Colossal

Rating: 10/10 (7 May 2006)

That was a word that distributors used to use to describe their latest releases. In this case that word indeed describes this picture! I've seen this film many times, in many places, in many versions, from its first 70mm "road show" presentation in New York during Christmas 1959, to several times at small neighborhood theaters, in a 35mm print with mono sound; on television on a faded "pan and scan" print chopped up for commercials. I played the (mono) LP copy of the first recording of the musical score till it was worn out! So I can fairly say that I know this film very well.
I just saw it again, in "letterbox" format, from beginning to end, and found it just as impressive as I did the first time, almost 50 years ago. The story moves slowly but one never loses interest, thanks to the splendid performances, Rozsa's score, and Wyler's beautifully composed images and tight editing.
There are some moments that seem contrived and don't work now: The entry into Rome seems totally over the top, particularly since the picture makes the Roman Forum and the steps up to the Capitoline seem three times their actual size, more like 20th century Paris or Moscow than first century Rome! The sea battle is not very convincing ("models in a bathtub" is what came to mind), and the moments of spiritual transformation, using a change of lighting and the sound of an organ rather than just the expression on the actors' faces, seems clichéd and obvious now. At Ben Hur's final transformation, when he is climbing the stairs to greet his mother and sister, a key light literally turns on and illumines the right side of his face!
Some moments still work splendidly, and some moments seem to work even better than they used to. The scenes with the Christ are all silent; one never hears his voice or sees his face, only the reaction of others to him, and this works powerfully, taking the sentimentality away and clarifying the Christian message. This was a film convention of the time, when picturing Jesus, but Wyler's handling of it is masterful. One can see all of the Sermon on the Mount, for example, in Haya Harareet's face as her character hears it. Thus we see Jesus and hear his voice in our own way. Wonderful.
The motivations, too, are clear, thanks to the well-written script and Wyler's direction, in a way that the 1925 version, and the novel itself, do not clarify, from Messala's anger (unreturned love), Judas' betrayal (fear and lack of faith) to Pilate's denial (political expediency).
The motivation behind the rift between Messala and Ben Hur is particularly clear, and makes total sense.
On every level, this film still works.