Buy the Collector's Series DVD and watch both versions!

Rating: 8/10 (9 June 2006)

The re-mastered Collector's Series DVD of 'Ben Hur' released last year provides the reason I am adding to the many comments already posted for this film. It is still not widely appreciated that this DVD includes beautifully re-mastered copies of both the 1959 widescreen classic and the 1925 silent version for comparison - a wonderful acquisition for anyone interested in the history of film. This 1925 film was a crowning glory of the silent film era but for a long time was seldom screened, although it now appears on TCM occasionally. Comparing the two versions provides a fascinating insight into the development of the American film industry.
The ongoing efforts by Hollywood to produce biblical or religious epics seems difficult to understand. Started pre-WW1, it still continues. (The last was probably Mel Gibson's "The Passion of the Christ" in 2004, but films such as "The DaVinci Code" remain closely related.) These films involve great risks - little could be more quickly fatal to a Studio than a perception that it supports one particular theological viewpoint rather than another. Religious films have to appeal about equally to viewers who are orthodox,, catholic, protestant, agnostic or atheist in their personal beliefs. Today there will also be concerns about offending other religious beliefs. A Director has to be chosen, sensitive to these concerns, and able to produce a film that appeals to all groups. When satisfied that its production will not be repugnant to major groups of viewers, the Studio has to sign up a cast happy with the proposed script, and capable of working together without undue friction. This is true of every film, but religious beliefs are very fundamental. Asking an actor who hates the existence of firearms to take the part of a gunman, is significantly different to asking him to accept a role which conflicts with fundamental personal beliefs. After a film has been made, its success may be seriously prejudiced if a major religious group decides it would be harmful to the convictions of their adherents and should be boycotted. Equally trouble will ensue if a public perception develops that it is deliberately intended to support one religious group at the expense of another. Studio executives must mull over these concerns before any such film is given the green light, and very carefully weigh the expected commercial benefits against the associated risks. Although such films continue to appear, they were most common in the 1950's and 60's and 'Ben Hur' was released right in the middle of this period. It was commissioned when the MGM Studio was in serious financial difficulties and needed to produce a major financial and artistic success to retain its prominence in Hollywood. The Studio decided to re-create their 1925 silent film of Ben Hur with sound and entirely in colour. At this time colour TV was seriously affecting attendances at movie houses, so it decided (in my view unfortunately) to push the anthropomorphic lenses of the time to the limit by using the extreme aspect ratio of 2.76 to 1. They fortunately recognised that technological gimmicks alone would not generate market success, so both the Director and the cast had to be outstanding, and money had to be no object. Ultimately it was William Wyler's selection as Director which probably saved the studio - several other experienced directors could have produced a comparable epic, but Wyler had an almost unique ability both to draw exceptional performances out of all the actors in his cast, and to create exceptionally well rounded characters. The cultural differences between Roman and Hebrew characters was brought out in a subtle way by using British actors for the latter and American actors for the former. Only in retrospect, after watching the film, did I recognise how much this contributed to the viewing experience. The overall high quality of all the acting is a tribute to the Director as much as to the cast, but commentators on this film frequently mention great performances by not only Charlton Heston and Stephen Boyd as the two leads, but also Jack Hawkins, Findlay Currie, Haya Hayareet, Martha Scott, Hugh Griffiths, and others. Although over 3.5 hours long, the film is episodic and features realistic dialogue which ensures that it never seems overlong. The setting, mainly in Judaea, helped avoid any need for Roman Circus sequences which would have been out of place. Films generally accepted as great all feature four well balanced attributes, an excellent script, superb direction, an exceptional cast and masterly camera-work. Other near great films often feature three of these, falling slightly short in one of them. Many critics feel that Ben Hur is exceptional not only because it is strong in all four areas, but because these were kept in balance unusually well throughout the whole production.
The silent version 'Ben Hur - A Tale of the Christ' also featured exceptional direction and acting, superlative photography (mostly B&W but with a few Technicolor sequences for dramatic effect) and remarkable special effects. Do not under-rate these - the chariot race for which the re-make is justly famous is not greatly inferior here; and the sea battle is probably better. The acting may appear a little overplayed but this is to be expected in a silent film. The main difference lies in its better aspect ratio. In a large auditorium the 2.76 - 1 ratio screen can be compared to looking at a mural. But few artists achieve fame for painting murals. Go to an art gallery and count how many of even the largest paintings have such an aspect ratio. On the small screen a letter box format is ridiculous, and is tiring to continue watching during any long film. Buy this DVD and watch both versions to see how much better this 1959 film could have been if created with a more modest aspect ratio!