get to the homoerotic torsos - a characteristic of the peplum cycle from Italy born on the back of such successful films as this - is the sight of an oiled and pampered Massala accepting Ilderim's bet with his fellow athletes and colleagues.
Lew Wallace conceived 'Ben-Hur' as a didactic work as much as one of historical adventure, key moments in the life of Christ to be viewed in connection with those of an aggrieved man of action. Understandably, the film makes more of the possibilities of action, and less of the religious message. One result of this is that it is noticeably successful in communicating reverence without boredom, a fault of several other 1950s epics. Always difficult to portray, Christ is never heard speaking directly, his face never seen. Instead we witness the impact he has on people's lives. Instead of Christ the man, we have the events he occasions: the Passion is treated as an event of political significance to Judah and his family. The socializing of the Christian message is in evidence, rather than any crude proselytizing. But once Massala is gone, Christ's continuing 'unavailability' to the viewer reveals a dramatic lack: we miss a necessary balance to Ben-Hur's strengths and convictions, where another rounded character might have stood. Ben-Hur's conscience fights on, but in a campaign vacuum as it were, and because of it he becomes weaker.

Interestingly, although Rome as an invading force is decried by Ben-Hur, apart from the harsh life of slaves and some enforced tax collecting there is very little to criticize in the Imperial occupation of Judea. Messala's twisted sense of justice is clearly a personal aberration, springing from his ambition. Both Tiberius and Pontius Pilate (who offers the Judean his citizenship) appear as reasonable men. Christ's trial is presented very briefly and then seen only at conclusion. One Roman even admits that Christian dogma is "quite profound really." Ben-Hur perhaps implicitly grants the value of Rome as much, accepting the role of Arrius' son, even appearing before Massala in a toga. If not quite a tacit acceptance of 'what the Romans have done for us', Ben-Hur could be far more condemnatory towards those fighting the fledgling religion of the Jews. Truly the film takes Christ's words "they know not what they do" as understood.
'Ben-Hur' then, is that rare creature, the restrained epic. Perhaps because the source is a novel than taken direct from the Bible, it manages to balance the sublime and ridiculous into a still-satisfying whole, balancing great spectacle on the one hand with subtle veneration on the other. Together with Wyler's direction, Heston's tailor-made presence, Rozsa's grand score and a unleaden clichÃ©-free script it still makes 'Ben-Hur' first.

Charlton Heston, Jack Hawkins and more - Ben-Hur

"I must deal with Messala in my own way."

William Wyler's "Ben-Hur" has a storied history. Its production was the stuff of legend - years of preparation, an enormous budget for its time, and the talents of a famed director. The end result of all this was eleven Academy Awards and the establishment of Charlton Heston as a cinematic icon.

Messala (Stephen Boyd) returns to Judea as the new tribune of the Roman province and meets with Judah Ben-Hur (Heston), a boyhood friend who is now a wealthy member of the Jewish ruling class. The bond between the two men deteriorates after Ben-Hur refuses Messala's request for help in restoring order to Judea. After his family is arrested and he himself is sent to the galleys, fate intervenes when Ben-Hur saves the life of Admiral Quintus Arrius (Jack Hawkins). Arrius frees Ben-Hur from his servitude by adopting him and the wronged man soon returns home to settle matters with Messala and find his mother and sister.

"Ben-Hur" is indeed a spectacle. This is epic filmmaking on the highest order. Every inch of the screen is filled with lush and vibrant images and Heston delivers a powerful performance that anchors the film. However, for all its grandeur, "Ben Hur" is also bloated and languid. It seems that the film was more concerned at times with showing off its impressive production design than telling a coherent story. The running time of the film could have been reduced dramatically if the editing was tighter. The only time when "Ben-Hur" does come to energetic life is during the stunning chariot race sequence which deserves every accolade it has received over the years. However, this one sequence is not enough to save the film. The rest of the "Ben-Hur" is plagued with underdeveloped characters and a narrative filled with rough and awkward transitions. Most fatal is the final act which feels like it belongs in another film. Yet, it must be pointed out once more that Heston is spectacular. He has undeniable screen presence and he commands your attention every time he speaks. Too bad the other aspects of the film could not complement his tour-de-force performance.